
Class 
Book 



COPYRIGHT DEPOSIT 



/ 

THE 

J, 

J 

SCIENTIFIC AMERICAN 



CYCLOPEDIA 



OF 



Receipts, Notes and Queries 



EDITED BY 

ALBERT A. HOPKINS. 



/tl 



NEW YORK: 

MUNN & CO., Publishers. 

1892. 



I 



/> 




Copyrighted 1891, by Munn & Co. 

Copyrighted 1892, by Munn & Co. 

(All flights Reserved. ) 



MACOOWAN & SLIPPER, 

Printers, 
30 beekman st. , new york. 



PREFACE. 



For nearly fifty years past, the choicest information resulting 

from the practical experience of the best writers in nearly every 

branch of the useful arts has been regularly garnered weekly 

in the Scientific American, especially in the columns of " Notes, 

Queries and Correspondence," which have obtained a world-wide 

;lebrity for the extraordinary variety and rare value of the 

fecial knowledge therein presented. This vast compendium of 

^eful information, carefully digested and condensed, forms the 

isis of the present work ; to this important additions have been 

ade after laborious researches among the difficult and often inac- 

issible mysteries known as " Trade Secrets." 

Among the kindred works consulted, and from which extracts 
ive been made, are those of Cooley, Spon, Gardner, Crookes and 
• hers, all of standard value and excellence. 

If the inexperienced reader should sometimes be unable to 
secure the expected result, it may be well for him to ascertain 
if it is not due to one of the following causes : 

First. — The use of wrong materials. This is a fruitful source 
of trouble. In the old nomenclature, many chemicals and mate- 
rials had an entirely different name from those that they bear 
to-day, thus giving rise to much confusion. 

Second. — The use of impure materials, or materials which 
have deteriorated. The receipts are written on the supposition 
that the materials are pure, or nearly so, unless otherwise stated. 
The use of poor or adulterated materials is often fatal to success. 
Third. — The want of care in following the directions. An 
example of this is given in the Hektograph, of which many were 
made as directed in the Scientific American, and the results were 
reported to the editor. A large number reported complete suc- 
cess, while others failed, not having closely followed the directions. 



Fourth. — Mistakes in quantities. 

Fifth. — Mistakes in the order of mixing. The order given in 
the receipt book should be closely observed. 

Sixth. — Difference in strength. Acids, alcohols, etc., can be 
purchased of all strengths, and when a certain degree of strength 
is given in the receipt, it only should be used. Alcohol, ammonia, 
and some other chemicals lose their strength if left standing exposed 
to the air. 

The following abbreviations are used throughout the work, 
the abbreviations on page one being usually used in preparing 
medical prescriptions: Grn., grain or grains; grm., for gramme or 
grammes; scr., scruple; oz., ounce or ounces; lb., pound or 
pounds ; 1., liter or liters ; k., kilogramme or kilogrammes ; and the 
usual abbreviations, pt., qt., gal., dwt. ; syn. for synonymous ; prep, 
for preparation^ 



THE 

Scientific American Cyclopedia of Receipts, 

NOTES AND QUERIES. 



Abbreviations.— The abbreviations used 
in this book are the ones usually accepted, 
and many of them will be found in the tables 
in. the Appendix. 

Signs and abbreviations* used in medical pre- 
scriptions. 

R< Recipe Take 

aa .Ana Of each 

ft Librum ,. ....Pound 

5 TJncia Ounce 

3 ..Drachma Drachm 

3 Scrupulus Scruple 

Cong....Congious Gallon 

O Octarius Pint 

/ 5 Fluid Uncia Fluid Ounce 

f 3 Fluid Drachma Fluid Drachm 

M. Minimum Minim 

Chart . .Chartula Small Paper 

Coch ... Cochlear Spoonful 

Collyr . . Collirium Eye Water 

Decot . .Decoctum Decoction 

Ft Fiat Make 

Garg.. . . Gargarisma Gargle 

Gr Granum Grain 

Gtt Gutta Drop 

Haust. .Haustus Draught 

Infus. . .Inf usum Infusion 

M Misce Mix 

Mass . . .Massa Mass 

Mist. . . .Mistura Mixture 

Pulv . . .Pulvus Powder 

Q. S Quantum Sufficit . . Sufficient Quantity 

Sig or S.Signa Write 

S. S Semis Half 

S.V Spirits of Wine 

S.V. R Rectified " 

S.V.T Proof Spirit 

Table showing the signs used in writing medi- 
cal prescriptions. 
}& grain ^ gr. 



1 

I* " 
2 grains 

2y 2 " 

4 

8 

^scruple 3 ss. 

1 " 3 i, or 3 j. 

1H " 3iss. 

2 scruples 3 ii, or 3 ij. 

1 drachm 3 

IK " 3 

2 drachms 3 

3 " 3 

m M 3 

Wz " ... 3 

jounce f ss. 

1 " 5 i, or 5 J. 

1H " | iss. 

J^pint Oss. 

1 " ... O. 

Abrasions.— When the scarf skin is abrad- 
ed, the best and simplest application is a single 
layer of flexible collodion. If much epidermis 



gr. j, or gr. i. 

gr. iss. 

gr. ii. or gr. ij. 

gr. iiss. 

gr. iv. 

gr. viii, or gr. vii j. 



i,or 3 j. 

iss. 

ii, or 3 ij. 

in, or 3 iij. 

iiiss. 

viiss. 



has been lost and the part bleeds freely, a paste 
of equal parts of glycerine and subnitrate of 
bismuth may be laid on and covered with col- 
lodion. 

Absinth. See Liquors. 

Absorbent Cotton.— Boil best quality of 
cotton with 5 per cent solution of caustic soda 
or potash for one half hour. Wash thoroughly 
and press out all water as far as possible, and 
immerse in a 5 per cent solution of chloride of 
lime (bleaching powder) for 15 or 20 minutes ; 
wash with a little water, then with water acid- 
ulated with hydrochloric acid, then with water. 
Boil once more for 15 minutes with caustic 
soda solution, and wash with acidulated and 
plain water as before. 

Absorbent Powders. See Powders. 

Abstergents. — In medicine and pharmacy, 
substances which cleanse or clear away foul- 
ness from the surface of the body or sores, as 
soaps, lotions, etc. 

Academy Board. — Smooth. — Apply to 
junk board a coating of size ; when dry, spread 
on thick paint with a pallet knife. 

Rough.— Size heavy manila paper, apply to 
two sheets a thick coat of paint, place the 
painted sides together, then pull them apart. 
This will give the board a roughened surface 
or tooth. 

Accidents, etc. See also Drowning, 

Fainting.— At once make the patient lie 
down, with the head quite low. Loosen arti- 
cles of dress. Let patient have plenty of air, 
and keep people from crowding round. Apply 
smelling salts, cautiously, to nose. Sprinkle 
face with a little cold water smartly. If faint 
continues long, or feet and hands are cold, 
apply hot bottles, and when patient can swal- 
low, give a teaspoon!' ul of sal volatile in water, 
or a little spirits in water. 

Fits.— This means either apoplexy or epilep- 
sy. Apoplexy is attended with insensibility. 
The patient falls, generally, but not always, 
grows purple in the face, and breathes in a 
snoi'ing manner. There is paralysis of one 
side, and the mouth is drawn to one side. Place 
patient in bed, with head raised. If hot, apply 
cold water to head, and send for doctor. 

In epilepsy, patient usually gives a scream, 
becomes deadly pale, falls on his face, becomes 
convulsed, and then profoundly insensible. 
While in this state, all that need be done is to 
loosen articles of dress, and keep patient quiet 
and beyond danger of hurting himself until 
sensibility returns. It is then a case for med- 
ical treatment. 

Choking.— Choking arises from food, or fluids 
or other substances sticking in the throat or 
passing into the air passages. In bad choking, 
where the patient suddenly turns dark in the 
face, etc., no time is to be lost. Open the 
mouth, and push your forefinger in a deter- 
mined way over the tongue, right back, and 



Accidents. 



Agar-agar. 



try to book away or push aside the hinder- 
ance. If this does not succeed, you may, by 
pressing' the hinder portion of the tongue, 
bring on vomiting, and so secure relief. A 
good plan is sometimes tried with children, 
viz., that of pressing the chest and stomach 
against something hard, as a table or a chair, 
then slapping or thumping the back between 
the shoulder blades. In this way air is driven 
from the lungs through the windpipe so forci- 
bly as often to expel the obstacle. "When the 
obstruction consists of a coin, as often in the 
case of children, a good plan is at once to take 
the child up by the heels, and at the same time 
give it a shake or slap its back. Fish bones 
can sometimes be got rid of by swallowing a 
mouthful of bread. If these remedies fail, 
medical help should at once be called in. 

Suffocation by Gases.— Drag the patient as 
quickly as possible into fresh air, loose cloth- 
ing, dash cold water on head, face, and upper 
part of chest. If the breathing has stopped, 
artificial respiration must be resorted to. 

Poisoning. — Send at once for the nearest doc- 
tor, telling him all the particulars, so that 
he may bring what is necessary. Unless the 
poison is an irritant, such as oil of vitriol or 
the like, which burns or destroys the stomach, 
etc., do all you can to make the patient sick. 
You may give a tablespoonful of mustard in a 
tumbler of warm water, or the same amount 
of common salt with warm water. If the pa- 
tient is drowsy, as from poisoning by narco- 
tics, you must do all you can to keep him 
awake by dashing cold water on his head and 
face, walking him about, etc. Do not permit 
him to sleep. In cases of poisoning by irri- 
tants, emetics should not be given, but you 
should try to save the stomach as much as 
possible by giving soothing drinks, as milk, 
etc. Always try to find out what the poison 
taken has been. You will generally be able to 
recognize a case of irritant poison, even if the 
patient cannot tell you, by the stains on the 
clothes, lips, etc., the burning sensation of the 
mouth, the terrible suffering of the stomach, 
the retching and vomiting of blood, etc. Med- 
ical advice must in any case of poison be called 
in with the utmost haste.— See Poisons for 
tables of antidotes. 

Poisoning by Alcohol, or Drunkenness.— Get 
the patient under cover as soon as possible. 
]f insensible, rouse him by dashing cold water 
on the face. Endeavor to make the patient 
vomit. Hub the surface of the body with 
warm, dry ck ths ; wrap the patient in blank- 
ets ; put hot water bottles to his feet, and do 
all you can to keep up the heat of the body, 
which is always lowered in the state of intoxi- 
cation. 

Broken Limbs.— The thing to be first done is 
to keep the limb quite steady till the surgeon 
comes. This is done by placing- on each side 
of the broken limb whatever may be at hand, 
such as slips of wood, small pillows, an um- 
brella, the stock and barrel of a gun, or two 
walking sticks, or even firmly rolled straw, or 
pads of cotton wool, and retaining them in 
their position by one or two handkerchiefs, 
not tied too tightly. Never raise the patient 
from the ground until the nature of his injury 
has been ascertained, or some appliance has 
been made to prevent the movement of the 
broken limb. Then raise him, if possible, with 
the help of several persons, and, as it were, in 
one solid piece, all moving together, and keep- 
ing step in carrying. If a patient has to be 
carried home, let it be on a shutter, or a table, 
or a stretcher, on which he can lie flat, instead 
of being doubled up in a cab, as is often done 
It is from neglect of this simple rule that 
broken bones are often made to protrude 
through the flesh, simple being thus turned 
into compound fractures, attended by the risk 
of the limb being lost. 

What to Bo when Dress Catches Fire.— The 
following are the directions given in Dr. Rob- 



ert's book on ambulance work: " If your own 
dress, throw yourself at once on the ground, 
so that the rising flames may not catch the 
upper part of your clothes nor burn your 
head and chest; roll about (so putting the 
flames out by pressure), and at the same time, 
if possible, wrap yourself up closely in a rug, 
hearth rug, blanket, table cloth, overcoat, or 
carpet, so as to smother the fire. Do not get 
up to call for assistance, but for that purpose 
crawl to the bell rope or door. If another per- 
son's dress, throw the person on fire down at 
once, wrap him or her up in a rug or some- 
thing similar, or, if there is nothing at hand 
suitable, use your own coat, rolling the patient 
about in it, for the purpose of smothering the 
flames." A woman rendering help in this way 
must exercise great self-possession, and be 
careful not to get her own clothes entangled 
in the flames. 

Acetate.— A salt containing the acid-radi- 
cal C 2 H 3 0j. 

Acetiflcation.-The process by which wine 
or cider is turned into vinegar. 

Acetone.— Pyro-acetic Spirit.— This is a col- 
orless liquid, obtained by distilling some of 
the acetates. It is used chiefly as a solvent for 
resins, gums, and camphor. 

Acidimeter.— An instrument for measur- 
ing the strength of acids. 

Acidimetry.— This process is the converse 
of Alkalimetry. It signifies the estimation by 
means of a standard alkaline solution of the 
real saturating power of a commercial sample 
of any acid. For this purpose 270 gr. of the 
pure carbonate of soda, as prepared for 
standardizing the acid used in alkalimetry, are 
dissolved in 10,000 gr. measures of distilled 
water. 1,000 gr. measures of this will satur- 
ate exactly 20 gr. of sulphuric acid ; 18*5 gr. 
of hydrochloric acid ; 27 gr. of nitric acid ; 30 
gr. of crystalline acetic acid ; 22"5 gr. of oxalic 
acid ; 57 gr. of dry tartaric acid ; 97 gr. of dry 
citric acid. 

Acid Proof Cements. See Cements. 

Acid Stains, to Remove. See Cleans- 
ing. 

Acne, Treatment for* — 1. Take rose 
water 3 oz., sulphate of zinc 1 dr. ; mix. Wet 
the face with it, gently dry it, and touch it 
over with cold cream, which also gently dry off. 

2. Pay strict attention to diet and habits of 
life, avoid rich, highly seasoned, indigestible 
foods, take ordinary tonics, and especially ar- 
senic. The most efficient local application is a 
saturated solution of boric acid in alcohol, 
washing the face but once a day in warm 
water. Dry with a soft towel and apply the so- 
lution. This (the boric acid solution) may be 
applied three or four times daily. Rochelle 
salts in water are also a good external appli- 
cation. 

Actinometer.— This is an instrument for 
measuring the intensity of light. It is of 
great use in photography in carbon printing. 

Adhesion of Materials, to Prevent.— 

To prevent oilcloth, patent leather, and similar 
materials from sticking together when rolled, 
purchase a few sheets of paraffine-impregnated 
paper, and roll with the material. This will 
prevent the sticking. It will also prevent the 
fading of the colors or gloss by keeping out air 
and moisture; the evaporation of the oil is 
likewise prevented to a great extent. 

Aerugo.— The rust of brass, bronze, or cop- 
per; verdigris; patina. 

Affusion.— In chemistry, the washing of a 
precipitate, for the purpose of removing solu- 
ble matters. 

Agar-agar.— A yellow sea-weed produced ■ 



Agate. 



Alcohol. 



on the coasts of the Malay Archipelago. It re- 
sembles Iceland and Irish moss in its properties. 

Agate, to Polish. See Polishing. 

Agglutination.— The cohesion of bodies. 

Aich's Metal. See Alloys. 

Air.— The following data are useful in cal- 
culations relating 1 to air : 

1. To find the quantity of nitrogen by vol- 
ume corresponding to 1 volume of oxygen, 
multiply by 3*770992. 

2. To find the quantity of oxygen by volume 
•corresponding to 1 volume of nitrogen, mul- 
tiply by 0-265182. 

3. To find the quantity of nitrogen by weight 
corresponding to 1 part by weight of oxygen, 
multiply by 3*313022. 

4. To find the quantity of oxygen by weight 
corresponding to 1 part by weight of nitrogen, 
multiply by 0*301839. 

5. To find the quantity of nitrogen by vol- 
ume corresponding to 1 part by weight of oxy- 
gen, multiply by 2-6365411. 

6. To find the quantity of oxygen by volume 
corresponding to 1 part by weight of nitrogen, 
multiply by 0*2730071. 

7. To find the quantity of nitrogen by weight 
corresponding to 1 part by volume of oxygen, 
multiply by 3*6629154. 

8. To find the quantity of oxygen by weight 
corresponding to 1 part by volume of nitio- 
gen, multiply by 0*3792848. 

Air, to Test for Sewer Gas.- Saturate 
nnglazed paper with a solution of 1 oz. of pure 
lead acetate in half a pint of rain water ; let it 
partially dry, then expose in the room sus- 
pected of containing sewer gas. The presence 
of the latter in any considerable quantity soon 
darkens or blackens the test paper. 

Alabaster.— A soft, white, calcareous stone, 
much used in Italy for making ornaments. 
"Volterra is the seat of the industry. - 

Alabaster, to Bronze. See Bronzing. 

Alabaster, to Cement. See Cements. 

Alabaster, to Clean. See Cleansing. 

Alabaster, to Etch. See Etching. 

Alabaster, to Stain. See Staining. 

Alabaster, to Turn. — Alabaster is 
"wrought, turned or fashioned in the same 
manner as marble. The tools resemble those 
employed in like operations in ivory and brass. 
Machinery is used to a large extent. 

Alaska Scenery.— Dissolve 456 gr. of lead 
nitrate in 6 fluid oz. of water ; if the solution is 
turbid, filter it. Place the solution where it is 
intended that it shall remain, and drop into it 
200 gr. of sal ammoniac, in long fibrous crystals. 
The result is "Alaska scenery." 

Albata Metal. See Alloys. 

Albumen.— An organic nutritive principle, 
is a constituent of all animal fluids and solids. 
The white of eggs contains 12 per cent, of albu- 
men, and the fluid portion of blood (serum) 7 
per cent. It occurs also in the flesh, in the 
brain, and more or less in all serous fluids. 
Fibrin also may be regarded as coagulated 
albumen. It occurs in the vegetable kingdom, 
in the sap or juice of many plants, such as the 
potato, turnip, carrot, cabbage, in the green 
stem of peas, in the seeds of the cereal grasses, 
and in many nuts. 

Albumen Paper. See Photography. 

Albumen, Tests for.— 1. A solution of 
bichloride of mercury dropped into a fluid con- 
taining albumen occasions a white precipitate. 
Sensibility, ^m. (Bostock.) 

2. Tannin or tincture of galls gives a yellow, 
pitchy precipitate. 

Alcarazza.— Spanish water coolers. These 
are made of porous earthenware, and cool 
water by their copious evaporation of the 
"water, which filters through. 



Alcarazzas, Compositions for. See 
Compositions. 

Alcohol. — Alcohol, as the term is generally 
understood, may signify spirits of various 
strengths, and we distinguish, therefore, be- 
tween alcohol of 60, 70, 80 per cent., etc., mean- 
ing-that in 100 volumes of the spirit there are 
contained 60, 70 or 80 volumes of absolute alco- 
hol. As used in the U. S. Pharmacopoeia the 
term alcohol is meant to designate that which 
contains 91 per cent, by weight of absolute 
alcohol and 9 per cent, of water. 

Absolute Alcohol is alcohol without any water 
Avhatever, and, as it absorbs water from the 
atmosphere with great energy, it can scarcely 
be obtained in commerce. What is sold for 
absolute alcohol is rarely above 98 per cent. 
Absolute alcohol has a specific gravity of 
0-7939 at 60 degrees F. 

Spirits of Wine is the stronger alcohol that is 
generally found in commerce, and contains 
about 90 per cent, of alcohol and 10 per cent, 
of water. It derives its name from the fact 
that it was first obtained from the distillation 
of wine. The strongest commercial alcohol is 
about 95 degrees. 

Rectified Spirits are spirits rendered purer 
and stronger by redistillation. 

Cologne Spirits is the highest grade of alcohol, 
having been so purified as to be devoid of all 
color and odor. 

Proof Spirits or Diluted Alcohol.— Proof spirits 
are defined by the United States laws as spirit 
containing (in 100 volumes) 50 volumes of abso- 
lute alcohol of sp. gr. 0*7939 and 5371 volumes 
of water (the apparent excess of 3'71 vol. being 
lost by shrinking upon mixing the alcohol and 
water). Its specific gravity is 0*93353 at 60 de- 
grees P. The government hydrometers for 
examining spirits are so graduated that they 
indicate (at 60 deg. F ) in pure water and 200 
in absolute alcohol ; in proof spirits they sink 
to 100. A spirit is said to be ** 10 above proof" 
or " 110 proof " when the hydrometer indicates 
110, and such spirit contains 55 per cent, of ab- 
solute alcohol. A modification of this hydro- 
meter is the alcoholometer, which is graduated 
to show in pure water and 100 in absolute 
alcohol ; each division of that instrument thus 
indicates 1 per cent, of alcohol and the number 
of the division is directly equal to the volume- 
tric percentage of absolute alcohol in the 
spirit. The diluted alcohol, as the term is used 
in the TJ. S. Pharmacopoeia, is that containing 
53 per cent, by volume of absolute alcohol (or 
about 455 per cent, by weight), and has a sp. 
gr. of 0*920. 

Wood Spirits or Methyl Alcohol is a spirit ob- 
tained among other products from the de- 
structive distillation of wood. 

Methylated Spirits.— Spirits of wine mixed 
with 10 per cent, of commercial wood spirits. 
Proportion of alcohol in 100 parts of the fol- 
lowing liquors: Scotch whisky, 5432; Irish 
whisky, 53*9; rum, 53*68; brandy, 53*39; gin, 
516; port, 22*9; Madeira, 22*27; currant, 20*55; 
Teneriffe, 19*79; sherry, 19*17; claret, 15*1; 
champagne, 138 ; gooseberry, 11*84; elder, 8*79; 
ale, 6*87 ; porter, 4*2 ; cider, 9*8 to 5*2. 

Alcohol, to Deodorize.— 1. Add to the 

barrel of alcohol a gallon of water saturated 
with chlorine gas ; agitate thoroughly, let rest 
for twelve hours, then saturate with chalk 
(which, combining with the chlorine, forms 
chloride of lime) and distill. Filtering through 
animal charcoal after precipitating the chlo- 
rine with the chalk affords a very fair substi- 
tute for the redistilled alcohol. The fusel oil 
can be separated from alcohol, in small quan- 
tity, by adding a few drops of olive oil and 
thoroughly agitating in a bottle and allowing 
it to settle, and then decant. The olive oil com- 
bines with and retains the fusel oil. 

2. Alcohol employed in perfumery should be 
free from all smell of fusel or other oils. At- 
wood's (patent) alcohol is deodorized by distil- 



Alcoliolate, 



Alloys. 



lation over permanganate of potassa. Spirits 
of wine, brandy, and alcohol distilled over soap 
lose their empyreumatic odor and taste en- 
tirely. At about 215 degrees F., the soap re- 
tains neither alcohol nor wood spirit. The 
empyreumatic oil which remains in combina- 
tion with the soap which forms the residuum 
of the distillation is carried off at a higher 
temperature by the watery vapor, which is 
formed during a second distillation, the pro- 
duct of which is a soap free from empyreuma, 
and is fit to be used again for similar purposes. 
The concentration of the alcohol increases in 
this operation more than when the soap is not 
employed, because this compound retains the 
water, and the alcoholic vapors which pass 
over are more concentrated. Thirty-three 
pounds of soap are enough for one hundred 
gallons of empyreumatic brandy; and direct 
experiment has shown that, under the most 
favorable circumstances, the soap can retain 
20 per cent, of empyreumatic oil. The soap 
employed should contain no potassa ; it should 
be hard or soda soap, and ought to be com- 
pletely free from any excess of fatty acids or 
fluids, otherwise it may render the product 
rancid or impure. Common soap, made with 
soda and oleine, has satisfied all the conditions 
in practice. If this soap is employed, it is bet- 
ter to add a little soda during the first distilla- 
tion. 

Caustic Alcohol.— This term is commonly ap- 
plied to sodium ethylate, a product formed by 
the decomposition of absolute alcohol with 
pure metallic sodium, the chemical formula 
being C 2 H 5 . Na O, or alcohol which has had 
one atom of its hydrogen replaced by one of 
sodium. 

Moss Alcohol. — Large quantities of alcohol 
are distilled in Sweden and Russia from rein- 
deer moss (Cladonia [Cenomycc] rangiferina) 
and Iceland moss (Cetraria islandica). The 
yield is said to be as great as from good grain, 
while the supply of material is abundant and 
cheap. 

Alcohol, Wood.— It is obtained, mixed with 
pyroligneous acid (crude wood vinegar), from 
the destructive distillation of wood. When 
this is heated in a still, the first portions 
distilling are impure wood spirit. This puri- 
fied by several rectifications (redistillations) 
yields common wood naphtha. The empyreu- 
matic matters, acetone, etc., which it con- 
tains may be removed by heating it in a still 
over a water bath with an excess of chloride 
of calcium, as long as volatile matters escape 
(impurities), then distilling the remainder with 
a quantity of water equal to the spirit taken. 
Rectification of this dilute spirit over lime 
yields pure wood naphtha— methylic alcohol. 
See Metliyl. 

Alcoliolate.— A salt in which alcohol ap- 
pears to replace the water of crystallization, 
as is the case with certain chlorides, nitrates, 
etc. Some of them may be formed by simple 
solution and crystallization of the salt in alco- 
hol (Graham). They are all very unstable, 
being readily decomposed by water. 

Alcoholometer.— An instrument for de- 
termining the strength of alcohol or alcoholic 
solutions. 

Alfenite. See Alloys. 

Algarobillo. — An astringent matter found 
in the pods of a South American tree, Balsamo 
carpum crevifolium. It contains 68 per cent, 
of tannin, and is recommended as a material 
for the preparation of pure tannin. 

Algiers Metal. See Alloys. 

Alkalimetry.— Is the determination of the 
quantity of real alkali in alkaline salts and so- 
lutions. As in the case of acidimetry, the de- 
terminations may be made either by gravime- 
tric or by volumetric analysis. 

Gay-Lussac's method is based upon a titrated 
solution of carbonate of soda with a corre- 



sponding solution of sulphuric acid.— Work- 
shop Receipts. 

Alkanet.— The root of Anchusa tinctoria. 
It contains a large amount of red coloring 
matter, which has received the names alkanine 
and anchusine, and which is insoluble in water, 
though soluble in alcohol, and in the fatty and 
essential oils. 

Alkermes. See Liquors. 

Alio tropic.— The name given to substances 
which exist in two or more forms, the chem- 
ical composition being the same. Thus some 
substances, even though they are in a gaseous 
state, can exist in two forms— oxygen and 
ozone. 

Alloys, to Electro-plate witli. See 
Electro-Metallurgy. 

Alloys.— An alloy is a combination of two 
or more metals. It is now largely believed 
that the metals form combinations rather than 
mixtures, though one of the best metallurgists 
in England called his book on alloys "Mixed 
Metals." Hiorn's definition of an alloy, from 
"Mixed Metals," is given below: 

"Nature of Alloys.— When two or more me- 
tals are caused permanently to unite, the re- 
sulting mixture is termed an alloy. When mer- 
cury is an essential constituent, the mixture is 
termed an amalgam. The general method of 
effecting combination is by the agency of heat, 
but with certain soft metals true alloys may be 
formed by subjecting the constituents to con- 
siderable pressure, even at the ordinary tem- 
perature. Alloys such as those briefly re- 
ferred to were doubtless first discovered by 
the metallurgical treatment of mixed ores, 
from the simultaneous reduction of which 
alloys would be formed: or in some cases, 
as in ores of gold and silver, naturally 
formed alloys would be obtained by a sim- 
ple melting process. The direct preparation 
of alloys by the simple melting together of 
the constituent metals has been enormously 
developed in modern times, and the attention 
which mixed metals are now receiving by 
chemists is far greater than in any period of 
history. Comparatively few of the metals 
possess properties such as render them suit- 
able to be employed alone by the manufac- 
turer ; but most of them have important ap- 
plications in the form of alloys. Even among 
the metals which can be used independently, it 
is often found expedient to add portions of 
other metals, % o improve or otherwise modify 
their physical properties. Thus gold is harden- 
ed, and made to resist wear and tear, as well as 
to lower its cost, by the addition of copper ; 
silver is likewise hardened by alloying it with 
copper; and the bronze coinage is formed of 
an alloy of copper, zinc and tin for similar 
reasons." 

[For a large number of the receipts and com- 
positions we are indebted to this admirable 
little work.] 

Acid-resisting Alloy.— Mr. Rettz has invented 
an alloy which offers great resistance to the 
action of acids and alkalies. It has the follow- 
ing composition: Copper, 15 parts; tin, 2*34 
parts; lead, 1*82 parts; antimony, 1 part. It 
is said to be a useful substitute, in laborato- 
ries, for ebonite and porcelain. 

AicWs Metal.— This alloy is analogous to 
sterro metal, and shows similar valuations in 
composition from various analyses that have 
been made. Its chief properties are hardness 
and tenacity, the same remarks applying to 
this as to sterro metal, with which it is prac- 
tically identical. Alloys under this name con- 
tain irom 0"4 to 3*0 per cent, of iron. It has a 
golden-yellow color, and is recommended for 
articles exposed to sea water. The following 
analyses will give an idea of the composition : 

Copper 60-66 60 60*2 58"26 

Zinc 3658 38"2 38'2 41"00 

Tin 102 

Iron 174 18 16 0T4 



Alloys. 



Alloys, 



Table of Alloys. 

The following is a table of the proportions of the various metals in the alloys most com- 
monly employed in the arts and manufactures. The term " parts " means parts by weight. The 
abbreviations are : Cu, copper; Zn, zinc; Sn, tin; Pb, lead; Sb, antimony; P, phosphorus; As, 
arsenic; Ni, nickel. 



Description. 



1.) Metal for f rictional parts of locomotives I 

(extremely hard) f 

(2.) Bearings of carriages 

(3.) Bearings of driving wheels, also for steam I 

engine whistles, giving a clear sound. . J 
(4.) Steam engine, whistles giving a deep ) 

sound ) 

<5.) Cross heads of connecting rods 

<6.) Cylinders of pumps, valve boxes, and^ 

taps — f 

<7.) Eccentric collars 

<8.) Bearings of axles and trunnions; eccentric J 
collars I 

(9.) Pistons of locomotives j 

<10.) Axle boxes 

(11.) Mathematical instruments, arms of bal- I 

ances f 

(12.) Machinery, bearings, etc 

(13.) Steam engine whistles 

(14.) Metal to withstand friction (Stephen- I 

son) f 

(15.) Rivets 

(16.) Metal for coffins 

(17.) Metal to withstand friction 

(18.) Cylinders of pumps — 

(19.) Metal for bearings of locomotives 

/ (20.) White brittle metal (for buttons, etc.) 

(21.) Imitation silver 

(22.) Pinchbeck 

(23.) Tombac 

(24.) Red tombac... 

(25.) Specially adapted for bearings. . . 

(26.) For bearings and valves 

(27.) Electrotype " backing metal " 

(28.) Stereotype metal for paper process 

(29.) « » » plaster process 

(30.) Bullet metal 

(31.) Malleable brass plate 

(32.) Pin wire 

(33.) Jemmapes brass 

(34.) Similor for gilding 

(35.) Maillechort for rolling 

(36.) « first quality 

(37.) White similor 

(38.) For stopcock seats 

(39.) • plugs. 

<40.) For keys of flutes, etc 

(41.) Hard tin 

(42.) White tombac 

(43.) Vogel's alloy for polishing steel 

(44.) Rompel's anti-friction metal 

(45.) Arguzoid, a tough alloy superior to } 

brass S 



Cu. 



84 

88 

90 

67 
30 

79 

64 
15 

2 

7 

2 
10 
64 

5 
16 
10 
83 
83-25 



67 

67 

64-6 

92*7 

60 



Zn. 



Sn. 



5 
3 

2 

2 

2 

2 

2 
2 
2 
7 
4 

9 
8-4 

2 



5 

24-6 



72 



33 
33 
33-7 

4-6 
20 

3 



1 
10 

23 



18 

17 

16 

10 

14 

14 

13 

9 

28 

3 
2'9 

10 



14 

18 



3 

40 
72 
21 
90 
20 



15'5 

7 
4 



0-5 
0*2 

2'7 



86 
80 



1 
25 

2 
10 



Pb. 



4*7 



19 



8 

9 

45 



9 

91 

88 

82 

92 
0-5 
0-5 
1-5 



20 



1 

18 



Sb. 



26 



64 



1*5 



5 

12 

18 



14 
20 
40 
0-5 



P. 



0-75 



As. 



0-5 



Ni. 



20 
4 



13*6 



Alloys. 



6 



Alloys. 



Albata Metal.— Copper, 40 lb.; zinc, 32 lb.; 
nickel, 8 lb. 

Alfe'nide.— Copper, 60 per cent.; zinc, 30 per 
cent.; nickel, 10 per cent.; iron, a trace. 

Algiers Metal.— 1. 90 tin, 10 antimony ; 2. 94*5 
tin, 5 copper, 0*5 antimony. 1 is used for spoons 
and forks, 2 for small hand bells. 

Aluminum and Tin. — 1. Aluminum, 100 
parts; tin, 10 parts. 

2. Aluminum, 90 per cent.; tin, 10 per cent. 

Bourbonne^s Aluminum Alloy.— Aluminum 
and tin, equal parts. This alloy solders easily. 

Aluminum Bi onze.—lQO parts copper and 10 
aluminum, measured by weighing, when com- 
bined, is a durable alloy, which may be f orged 
and worked in the same manner as copper, and 
is the same color as pale gold. 80 parts copper, 
19 zinc, and 1 aluminum form a good durable 
alloy. 

Aluminum Silver.— The following alloy takes 
a high silver polish, and exhibits a beautiful 
silvery color: Copper, 70 parts; nickel, 23 
parts; aluminum, 7 parts. 

Belgian Antifriction Metal.— For parts ex- 
posed to much friction, 20 parts copper, 4 of 
tin, 0*5 of antimony, 0"25 lead. For parts sub- 
jected to great concussions, 20 parts copper, 
6 zinc, 1 tin. For surfaces exposed to heat, 17 
parts copper, 1 zinc, 0'5 tin, 0*25 lead. In mak- 
ing these alloys, mix all the other ingredients 
before adding the copper. 

Antifriction Metal.— Tin 16 to 20 parts ; anti- 
mony 2 parts ; lead 1 part ; fused together and 
then blended with copper 80 parts. Used 
where there is much friction or high ve- 
locity. 

2. Zinc 6 parts ; tin 1 part ; copper 20 parts ; 
Used when the metal is exposed to violent 
shocks. 

3. Lead 1 part ; tin 2 parts • zinc 4 parts ; 
copper 68 parts. Used when the metal is ex- 
posed to heat. 

4. (Babbitt's.) Tin 48 to 50 parts ; antimony 5 
parts ; copper 1 part. 

5. (Fenton's.) Tin with some zinc and a 
little copper. 

6. (Ordinary.) Tin, or hard pewter with or 
without a small portion of antimony or cop- 
per. Without the copper it is apt to spread 
out under the weight of heavy machinery. 
Used for the bearings of locomotive engines, 
etc. 

Argasoid or Argusoid.-A new alloy called 
"argasoid," recently described by Mr. V. Jeupt- 
ner, of Vienna, has been used as a substitute 
for silver. Its cost is said to be about fifty per 
cent, more than brass. Its chemical composi- 
tion is as follows : Tin, 4'035 ; lead, 3 - 544 ; cop- 
per, 55*780; nickel, 13-406; zinc, 23*198 ; iron, 
trace. 

White Argentan — Zinc, 70 parts; copper, 15 
parts ; nickel, 6 parts. 

Argentin.—8b'5 tin, 14'5 antimony ; suitable 
for spoons and forks. 

Argent- Ruolz— Silver, 20 parts; copper, 50 



parts ; nickel, 30 parts ; the proportions of the 
metals differ according to the quality of the 
metal. 

Argiroide.— Variety of German silver. Usu- 
ally plated. 

Ashberry Metal.— 78 to 82 tin, 16 to 20 anti- 
mony, 2 to 3 copper. 

Babbitt's Attrition Metal.— Preparing and 
fitting, melt separately 4 lb. of copper, 12 lb. 
best quality Banca tin, 8 lb. regulus of anti- 
mony, and 12 lb. more ol tin while the compo- 
sition is in a melted state. Pour the antimony 
into the tin, then mix with the copper away 
from the fire in a separate pot. 

In melting the composition, it is better to 
keep a small quantity of powdered charcoal on. 
the surface of the metal. The above composi- 
tion is called "hardening." For lining the 
boxes, take 1 lb. of hardening and melt it with 
2 lb. of Banca tin, which produces the lining- 
metal for use. Thus the proportions for lining- 
metal are, 4 lb. of copper, 8 lb. of regulus of 
antimony, and 96 lb. of Banca tin. 

Babbitt Metal.— By weight 4 parts copper, 8 
parts antimony, 96 parts tin. 

Bath Metal.— A species of brass having the 
following composition: 1. Zinc, 3 parts; cop- 
per, 16 parts ; melted together under charcoal. 
2. Fine brass, 32 parts ; spelter. 9 parts. 

Baudoin's Alloy.— Copper, 72 parts; nickel* 
16-6 parts; cobalt, 1°8 parts; ziuc, 71 parts. 
About 0*5 per cent of aluminum may be added.. 



Bearings suitable for Alloys. 






%4 
© 
ft 
ft 

o 

o 


a 


6 


Heavy » 


84-5 

83-6 

84 

77 

75 

86 

82 

70 

82 

89 


13'3 
12-6 
12 

9 
4 

' 10 " ' 

22 
16 


2'£ 

3-a 

4 




14 


Main » 


21 


Locomotive axles 


14 


II V 


8 


Moderately hard axles 

Very hard axles 


8 

2 

11 







See also Brass and IVhite Metal. 

Bell Metal.— The various alloys used in the 
manufacture of bells consist essentially of 
copper and tin, but in some cases other metals 
are added in small quantity either for cheap- 
ness or to produce a desired quality of sound. 
The additional metals chiefly used are zinc, 
lead, iron, and sometimes bismuth, silver, anti- 
mony, and manganese. The following table- 
will show a few of the proportions employed : 



Musical bells 

Sleigh bells 

Gongs 

House bells 

House bells , 

Large bells 

Swiss clock bells 

Old bell at Rouen. 

Clock bells 

Alarm bell at Rouen 

Tam-tam 

Japanese kara kane . 
Japanese kara kane. 
Japanese kara kane. 

White table bells 

White table bells 

Small bells . 



J_" 






0> 

ft 

o 




c5 
d 


O 

~~ 84 






16 


• • • • 


84-5 


15-4 




82 


18 




80 


20 




78 


22 




76 


24 




74-5 


25 




71 


26 


1-8 


72 


26-56 




75-1 


223 


1-0 


79-0 


20-3 




64 


24 


9 


70 


19 


3 


61 


18 


6 


17 


80 
87-5 


.... 


40 


60 





0-5 
1'2 



0*52 

"8" 
12 



1-44 

1-6 

0-18 



32 

a 






01 



12-5 



Alloys. 



Alloys, 



Prep.—l. Melt together, under powdered 
charcoal, 100 parts of pure copper with 20 parts 
of tin, and unite the two metals by frequently 
stirring the mass. Remark: Product very fine. 

2. Copper, 3 parts; tin, 1 part, as above. Re- 
mark: Some of the finest church bells in the 
world have this composition. 

3. Copper, 72 parts ; tin, 26^ parts ; iron, \% 
parts. Remark: The bells of small clocks or 
pendules are made of this alloy in Paris. 

Bell Me^al, Fine.- 71 copper, 26 tin, 2 zinc, 1 
iron. 

Bell Metal, for Large Bells— Copper, 100 lb.; 
tin, trom 20 to 25 lb. 

Bell Metal, for Small Bells.— Copper, 3 lb.; tin, 
lib. 

Alloy for Tam-tams or Gongs— 80 parts of 
copper and 20 of tin, hammered out with fre- 
quent annealing. An alloy of 78 of copper 
and 22 of tin answers better and can be rolled 
out. 

Kara Kane Bell Metal,— The Japanese, who 
are great bronze workers, add lead, zinc, and 
iron to their bell metal, with wonderful effect. 
Their name for these compounds is kara kane. 
The following are the proportions they use : 



u 










t*s 


a> 












p. 
P. 

o 


a 


o 


"3 


o 


3 


o 


H 


S3 


h! 


t-H 


<y 


60 


24 


9 




3 


First. 


60 


15 


3 


8 


• • . 


Second. 


60 


18 


6 


12 


3 


Third. 



For small bells they employ the first qual- 
ity and for large bells the third quality. 

Bibra^s A Hoy.— Bismuth, 18 parts ; tin, 9 parts ; 
lead, 38 to 40 parts. 



Bidery, Vidry.— An alloy of which the chief 
seat of manufacture is the city of Bider, near 
Hyderabad, India. 

Many articles made of it were greatly admir- 
ed at the International Exhibition of 1851. Its 
color is between that of pewter and zinc, does 
not corrode by exposure to air or damp, and 
can only be broken by extreme violence. Zinc, 
31 parts ; copper and lead, each 2 parts ; melted 
together with the usual precautions under q 
mixture of resin and beeswax, to prevent oxi- 
dation. 

2. (Dr. Heyne.) Copper, 8 parts ; lead. 2 parts, 
tin, 1 part ; melted as before. For use the re- 
sulting alloy is remelted, and to every 3 parts 
of it 16 parts of zinc are added. 

Bobierre's Metal.— This is ordinary Drass. 
consisting of 66 parts copper and 34 parts zinc. 
Bobierre introduced this alloy as especially 
suitable for ships' sheathing. 

Bristol Brass.— Copper, 61 per cent.: zinc, 39 
per cent. 

1. Fine Brass.— 2 parts of copper to 1 part ot 
zinc. Remarks : This is nearly 1 equivalent 
each of copper and zinc, if the equivalent of 
the former metal be taken at 63'2 ; or 2 equiva- 
lents of copper to 1 equivalent of zinc, if it be 
taken, with Liebig and Berzelius, at 31 "6. 

2. Copper 4 parts, zinc 1 part. An excellent 
and very useful brass. 

3. Gold - colored Brass. — Syn. Red brass, 
Dutch gold, tombac, similor, Prince's metal, 
pinchbeck, etc. 

4. Copper and zinc, equal parts. 

5. Copper, 2 parts ; zinc, 1 or 1% parts. This 
is Manheim gold. 

6. Copper, 3 to o]4 parts ; zinc, 1 part. Deep 
colored. 

Remarks. —The proportion of zinc in this 
alloy is altered to suit the color and other pro- 
perties to the purposes for which it is intended, 
and often varies from J to | or | of the weight 
of the alloy. At the celebrated works of He- 
germuhl, near Potsdam, the proportions are 
11 parts of copper to 2 of zinc, which pro- 



Brass.— Table of Various Copper-Zinc Alloys. 



Name. 



L 

2. 

3. 

4. 

5. 

6. 

7. 

8. 

9. 
.10. 
11. 
12. 
13. 
14. 
15. 
16. 
17. 
18. 
19. 
20. 
21. 
22. 
23. 
24. 
25. 
26. 
27. 
28. 
29. 
30. 
31. 
32. 
33. 



Brass, English. 

" Heegermuhl 

** Augsburg 

" Neustadt 

" Romilly 

" unknown 

it tt 

Stolberg. '.'.".'.'. '.'.". '. '. '.*.".'* 
Watch wheels 

Ship nails, bad 

" " good 

Tombac, English 

" German 

Coin of Titus Claudius 

" " " 79 A. D 

" " Hadrian, 120 A. D.. 

" " Faustina, jun., 165 A. D 
Antique bracelet, Naumberg. . . . 

Statue of Louis XIV 

" " Napoleon 

Brass for gilding 

tt 

tt 

Brass, color pale yellow 

" deep yellow 

" " red yellow 

** orange 

" u copper-red 

" " violet 

" " green , 



Authority. 


Copper 


Zinc. 


Tin. 


Lead. 


Iron. 


tt 

«t 

Kadernatsch, . 

Kegnault 

Chaudet. 

tt 


70-29 

70-16 

70-89 

71-36 

70-1 

715 

71-0 

6159 

65-8 

60-66 

66*06 

52-73 

63 63 

86-38 

84-0 

81 4 

83-04 

85-67 

79- 15 

83-08 

91-40 

75 

82 

64-5 

83 

78 

83-33 

84-5 

90 

98-93 

999 

98-33 

84-33 


29-26 

27 '45 

27-63 

28-15 

29-9 

28-5 

27-6 

35-33 

3F8 

36-88 

3146 

41-18 

24-64 

13 61 

155 

18-6 

1584 

10-83 

6-67 
15-38 

553 
20 
155 
32*5 
15 
20 

16*69 
15-3 

96 

0-73 

"6-5*" 

15 02 


0-17 
079 

0-85 


28 
0'2 














trace 
025 
025 
1-35 
1-43 

264 


1-3 

2*86 
2 15 

'i-72 
8-69 


0-74 
0*88 






Faisst 


trace 


Phillips 

tt 

tt 
tt 
tt 
tt 
tt 

Konig 


















05 


114 

4-97 

1-54 

1-7 

3 

25 

25 

3 

o 


1-73 

9-18 


074 
023 


137 
2 





















«t 
tt 
tt 
tt 
•t 






trace 

tt 







0-08 

trace 

0*3 



Alloys. 



Alloys. 



Some Varieties of Modern Brass. 



Name. 


Color. 


Copper 


Zinc. 


Tin. 


Lead. 


Iron. 


Gold. 


1. Jewelers' gilding alloy 


Red 


94 

90-5 

88'8 

90 

90*70 

97 

82-54 

84 

80 

76 

72-8 

70 

75 

67 

66*6 

66 

62 

60 

60 

64 

60 

71-9 

64-5 

71 

55-5 

57 

50 

53 

34 

12'5 


6 

7-9 
11-2 
10 

8-33 

2 

17-46 
16 
20 
24 
27 
30 
25 
33 
33-3 
34 
38 
40 
38*5 
36 
38-2 
24-9 
32-5 
24 
42 
43 
50 
47 
66 
87-5 










2. " " " 


it 
Reddish yellow... 

Gold .'!.' 




1-6 






3. Pinchbeck 






4. Oreide (French gold) 










5. Talmi gold 








097 


6. Tissier's metal with one per cent, 
of arsenic 


Red 

tt 










7. Tournay'8 alloy 










8. Rich sheet brass 










9. Bath metal, similor, etc 










10. Dutch alloy 


it 










11. Bristol sheet brass 


Bright yellow. ... 
Yellow 




0-3 







12. Brass wire , 




13. Prince's metal 










14. Sheet and wire brass 


it 

tt 
Ik 
tt 

It 

tt 

Full yellow 










16. Bobierre'9 metal ... 


















17. Muntz' metal 










18. " " 










19. Gedge's metal 






1-5 




20. Common brass 








21. Aich's metal 






1-8 




22. French brass (Potin jaune) 

23. Hamilton's metal, chrysorin .... 

24. French brass for fine castings. . . 


1-2 
0-3 
3 


3-0 

2*7 
3 




2-5 




26. Hard solder for copper or iron. 

27. " " " brass.... 




















28. Dipping brass 












29. White brass 












30. Lap alloy 

























duces a metal which is afterward rolled into 
sheets for the purpose of making Dutch leaf- 
gold. 

Brass, Button.— 1. (Best.) Copper, 8 parts; 
zinc, 5 parts, as above. 

2. (Common.) Copper, 50 parts; zinc, 40 parts; 
tin, 4 parts ; lead, 6 parts. 

3. Copper, 129 parts ; zinc, 201 parts. 

Best Bed Brass, for Fine Castings.— Copper, 
24 lb.; zinc, 5 lb.; bismuth, 1 oz. Put in the bis- 
muth last, before pouring off. 

Hard Brass, for Casting.— 25 parts copper, 3 
zinc, 4*5 tin. 

Brasses, Machine. 



Eccentric rings. 

tt n 

Pumps 



Kingston valve... 

Cocks and glands. . 

Paddle wheel pins. 

Sluice cock way... 

Propeller blades 
and boxes 157 

Hydraulic pumps. [81 

Propeller shaft 
liner '80 

White metal bush 
for propeller . . . 

Cog wheels 

Steam whistles. . . . 

Stuffing boxes 

Mechanical instru- 
ments 82 

Piston rings 84 

Stevenson's sock- 
et alloy 

Sterro metal for 



19 



© 
■ft 


d 


o 


H 


o 




90 


7-7 


66 


15-5 


84 


7 


34 


50 


84-2 


10-5 


81 


3 


76-8 
81 


17-4 



pumps 

Valve balls 



14 

5-4 

26 

17* 
11 

13 
2-9 

31 

6 

12 



23 

18-5 

9 
16 

5-3 
13 

5-8 
19 

29 
19 

14-6 

69 
9 
3 
3 

5 

8-3 

19 
22-5 



4*8 
31 



us 



Iron 

16-5 

Antimony 



Copper 

Tin 

Spelter 

Old metal. . . . 



© 

co 
co 

a 
t* 

pq 

be 

d 

03 

© 
PQ 


CO 

ft 

a 

3 
ft 

© 

d 

CD 
O 
O 

m 


© 
> 

"cl 

> 
a 

o 

to 

be 

a 


CO 

a 

ft 
"© 

© 

1 

ft 


56 
45 


28 
70 


112 
14 

7 


56 
40 



© 

'd . 

S? CO 

Eg 

©PQ 
■3-d 
£•2 

O 03 

ft 



16 

4 
' 8 
84 







CO 




+3 




be 
C 


be 

a 


CO 

be 

a 


.a 




£ 


C 




OQ 




03 
© 

pq 


03 
© 

pq 


c3 
© 

pq 
a 


*8 

©M 




> 


> 


ft 




03 


03 


03 


O 




© 


© 


s 


u 




w 


w 


ft 




16 


16 


16 


56 




m 


3 


2-3 


6 




% 










13 


32 


50 









Hydraulic Pumps. * 

Ingot copper 14 lb. 

Zinc 1H " 

Yellowbrass 3H " 

Or spelter 1% " 

Wliite Metal Bush for Propeller Shaft. 

Ingot copper 6 lb. 

TiS ..:. 84 " 

Spelter 32 »* 



Alloys. 



Alloys* 



The following 1 tables represent the mixtures 
employed by a large engineering firm, using 
scrap and new metal : 







CO 




CO 








ft 




'S 


>> 




CO 
03 

03 


a 




G 








P4 
© 


ft 

a 


-a 


M 

u 




6c 

G 


2 

+3 




e3 


O 




© 


© 
© 

© 




CO 

© 

o 


© 
© 

'B 

0Q 




38 


38 


38 


38 


38 


Spelter 


1 


1 


4 


6 


9 










1^ 
53 




Tin 


i 

54 


4 
57 


3 
55 






53 



See, also, Bearings, above. 
Rolled Brass.— 32 copper, 10 zinc, 1-5 tin. 
Sheet Brass, Compositions of. — 
Copper. 



92*7 

91-6 

90 

85'5 

83 

79'5 

76 

75 

73'5 

7D 

68 

67 

66 

65 



Zinc. 
4'6 
8-4 
10 
14-5 
17 
20 
24 
25 
26-2 
30 
32 
32 
34 
35 



Tin. 

2'7 



Lead. 



0-3 



0-5 



Brass for Solder .—Syn. Hard Solder.. 1. 12 
parts of brass, 6 parts of zinc, and 1 of tin, 
melted together. 

2. 2 parts of brass and 1 of zinc. 

3. (Very strong.) 3 parts of brass and 1 of 
zinc. 

Brass, Turner's.— 98 parts of brass and 2 of 
lead. Remarks. — The addition of lead im- 
proves the brass for the use of the turner, but 
lessens its malleability. 

Red Brass, for Turning.— Copper, 24 lbs.; zinc, 
5 lbs.; lead, 8 oz. Put in the lead last, before 
pouring off. 

Red Brass, free, for Turning.— Copper, 160 
lbs.; zinc, 50 lbs.; lead, 10 lbs.; antimony, 44 oz. 

Brass, for Turning.— Copper, 32 lbs.; zinc, 10 
lbs.; lead, 1 lb. 

Yellow Brass, for Turning.— (Common arti- 
cle.) Copper, 20 lbs.; zinc, 10 lbs.; lead, 1 to 5 
oz. Put in the lead last, before pouring off. 

White Brass.— Below I give proportions for 
various white brasses, as they are called. They 
can all be melted on a good hot fire; but a coke 
stove, in which you could get a slight blast, 
w r ould be better still. 





1 


2 3 4 5 6 


7 


8 






— 42*5 37-5 — — 


— 


Si 




, — 


82 42-5 — — — 






Tin 


— 


— — 37-5 66-7 90 


85 


— 


Antimony... 


. 20 


11 15 25 111 7 


10 


16 


Copper 


...10 


7 — — 222 3 


5 


— 



Ordinary brass can, I have heard, be melted 
over an ordinary open fire ; but I have never 
melted it so myself. 

Brass for Wire.— For wire, an alloy of 72 
parts copper, 28 zinc, is commonly used; this 
alloy must be afterward hardened by temper- 
ing. 

Yellow Brass.— 30 parts of zinc and 70 of cop- 
per in small pieces. 

Britannia Metal.— 

1. Best Britannia, for Spouts.-Tin, 140 lbs.; 
copper, 3 lbs.; antimony, 6 lbs. 

2. Best Britannia, for Spoons.— Tin, 100 lbs.; 
hardening, 5 lbs.; antimony, 10 lbs. 



3. Best Britannia, for Handles.— Tin, 140 lbs.; 
copper, 2 lbs.; antimony, 5 lbs. 

4. Best Britannia, for Lamps, Pillars, and 
Spouts.-Tin, 300 lbs.; copper 4 lbs.; antimony, 

5. Britannia, for Casting.— Tin, 100 lbs.; hard- 
ening, 5 lbs.; antimony, 5 lbs. 

6. Good Britannia Metal.— Tin, 150 lbs.; cop- 
per, 3 lbs.; antimony, 10 lbs. 

7. Britannia Metal, Second Quality.— Tin, 140 
lbs.; copper, 3 lbs.; antimony, 9 lbs. 

8. Britannia Metal, for Casting. —Tin, 210 
lbs.; copper, 4 lbs.; antimony, 12 lbs. 

9. Britannia Metal, for Spinning.— Tin, 100 
lbs.; Britannia hardening, 4 lbs.; antimony, 
4 lbs. 

10. Britannia Metal, for Registers.— Tin, 100 
lbs.; hardening, 8 lbs.; antimony, 8 lbs. 

11. Hardening for Britannia.— (To be mixed 
separately from the other ingredients.) Cop- 
per, 2 lbs.; tin, lib. — Workshop Receipts. 

Britannia Metal. Syn. Tutania.— A fine spe- 
cies of pewter. 

Prep.— 1. Melt together equal parts of plate 
brass, bismuth, antimony, and tin and add the 
mixture at discretion to melted tin, until it 
acquires the proper degree of color and hard- 
ness. 

2. To the last add an equal part or 1-4 of its 
weight of metallic arsenic. To be used as be- 
fore. 

3. Melt together 1 part of antimony, 4 parts 
of brass, and 5 or more parts of tin. This may 
be used at once, as Britannia metal. — Cooley. 

Bronze.— A metallic alloy, composed princi- 
pally of tin and copper, remarkable for the 
exactness of the impressions which it takes by 
moulding, as well as its durability ; and hence, 
extensively employed in the casting of busts, 
medals, and statues. Bell, cannon, and specu- 
lum metal are varieties of bronze. In ancient 
times, when the manufacture of steel was ill 
understood, cutting instruments were fre- 
quently made of this alloy. For statuary 
work, the great desideratum is to obtain an 
alloy capable of flowing freely into the most 
minute outlines of the mould, hard, and yet 
tough, and capable of resisting the corroding 
action of the weather. It must also acquire 
that peculiar antique green appearance that 
is so much admired in bronzes. 

When only a small quantity of the alloy is 
required, it is prepared in crucibles, but for 
statues or larger works, on reverberatory 
hearths. The fusion of the mixed metals must 
be conducted under pounded charcoal, and as 
rapidly as possible. When melted, it must be 
frequently stirred together to produce a per- 
fect mixture, before casting. Coal is the fuel 
principally employed for the furnaces. 

Bismuth Bronze— Tin, 16 parts; bismuth, 1 to 
3 parts. 

FontainemoreaiCs Bronzes.— 

Zinc. 
90 
91 
92 
92 
97 
97 



>per. 


Cast Iron. 


Lead, 


8 


1 


1 


8 





1 


8 








7 


1 





2V6 


V2 





3 











H 





1 









99 

Bronze Metal.— 1. Copper, 7 lbs.; zinc, 3 lbs; 
tin, 2 lbs. 2. Copper, 1 lb.; zinc, 12 lbs.; tin, 
8 lbs. 

Bronze, for Mortars.— Copper, 93 parts ; lead, 5 
parts ; tin, 2 parts. The edges and lips of mor- 
tars must be tempered by heating them to a 
cherry red, and then plunging them into cold 
water ; as unless so treated, they are very apt 
to be broken. 



Alloys. 



10 



Alloys. 



Simple Bronzes.— Proportions and Results. 



u 
o 

P. 

o 

o 


H 


Color. 


Description. 


lb. oz. 






1 


0-5 


Reddish yellow. 


Ancient nails. 


1 


10 


14 44 


Soft gun bronze. 


1 


1*3 




For mathematical in- 
struments. 


1 


15 


it it 


For toothed wheels. 


1 


2-0 


Yellow red. 


Ordnance. 


1 


23 


bb ki 


Hard weapon and tool 
bronze. 


1 


2-5 


(< u 


Hard machinery bear- 
ing bronze. 


] 


3-0 


Bluish red. 


Soft, for musical bells. 


1 


35 


44 44 


• 4 gongs. 


1 


4-0 


Ash gray. 


" " house bells. 


1 


4*5 


44 4 ' 


" " larger bells. 


1 


5-0 


Dark gray. 


" " the largest 
bells. 


1 


7'0 


"Whitish. 


Ancient mirroi*s. 


1 


8-0 


Whiter. 


Speculum bronze. 


1 


32-0 


Whiter still. 


Pewterers' temper. 



Bronze for Statuary.— 1. Copper, 88 parts; 
tin, 9 parts ; zinc, 2 parts ; lead, 1 part. 2. Cop- 
per, 883^ parts; tin, 5 parts; zinc, 10^ parts; 
lead, 2 parts. 3. Copper, 90 parts; tin, 9 parts; 
lead, 1 part. 4. Copper, 91 parts ; tin, 9 parts. 

For Medals.— 1. Copper, 89 parts ; tin, 8 parts; 
zinc, 3 parts. 2. Copper, 95 parts ; tin, 5 parts. 

For Cutting Instruments.— Copper, 100 parts; 
tin, It parts. 

For Ornaments.— 1. Copper, 82 parts; tin, 3 
parts; zinc, 18 parts; and lead, 2 parts. 2. Cop- 
per, 83 parts ; zinc, 17 parts ; tin, 1 part ; lead, 
Y& part. 

Bullet Metal.— 98 lead to 2 arsenic. For round 
shot the fused metal is dropped from a high 
elevation in a shot tower into a basin of water ; 
or thrown down a stack of limited height, in 
which a strong draught of air is produced by a 
blower. 

Alloys for Calico-printing Boilers and. Scra- 
pers.— For this purpose a metal is required that 
is sufficiently soft to be worked by tools and 
hard enough to resist the wear to which it is 
subjected in practice. Another important de- 
sideratum is that the metals should be capable 
of resisting the corrosive action of the liquids 
with which they are in contact. Hauvel con- 
siders a bronze having the following composi- 
tion the best material for the rollers : copper, 
84; tin, 14; zinc, 2. Another alloy which is used 
consists of zinc, 78*5 ; tin, 15'8 ; copper, 5*6. The 
following are analyses by Depierre and Spiral 
of the scrapers employed to remove the sur- 
plus color from the rollers 
Copper. 
French scrapers. .78 - 75 
English " ..80-50 
German " ..85-30 

Calin.— The lining to tea chests is called calin. 
It is composed of 50 to 60 parts of lead ; 8 parts 
of tin ; y% of copper, and a small percentage 
of zinc. 

Chrysocale.—9 copper, 8 zinc, 2 lead. 

Clark's Patent Alloy.— Copper, 75 parts; nickel, 
14*5 parts; zinc, 7 "5 parts; tin, 1'5 parts; cobalt, 
1*5 parts. 

Cliche Metal.— This useful alloy is composed 
as follows : Tin, 48 parts ; lead, 32 parts ; anti- 
mony, 10 parts; bismuth, 9 parts, 

Cock M> etal.— Copper, 20 lbs.; lead, 8 lbs.; lith- 
arge, 1 oz.; antimony, 3 oz. 

Cooper^s Pen Metal.— See Platinum and Cop- 
per alloys. 

Copper Alloy.— The following alloy of copper 
will attach itself firmly to surfaces of metal, 
glass, or porcelain: 20 to 30 parts finely blended 
copper (made by reduction of oxide of copper 



Zinc. 


Tin. 


1250 


8-75 


11-50 


8-00 


9-80 


4-90 



with hydrogen or precipitation from solution 
of its sulphate wifh zinc) are made into a paste 
with oil of vitriol. To this add 70 parts mer- 
cury and triturate well; then wash out the 
acid with boiling water and allow the compound 
to cool. In ten or twelve hours, it becomes 
sufficiently hard to receive a brilliant polish 
and to scratch the surface of tin or gold. 
When heated it becomes plastic, but does not 
contract on cooling. 

Blanched Copper. -Fuse 8 oz. of copper and 
y<z, oz. of neutral arsenical salt, with a flux 
made of calcined borax, charcoal dust, and 
powdered glass. 

Chinese White Copper. — Copper, 40 parts ; 
nickel, 32 parts ; zinc, 25 parts ; iron, 3 parts. 

Alloy for Cymbals and Gongs.— W0 parts of 
copper with about 25 of tin. To give this com- 
pound the sonorous property in the highest de- 
gree, the piece should be ignited after it is 
cast, and then plunged immediately into cold 
water. 

DelatoVs Alloy.— Copper,F0 parts; manganese* 
2 parts ; 18 parts of zinc ; and 1 part of calcium 
phosphate. It is rather difficult to prepare. 
Remove the scoria and add the zinc just before 
casting. 

Delta Metal. — Alexander Dick has succeeded 
in producing a new copper-zinc alloy which 
exhibits characteristics essentially superior to 
ordinary brass. The advantages claimed for 
the new alloy, which has been named " delta, 
metal," are great strength and toughness, and 
a capacity for being rolled, forged and drawn. 
It can be made as hard as mild steel, and when 
melted is very liquid, producing sound cast- 
ings of close, fine grain. The color can be 
varied from that of yellow brass to rich gun 
metal ; the surface takes a fine polish, and 
when exposed to the air, tarnishes less than 
brasa. The latter characteristics will meet with 
ready appreciation for cabinet work, harness 
fitting, etc. The metal when cast in sand has a 
breaking strain of 21 to 22 tons per square inch; 
when rolled or forged hot into rods, the break- 
ing strain is 43 tons per square inch ; and when 
drawn into wire of 22 B. W. G., of 67 tons per 
square inch. 

The following is an analysis of a specimen of 
delta metal: Copper, 55*90 per cent; lead,0'70 per 
cent.; iron, 0'85 per cent.; manganese, 0*80 per 
cent.; zinc,41*60 per cent.; nickel, a trace; phos- 
phorus, 0*012 or 0-013. 

Dental Allays.— 

A. B. 

Tin 91-63 36*78 parts. 

Silver 3*82 48*32 

Copper 4'4 " 

Gold 14-72 

Mercury " 

Dental Plates, Alloy for. (Conway.) Bismuth, 
tin and lead are purified by separately melting 
and pour upon clean marble slabs, until all 
dross is removed, and afterward melting and 
pouring into lemon juice. The alloy is com- 
posed of platinum, gold, silver, bismuth, tin 
and lead. — Science Record, 1875. 

Dvsiot.—A bearing metal. It is composed of 
60 or 62 parts of copper ; 18 parts of lead ; and 
10 parts each of tin and zinc. 

Electrum.— Nickel, 8 parts ; copper, 16 parts ; 
sine, 7 parts. 

English Metal.— 88 tin, 2 pure copper, 2 brass 
(containing 75 copper, 25 zinc), 2 nickel, 1 bis- 
muth, 8 antimony, 2 tungsten. 

Fahlun Brilliants. — Tin, 60 parts; lead, 40 
parts. 

Fenton' l s Metal.— See Alloys.— White Metal. 

Ferro-manganese is a variety of metal spe- 
cially manufactured in a blast furnace from 
ores rich in oxide of manganese, and is very 
extensively used in the manufacture of mild 
steel. When the pig iron contains less than 
about 20 per cent, manganese, its fracture 
shows large crystalline cleavage planes and it is 
then termed spiegeleisen. The variety known 
as ferro-manganese is a hard, crystalline body, 



Alloys. 



11 



Alloys. 



but the fractured surface does not present the 
large cleavage planes so characteristic of spie- 
geleisen. It contains from 20 to 85 per cent 
manganese. 

Feuille Morte (dead leaf ).— 700 gold, 300 silver. 

Fusible Metals. — Under the name fusible 
metal or fusible alloy is understood a mixture 
of metals which becomes liquid at tempera- 
tures at or below the boiling point of water. 
There are several such mixtures known, some 
of which JS etc Remedies ha 3 gathered from one 
source and another, and placed in convenient 
order, as follows : 

1. D'Arcet's: Bismuth, 8; lead, 5 ; tin, 3 parts. 
This melts below 212° F. 

2. Walker's: Bismuth, 8; tin, 4; lead, 5 parts; 
antimony, 1 part. The metals should be re- 
peatedly melted and poured into drops until 
they can be well mixed, previous to fusing them 
together. 

3. Onion's : Lead, 3 ; tin, 2 ; bismuth, 5 parts. 
Melts at 197° F. 

4. If to the latter, after removing it from 
the fire, one part of warm quicksilver be added, 
it will remain liquid at 170° F., and become a 
firm solid only at 140° F. 

5. Another: Bismuth, 2; lead. 5; tin, 3 parts. 
Melts in boiling water. 

Nos. 1, 2, 3, and 5 are used to make toy spoons 
to surprise children by their melting in hot 
liquors. A little mercury (as in 4) may be added 
to lower their melting points. Nos. 1 and 2 are 
specially adapted for making electrotype 
moulds. French cliche moulds are made with 
the alloy No. 2. These alloys are also used to 
form pencils for writing, also as metal baths in 
the laboratory, or for soft soldering joints. 
No. 4 is also used for anatomical injections. 

Higher temperatures, for metal baths in la- 
boratories, may be obtained by the following 
mixtures : 

1 part tin and 2 parts lead melt at 441*5° F. 1 
part tin and 1 part lead melt at 371*7° F. 2 
parts tin and 1 part .lead melt at 340° F. 63 
parts tin and 37 parts lead melt at 344*7° F. 

Fusible Alloys containing Cadmium.— Cadmi- 
um, like bismuth, has the valuable property of 
lowering the melting point of many alloys, 
some of which are readily fusible in boiling 
water. Cadmium does not render the alloys so 
crystalline and brittle as bismuth, many of its 
combinations being capable of being hammered 
and rolled. The chief use of cadmium is in 
fusible alloys, which are used as solders, for 
castings requiring a low temperature, and in 
dentistry for alloys for stopping hollow teeth. 
Alloys of cadmium generally contain tin, lead, 
bismuth, and cadmium. Mercury is some- 
times added to still further lower the melting- 
point. The following table shows the compo- 
sition and melting points of the more import- 
ant cadmium alloys : 



Lipowitz's alloy 
Fusible alloy.. . 



Wood's alloy 
Fusible alloy 
Type metal . . 



*G 

r. 

- 



3 
2 
in 
1 
1 
1 
1 



22]^ 



8 


4 


15 


11 


3 


16 


8 


3 


8 




o 


3 




3 


o 




1 


o 


2 


1 


4 


4 


2 


5 


2 


4 




50 


36 





158° F. 
170° " 
167° " 
203° " 
203° " 
203° " 
150° " 
160° " 
187° " 



TaUe of Fusible Allr 


vys. — 














"^ 


. 






fr 


*~j 






w 


+3 






w 

o 








o 








o 


cj 


'^ 




Sh 


r ' 


f—* 




u 


w 


u 


= 


fe£ 


— 
■J. 


o 


a 


b£ 
o 


—1 


-W 


ri 


p 


« 


tl 


H 


O 


8 


o 


3 


2U2 \ 


8 


16 


24 


316 


8 


6 


3 


208 


8 


18 


24 


312 


8 


8 


3 


226 


8. 


20 


24 


310 


8 


8 


4 


236 


8 


22 


24 




8 


8 


6 


243 


8 


24 


24 


310 


8 


8 


8 


254 i 


8 


26 


24 


320 


8 


10 


8 


260 


8 


28 


24 


330 


8 


12 


8 


270 


i 8 


30 


24 


342 


8 


16 


8 


300 ! 


8 


32 


24 


352 


8 


16 


16 


304 


8 


82 


28 


332 


8 


16 


12 


2g0 


8 


32 


30 


328 


8 


16 


14 


290 


8 


S2 


32 


320 


8 


16 


16 


292 


8 


32 


34 


318 


8 


16 


18 


298 ! 


8 


rs2 


36 


320 


8 


16 


20 


304 


8 


32 


38 


322 


8 


16 


22 


312 | 


8 


32 


40 


324 



Fusible Metals for Use in Boilers, etc.— The 
following alloys, witn their corresponding 
melting points, together with the temperature 
of steam at various pressures, may be used. 



Tin 



6 


Lead 1 




381° 





" 


1 




378° 


4 


" 


1 




365° 


3 


" 


1 




356° 


9 


" 


1 




340° 


IV?, 


" 


1 




334° 


4 


" 


4 Bismuth 1 


320" 


3 


it 


3 


1 


MO* 


2 


tt 


2 


1 


292° 


1 


It 


1 


1 


254° 


2 


It 


o 


1 




3 


" 


3 


1 




4 


tt 


4 


1 




6 


" 


1 






5 


" 


1 






4 


" 


1 






3 


'* 


1 






2 


tt 


1 






VA 


tt 


1 






1 


it 


1 






1 


" 


o 






1 


" 


3 






1 


" 









1 


" 


10 






1 


tt 


25 







o o 




- - a 

cS <« "*- 

O to 53 


a 


-Sob 


o 


F. to fc ^ 


H 


tt -^ 




** 1C0 lb. 


350° 


" 105 lb. 


341° 


" 901b. 


331° 


" 751b. 


320° 


" 601b. 


307° 


*' 451b. 


282° 


" 301b. 


274° 


" 151b. 


250° 




292° 




310° 




320° 




381° 




378° 




365° 




356° 




340° 




334° 




370° 




441° 




482° 




511° 




541° 




558° 



F. 



So much depends, however, on the way in 
which an alloy is made, the purity of its ori- 
ginal metals, and the changing conditions to 
which a fusible plug is subjected, that it is 
very doubtful whether they should ever be 
depended upon in critical places. 

Fusible Alloy, for silvering glass.— Tin, 6 oz.: 
lead, 10 oz.; bismuth, 21 oz.; mercury, a small 
quantity. 

German Silver.- Albata, Argentan, Electrum, 
Nickel Silver, Tutenag, Virginian Plate, White 
Copper. A well known alloy, the finer varie- 
ties of which nearly equal silver in whiteness 
and susceptibility of receiving a high polish, 
while they surpass it in hardness and dur- 
ability. The following f ormulas are from the 
highest authorities : 

1. Copper, 50 parts ; nickel, 20 parts; zinc, 30 
parts. Very malleable and takes a high polish. 

2. Copper, 50 parts ; nickel, 26 parts ; zinc, 24 
parts. Closely resembles silver ; an excellent 
sample. 

3. Copper and zinc, of each 41 parts ; nickel, 
18 parts. Bather brittle. 

4. (M. Gersdorff.) Copper, 50 parts; nickel 
and zinc, of each, 25 parts. Very white and 
malleable, and takes a high polish. Becom- 
mended as a general substitute for silver. 



Alloys. 



12 



Alloys. 



5. (Gersdorff.) Copper, 60 parts ; nickel and 
zinc, of each, 20 parts. For castings, as bells, 
candlesticks, etc. 

6. (Gersdorff.) Copper, 60 parts ; nickel, 25 
parts; zinc, 20 parts. For rolling- and wire. 
Very tough and malleable. 

7. (Sample made from the ore of Hillburg- 
hausen.) Copper, ^,0^ parts ; nickel, 31^ parts ; 
iron, 2^ parts; zinc, 253^ parts. Equal to the 
best Chinese sample. 

8. (Pelouze.) Copper and nickel, equal parts. 
Recommended by M. Pelouze as superior to 
any of the alloys containing zinc. 

9. (Pelouze.) Copper, 2 parts ; nickel, 1 part. 
Not so white as the last, but more malleable. 

10. (White copper from China.) 1. Copper, 
30 parts; nickel, 36 parts; zinc, 34 parts. 2. 
(Said to be prepared from native ore.) Copper, 
41 parts ; nickel, 32 parts ; iron, 2^ parts ; zinc, 
24j£ parts. Silvery white, takes a high polish, 
very sonorous, malleable both cold and at a 
dull red heat, and may be rolled into leaves or 
formed into wire. 

11. (White metal spoon sold as German plate.) 
Copper, 55 parts; nickel, 24 parts; zinc, 16 
parts; tin, 3 parts ; iron, 2 parts. 

The union of the metals in the above for- 
mulae is effected by heat, with the usual pre- 
cautions. When iron is ordered it is generally 
added under the form of " tin plate." 

12. For fine German silver. Copper, 49 parts ; 
zinc, 24 parts ; nickel, 24 parts ; aluminum, 2J-2 
parts. All by weight. There are alloys of 
many other proportions that are recognized as 
standard. 

13. First quality for casting. Copper, 501b.; 
zinc, 25 lb.; nickel, 25 lb. 

14. Second quality for casting. Copper, 50 
lb ; zinc, 20 lb.; nickel (best pulverized), 10 
lb. 

15. For rolling.— Copper, 60 lb.; zinc , 20 lb. J 
nickel, 25 lb. Used for spoons, forks and 
table ware. 

16. Fleck's German Silver.— 53*39 parts copper, 
17"4 nickel, 13 zinc. 

Gcrsnein's Alloy.— -25 to 35 parts precipitated 
copper are ground with strong sulphuric acid 
in a porcelain mortar, and then 65 to 70 parts 
"by weight of mercury are gradually added. 
When the copper is well amalgamated wash 
well in boiling water. When required for use 
make it soft and plastic by heating to 375° 
C. and grinding in a mortar until soft. 

Gilding Metals.— 4 copper, 1 brass (containing 
3 copper, 1 zinc;, and 70 tin for each 80 copper. 

Glass Moulds, alloy for casting.— Iron, 100 
parts; nickel, 15 parts. 

Gold,Alloxjs and Preparations of.— Gold Dutch, 
Mannheim Gold, Mosaic Gold, Ormolu, Pinch- 
beck,Prince's Metal, Red Brass Similor,Tombac. 
These names are applied to several varieties of 
fine gold-colored brass, differing slightly in 
tint, and in the proportions of copper and 
zinc. At the celebrated works of Hegermiihl, 
near Potsdam, the proportions, copper 11 parts 
to zinc 2 parts, are employed to produce a 
metal which is afterward rolled into sheets 
for the purpose of making Dutch leaf gold. 
This alloy has a very rich, deep gold color. Its 
malleability is so remarkable that it may be 
beaten out into leaves not exceeding g 2 ?b?5 
inch in thickness. 

Gold, Weighing of.— Since the introduction of 
the decimal system, the method of expressing 
the fineness of gold alloys in thousandths has 
been gradually gaining ground. Its simplicity, 
over the old system of carats and grains, is its 
great recommendation. The carat consists 
of 4 carat-grains. The f ollowing table shows 
the equivalents of carat.grains and carats in 
* l, ousandths : 



1 grain 


= 10-414 


11 carats = 


= 458-630 


2 


20-828 


12 


" 


500-000 


3 


31-242 


13 


it 


541-667 


4 " 


41-660 


14 


14 


583-333 


1 carat 


= 41-667 


15 


" 


624-555 


2 " 


83-334 


16 


44 


666-667 


3 " 


125 001 


17 


11 


707*333 


4 " 


166-667 


18 


44 


750-000 


5 


208-333 


19 


44 


791-666 


6 


250*000 


20 


It 


833-333 


<r 44 
i 


291-666 


21 


44 


874-999 


8 


333-333 


22 


(I 


916*666 


9 " 


374-999 


23 


44 


958-333 


L0 " 


416-667 


24 


11 


lOOLTOOO 



Colored Golds.— Jewelers and goldsmiths use 
a variety of gold alloys for purposes of orna- 
mentation, so as to produce a number of dif- 
ferent shades of color in the same article. For 
example, red and white are employed for flow- 
ers, green for leaves, and yellow for stems, 
sprays, etc. The following table gives the com- 
position per cent, of alloys most in use: 



Color. 




O 


> 


o 

s 

o 


a 

o 

M 


a 

3 

s 


a 

a 

o 


White 




100 










n. 






100 




it 


85-7 
83-3 
72-5 
75 

75 . 
74-6 
75 

91-67 
91-67 
50 
100 
90 
53 
75 
50 
25 
75 
66-7 

ItolO 


8-6 




5-7 
16 7 








4i 


27 5 

25 
16-6 
114 
125 
8-33 








Green 










44 








8*4 


44 


9-7 






43 


44 

Pale yellow . 

44 44 


8-33 




12-5 


Very pale... 
Yellow.. 


50 
















Deep yellow 

44 44 


25 


10 
22 
25 

50 

75 














Red 


. . . 






Dark red 

44 44 


.... 


Blue 


25 

33*3 






44 











Japan e se 
blue gold . . 





99 to 90 


....... 



Gold Alloy.— 1. 800 parts of copper, 28 of plati- 
num, and 20 of tungstic acid are melted in a 
crucible under a flux, and the melted mass 
poured out into alkaline water, so as to granu- 
late it. It is then melted together with 170 
parts of gold. 

2. The alloy has about the color of 9 carat 
gold. 

Silver 248 

Platinum..,. 3202 



Copper (by difference) . 



65-50 
100-00 



Strong boiling nitric acid has apparently no 
action on it, even when left in the acid for some 
time.— Cliem. News. 

3. To make green gold, melt together 19 grs. 
pure gold and 5 grs. pure silver. The metal 
thus prepared has a beautiful green shade. 

4. The following recipes for metals resem- 
bling gold are said to produce a metal which 
will so nearly approximate the genuine as to 
almost defy detection without a resort to tho- 
rough tests : Fuse, together with saltpeter, sal 
ammoniac, and powdered charcoal, 4 parts 
platinum, 2^ parts pure copper, 1 part pure 
zinc, 2 parts block tin, and V/% parts pure lead. 
Another good receipt calls for 2 parts plati- 
num, 1 part silver, and 3 parts copper. 

5. The Western Jcivdcr gives the following 
formula : 



Alloys. 



13 



Alloys. 



Take 100 parts (by weight) of pure copper, 14 
parts zinc or tin, 6 parts magnesia, 56 parts sal 
ammoniac, 18 parts quicklime, 9 parts cream of 
tartar. Melt the copper, and add gradually 
the magnesia, sal ammoniac, quicklime, and 
cream of tartar, each by itself, in the form of 
powder. Stir the whole for half an hour, add 
the zinc or tin in small pieces, and stir again 
till the whole is melted. Cover the crucible, 
and keep the mixture in a molten condition 
for thirty-five minutes. Remove the dross, 
and pour the metal into moulds. It has a fine 
grain, is malleable, and does not easily tarnish. 

6. Pure copper, 100 parts; zinc, or preferably 
tin, 17 parts; magnesia, 6 parts; sal ammoniac,3"6 
parts; quicklime, 1'8 parts; cream of tartar, 
9 parts. The copper is first melted, then the 
magnesia, sal ammoniac, lime, and tartar are 
then added, separately and by degrees, in the 
form of powder; the whole is now briskly 
stirred for about half an hour, so as to mix 
thoroughly ; and then the zinc is added in small 
grains by throwing it on the surface and stir- 
ring till it is entirely fused; the crucible is 
then covered, and the fusion maintained for 
about thirty-live minutes. The surface is then 
skimmed and the alloy is ready for casting. It 
has a fine grain, is malleable, and takes a splen- 
did polish. Does not corrode readily, and for 
many purposes is an excellent substitute for 
gold. When tarnished, its brilliancy can be re- 
stored by a little acidulated water. 

Blue Gold.— 750 gold, 250 iron; prepared by 
dipping iron wire into molten gold, then cast- 
ing, hammering, and passing through a draw 
plate. 

Alloy for Gold Chains.— 1. Fine gold, 11 dwts. 

6 grs.; 'fine silver, 2 dwts. 5 grs.; fine copper, 6 
dwts. 13 grs. 

2. Fine gold 1 oz.; fine silver, 9 dwts.; fine 
copper, 8 dwts. 

Alloys, Enameling Gold.— I. Fine gold, 1 oz.; 
fine silver, 1 dwt. 12 grs.; fine copper, 2 dwts. 12 
grs. 

2. Fine gold, 1 oz.; fine silver, 9 dwts. 12 grs.; 
fine copper, 7 dwts. 12 grs. 

Gold, Factitious.— Copper, 16 parts; platinum, 

7 parts; zinc, 1 part, fused together. This alloy 
resembles in color gold of 16 carats fine, or two- 
thirds, and will resist the action of nitric acid, 
unless very concentrated and boiling. 

Fine Gold— Tod gold, 250 silver. 

Gold, Grain, Cupelled.— Gold, 1 part; silver, 
3 parts ; melted together, and poured in a small 
stream into water, the silver being afterward 
dissolved out by digestion in boiling nitric acid, 
and the grains, after being well washed in wa- 
ter, heated to redness in a crucible or cupel. 
Used to make preparations of gold. 

Jewelry Gold.— 38'85 gold, 5*7 silver, 1Q-20 cop- 
per. 

Gold, Jewelers'. — This term is applied to alloys 
of gold used for trinkets and inferior articles 
of jewelry, ranging from 3 or 4 carats fine up- 
ward. The lowest alloy of this class is formed 
of copper, 16 parts ; silver, 1 to 1% parts ; gold, 
2 to 3 parts, melted together. 

Mannheim Gold, Similor, Prince's Metal.— The 
composition of this alloy varies considerably, 
as will be seen from the following analyses of 
three samples : 

Copper. ., 83*1 88"9 75 

Zinc 10-0 10-3 25 

Tin... '. 6*9 0*8 

The first has a yellowish red tint and the 
second one a deeper red. Similor has been 
much used for buttons and other stamped 
work requiring a reddish cast of color. 

Mock Gold.— I. 16 copper, 7 platinum, 1 zinc. 

2. 100 copper, 17 tin, 6 magnesia, 3'6 sal ammo- 
niac, 1'8 quicklime, 9 bitartrate of potash. The 
copper is melted first, and the magnesia, am- 
monia, lime, and potash are successively added 
in small quantities; finally the tin is intro- 
duced in fragments, and the whole fused for 
thirty-five minutes. 



Nurriberg Gold.— Copper, 90 per cent.; gold, 
2-5 per cent.; aluminum, 7'5 per cent. 

Bed Gold.— 750 gold, 250 copper. 

Bing Gold.—id'Q coin gold, 12*3 silver, 23'6 re- 
fined copper. 

White Gold, Electrum.— Gold whitened by 
addition of silver. 

Yettoiv Gold, Antique.— Tuve gold. 

Yellow Dipping. -2 bronze (containing 7 cop- 
per, 2 tin, 3 zinc), 1 copper, and 10 tin for each 
640 copper. 

Gun Metal. 



English ordnance .... 


3 

o 
o 

91-74 
91-80 
91-66 
90-91 
90-73 
90-09 

90-00 

90-27 

88*61 
88-93 
77-18 
93-19 


H 

8-26 
8-20 
833 
9-09 
9-27 
9-90 

io-oo 

9-73 

10-70 

10-38 

3-42 

5-43 


o 

M 


6 
a 




T3 

© 

Hi 


e tt (.(. 








Eight-pounder guns. . . 
























It tt 








American compressed 








American compressed 








Russian ordnance (1819) 
Swiss " 

it tt 


0-69 

o-ii 

1-16 
1-38 


: 42 
5-02 


0-06 
13-22 



Heterogeneous Metal for Music Printing Plates,, 
etc.— (Jean.) Tin, 10 parts ; zinc, 12 parts ; anti- 
mony regulus, 3 parts ; copper, 1 part ; lead, 74- 
parts. 

Homberg's Alloy .— Bismuth, lead and tin, equal 
parts. 

Alloy for Horology.— The following alloy, 
suited for the sockets of pivots of watches, 
was invented by Mr. Bennett. It consists of— 
gold, 31 parts ; silver, 19 ; copper, 39 ; and pal- 
ladium, 11. He states that this alloy melts at 
a lower temperature than gold, and is harder 
than hammered iron. It has a reddish-brown 
color, is as fine-grained as steel, and works as 
easily as brass, but its friction is much slighter 
than on ordinary pivots. Its most valuable 
property is that the oil it absorbs is not de- 
composed, but remains pure in a fluid state. 
It has still greater advantages over sockets of 
fine stone, as it is not apt to break, is suscep- 
tible of a high polish, and is less costly than 
hard stone. 

Metal for taking Impressions. 1. Lead, 3 lb.;, 
tin, 2 lb.; bismuth, 5 lb. 

2. Lead, 4^ lb. ; bismuth, 7^ lb.; tin, 3 lb. 

Hoyle's White Alloy. See WJiite Metal. 

Jacoby's Alloy. See White Metal. 

Jewelers' Alloys. See the following under 
alloys. Algiers Metal, Ashberry Metal, Chryso- 
cale, Dipping Metal, English Metal, Feuille 
Morte, Mock Gold, Minofor, Plate Pewter, 
Queen's Metal, Tubania, Vert d'Eau, Yellow 
Dipping, and the following • 

Common Jewelry. — 1. 3 refined copper, 1 old 
Bristol bronze, and 25 tin for every 100 copper, 
the tin being- replaced by a compound of lead 
and antimony wlien a fine polish is needed. 

2. The f oUowing forms a fusible malleable 
metal, easily worked by a silversmith, resisting- 
oxidation, and capable of being soldei*ed : 720 
parts copper, 125 nickel, 10 bismuth, 90 zinc, 20 
soft iron, 20 tin. 

3. Sauvage has introduced the following 
alloy : 58 copper, 27 zinc, 12 nickel, 2 tin, 0*5 
alumina, 0'5 bismuth; the ingredients are fused 
separately, mixed, and the whole is run down 
into a homogeneous mass, which is silvery, 
sonorous, malleable, ductile, tenacious, polishes 
well and does not tarnish. 

4. As a silvery-looking alloy, Parker recom- 
mends 70 copper, 30 manganese, 20 to 35 zinc, or 



Alloys. 



14 



Alloys. 



if not needing to be subjected to high tem- 
perature, 49 copper, 21 manganese, 5 to 10 iron, 
-5 to 10 zinc. The solder used for it contains 7 
copper, 3 manganese, 1 to 2 silver. 
5. Cheap 4 carat gold. Copper, 9 parts ; gold, 

2 parts ; silver, 1 part. 

Journal Boxes, Alloy for.— Copper, 24 lb.; tin, 

24 lb.; and antimony, 8 lb. Melt the copper first, 
then add the tin, and lastly the antimony. It 
should be first run into ingots, then melted and 
cast in the form required for the boxes. 

Kingston's Metal— See White Metal. 
Kraft's Alloy.— Bismuth, 50 parts; lead, 20 
parts ; tin, 10 parts. 
Kustitien's Metal.— Take of malleable iron, 

3 parts; beat it to whiteness, and add anti- 
mony, 1 part ; Molucca tin, 72 parts ; mix 
under charcoal, and cool. Used to coat iron 
and other metals with a surface of tin; it 
polishes without a blue tint, is hard, and has 
the advantage of being free from arsenic. 

Leading, Hot Alloys for.— Tin, 3 parts; lead, 
17 parts. 

Lechesne.— Copper, 1,200 parts ; nickel, 800 
parts; aluminum, 1 part. Melt the nickel 
first. 

Lemarquand's Alloy.— This remarkable alloy 
is said to be non-oxidizable if all of the metals 
used are strictly pure. It is composed of 150 
parts of copper : 28 parts of nickel ; 4 parts of 
tin in sticks; 4 parts of black oxide of cobalt ; 
and 14 to 15 parts of zinc. 

Lining Metal, for boxes of railroad cars.— 
Mix tin, 24 lb.; copper, 4 lb.; antimony, 8 lb. 
(for a hardening) ; then add tin, 72 lb. 

Lutecine or Paris Metal.— MM. Le Mat, Picard, 
and Bloch give the following proportions for 
this alloy: Copper, 800 ; nickel, 160; tin, 20; 
cobalt, 10; iron, 5 ; zinc, 5. Total, 1,000. 

MachVs Yellow Metal is composed of 57 parts 
copper and 43 parts zinc. It has a reddish-yel- 
low color, malleable when rolled hot, but not 
in the cold. It is said to be suitable for fine 
castings, as it possesses great strength. 

Maillechort.— Copper, 60 per cent.; zinc, 20 per 
cent.; nickel, 20 per cent.; Jemmapes brass— 
•copper, 64 - 5. 

Manganese Alloys.— Cupro-manganese, 6 
parts ; lead, 9 parts ; tin, 48 parts ; zinc, 9 parts. 
Tin, 32 parts; zinc, 7 parts ; lead, 7 parts ; 
cupro-manganese, 2 parts. 

Manganese Steel.— Copper, 80 per cent.; man- 
ganese, 15 per cent.; zinc, 5 per cent. 

Marley's Alloy.— This alloy is also said to be 
non-oxidizable like Lemarquand's alloy (which 
see) if the materials are pure* Nickel, 7 parts ; 
iron and zinc, 2 parts each; 5 parts of brass, 
and 4 parts of tin. After casting the articles 
they must be heated to a white heat and dip- 
ped in a mixture of acids prepared as follows : 
Mix 12 parts of sulphuric acid, 2 parts of nitric 
acid, and 1 part of hydrochloric acid, and the 
whole diluted with 5 parts of water. Great 
care should be used in mixing the acids. They 
should be added very gradually. 

Martial Regulus. — 35 parts of antimony and 
5 parts of iron. 

Metal for Medals.— 50 parts copper, 4 zinc. 

Minargent. — Copper 56, nickel 40, tungsten 3, 
aluminum 1 per cent. * 

Minofor. — 3'25 copper, 67"50 tin, 17 antimony, 
8"95 zinc. 

Chinese Mirrors.— Copper, 62 parts; tin, 32 
parts ; lead, 6 parts. 

Mirrors.— Alloy of gold and platinum for 
coating. A solution of 500 grammes of spongy 
platinum in 100 c. c. of a mixture of equal 
parts of hydrochloric and nitric acids is evapo- 
rated to dryness, and the dry residue after 
powdering digested with 2,000 grammes of lav- 
ender essence, 100 grammes of turpentine, and 

25 grammes of sulphureted turpentine resins. 
The gold, 30 grammes, is transformed into chlo- 
ride and this is dissolved in a 1,000 c. c. of a mix- 
ture of equal parts of ether and water. The 
mixture is well shaken, and ethereal solution 
added to the platinum and left to evaporate 



spontaneously. The mixture receives after- 
ward a charge of 50 grammes of litharge, and 
a like quantity of lead borate, and 100 gram- 
mes of lavender oil are added to it, when it 
will be ready for coating the mirror, which has 
to be exposed to red heat until the composition 
is burnt in.— Dingler's Polytechnisches Journal. 

Models, Alloy for Making.— A good alloy for 
making working models is 4 parts copper, 1 
part tin, and 14 part zinc. This is easily 
wrought. Doubling the proportion of zinc in- 
creases the hardness. 

Parker's Mosaic Gold. — Copper, 100 parts ; 
zinc, 54 parts; mix. For common jewelry — 
Copper, 3 parts ; 1 part old brass, and 4 oz. tin 
to every pound of copper. 

MousseVs Silver Alloy.— Copper, 59 parts ; sil- 
ver, 27 to 28 parts ; zinc, 9*5 ; nickel, 35 partis. 

Muntz Metal.— 6 parts copper; 4 parts zinc. 
Can be rolled and worked at a red heat. 

Composition Tacks for Muntz Metal on Ships. 
—Zinc, 2 parts; tin, i]4 parts; copper, 43J^ 
parts. 

Neogen. — Copper, 58 parts ; zinc, 27 parts ; tin, 
2 parts ; nickel, 12 parts ; bismuth, J^ part ; alu- 
minum, y% part. 

Niello.— This consists of nine parts silver, one 
part copper, one part lead, and one part bis- 
muth, which are melted together, and saturat- 
ed with sulphur. This mixture produces the 
gorgeous blue which has often been errone- 
ously spoken of as steel blue. 

Non-Magnetic Alloy. — This is used in some of 
the Swiss watches to take the place of steel in 
the hair springs. It is composed of equal parts 
of gold and palladium, copper about 15% of the 
whole, and a trace of rhodium and manganese 
are added ; this may vary from l-10th of 1% to 
6% of each. The copper and manganese are 
first added. 

Another alloy which is used to some extent 
is composed of tin, copper, iron, lead, zinc, 
nickel and manganese. The proportions vary, 
but 60$ of copper, 20 of nickel and 18 of zinc, 
with the other ingredients, 1% or less. 

Alloys said to be Non-oxidizahle. — Lemar- 
quand's alloy is said to consist of: copper 75, 
nickel 14, cobalt 15, tin 18, and zinc 72 parts. 
The metals must be pure. Marlie's alloy con- 
sists of : iron 10, nickel 35, brass 25, tin 20, zinc 
10. Articles prepared from this alloy are made 
white hot, and dipped into a mixture of sul- 
phuric acid 60 parts, nitric acid 10, hydrochloric 
acid 5, and water 25. 

An alloy used as a substitute for gold and 
said to be non-oxidizable was found by the au- 
thor to contain : copper 94*8, zinc 2'8, lead 0*67 
and iron P34 per cent. The inventor recom- 
mends to dip the articles in dilute nitric acid, 
then to swill and dry, then to polish; and claims 
that they will keep their color for a long time. 

A new alloy has been prepared by Herr Keith 
of Bockenheim, Germany, and is said to practi- 
cally resist the attack of most acid and alkaline 
solutions. It consists of : copper 74"5, tin 1 1*6, 
lead 9, antimony 4*9 parts. This alloy is there- 
fore a bronze with the addition of lead and 
antimony. The inventor claims that it can be 
very advantageously used in the laboratory to 
replace vessels or fittings of ebonite, vulcan- 
ite, or porcelain. 

Ormolu — The ormolu of the brass founder, 
popularly known as an imitation of red gold, 
is extensively used by the French workmen in 
metals It is generally found in combination 
with grate and stove work. It is composed of 
a greater portion of copper and less zinc than 
ordinary brass, is cleaned readily by means of 
acid, and is burnished with facility. To give 
this material the rich appearance, it is not un- 
frequently brightened up after " dipping," 
by means of a scratch brush, the action of 
which helps to produce a very brilliant gold- 
like surface. It is protected from tarnish by 
the application of lacquer. 

Oroide. — The alloy popularly known as oro- 
ide, from which a large number of cheap 



Alloys. 



15 



Alloys, 



watches, chains, and trinkets are now manu- 
factured, is made of pure copper 100 parts, tin 
17 parts, magnesia 16 parts, sal ammoniac y 2 part, 
quicklime Yg part, tartar of commerce 9 parts. 
The copper is first melted, then the magnesia, 
sal ammoniac, lime and tartar in powder are 
added little by little and briskly stirred for half 
an hour. The tin is lastly mixed in grains until 
all is fused. The crucible is covered, and the 
fusion maintained for 35 minutes, when the 
dross is skimmed off and the alloy is ready for 
use. 

Packfong.—l. Copper, 40 parts ; zinc, 25 parts; 
nickel, 31 parts. 

2. Copper, 43 parts; zinc, 40 parts; nickel, 16 
parts. 

3. Copper, 45 parts ; zinc, 21 parts ; nickel, 33 
parts. 

Palladium and Silver Alloys.— Silver, 1 part ; 
palladium, 8 to 10 parts. Used by dentists. 

Parisian Alloy.— Copper, 69 parts ; nickel, 19*5 
parts ; zinc, 6*5 parts ; cadmium, 5 parts. 

Patterns, Mixture for.— The best mixture for 
small patterns, that does not shrink in cast- 
ing, is : 69 parts lead, W/ 2 parts antimony, 15^ 
parts bismuth by weight. A cheap kind for 
finished patterns can be made of 10 parts zinc, 

1 part antimony, 1 part tin. 

Alloy for Best Pens.— Fine gold, 1 oz.; fine 
silver, 5 dwts.; fine copper, 7 dwts. 18 grs.; spel- 
ter, 1 dwt. 6 grs. 

Pewter.— 1. Prep. (Aiken.) Tin, 100 parts ; an- 
timony, 8 parts; copper, 4 parts; bismuth, 1 
part ; fuse together. Very fine. 

2. Plate pewter. Tin, 100 parts ; antimony, 8 
parts; bismuth and copper, of each, 2 parts. 
Very fine. Used to make plates, etc. 

3. Trifle. Tin, 83 parts ; antimony, 17 parts. 
Some lead is generally added. 

4. Ley. Tin, 4 parts ; lead, 1 part. Used for 
Tjeer pots, etc. 

Best Pewter.— 5 lb. tin to 1 lb. of lead. 
Common Pewter.— 82 parts pure tin, 18 parts 
lead. 
Plate Pewter.— 90 tin, 7 antimony, 2 bismuth, 

2 copper. 

Pinchbeck.— Copper, 5 lb.; zinc, 1 lb. 

Pipe Metal for Organs. — Melt equal parts of 
tin and lead. This alloy is cast, instead of 
rolled, in the desired form of sheets, in order 
to obtain a crystallized metal, which produces a 
finer tone. The sheets are formed by casting 
the metal on a horizontal table, the thickness 
being- regulated by the height of a rib or bridge 
at one end, over which the superfluous metal 
flows off. The sheets thus obtained are planed 
with a carpenter's plane, bent up, and soldered. 

Pirsch Baudoin's Alloy.— This alloy is com- 

¥licated, and is rather difficult of preparation, 
t is composed of 70 per cent, of copper and 
nickel, cobalt, tin, zinc, and aluminum in vari- 
ous proportions. 

Platinum Bronze.— Several alloys of plati- 
num, of a comparatively inexpensive nature, 
have been manufactured under the above 
name, and it has been claimed for them that 
they are indifferent to the action of air and 
water. They admit of a high polish, and re- 
tain their luster for a long time. The follow- 
ing table shows their composition and uses : 





Parts. 


Uses. 


p 

90-0 
81-5 
86'5 

71-0 
316 


i 

a 

0-9 
0-8 
05 

145 

3-2 


a 

9-0 
16-0 
13-0 

14*5 


33 
17 


m 

w 
03 

u 


For table utensils 




•* bells 

•' articles of luxury — 

44 tubes for telescopes, 

etc 


.... 






44 ornaments 


65*2 



Platinum and Copper Alloy.— An allo5 r of 1 
part platinum and 4 parts copperas, hard, duc- 
tile, of a yellow-pink color, and susceptible of 
a high polish. 

An alloy of equal parts by weight of copper 
and platinum, according to Clarke, is yellow, 
having the color and specific gravity of gold, 
extensible, easily worked by the file, and tar- 
nished by exposure to air. 

An alloy of 4 parts platinum and 96 parts 
copper is malleable, rose-colored, and exhibits 
a fine-grained fracture. 

An alloy of 3 parts platinum and 2 parts cop- 
per is nearly white, very hard, and brittle. 

The following alloys have a golden yellow 
color. No. IV., known as Cooper's gold, is 
malleable, ductile, and closely resembles 18 
carat gold : 





I. 

18-2 
455 


II. 
5 


III. 

29-3 

66'7 

4-0 


IV. 

18-75 
81-25 


V. 

57-7 

38-5 

3-8 


VI. 

66-7 
29-1 

4-2 


VII. 


VIII. 


Platinum 
Copper... 
Zinc 


29-1 

66-7 

4-2 


19 
81-0 


Silver. . . 


9-0 

18-2 
9-0 


5 
60 
30 




Brass 












Nickel.. . 





























Cooper's Mirror Metal. — Copper, 57'85; plati- 
num, 9-49; zinc, 3 - 51; tin, 27'49; arsenic, 166. 
The inventor claims for this alloy that it is in- 
different to the weather, and takes a beautiful 
polish. 

Cooper's Pen Metal.— The above alloy is said 
to be suitable for pens. Another alloy consists 
of copper, 13 parts; platinum, 50 pai-ts; and 
silver, 36 parts. The hardness and non-corro- 
sive character of Cooper's alloys render them 
suitable for the manufacture of mathematical 
instruments and for chronometer wheels. 

Platinum and Nickel.— According to Lampa- 
dius, equal parts of nickel and platinum unite 
to forma pale yellowish white alloy, perfectly 
malleable, susceptible of a high polish, equal 
to copper in f usibility and to nickel in mag- 
netic power. 

Platinor— This is a name given to certain al- 
loys containing platinum of a golden yellow 
color, and consisting of platinum, copper, sil- 
ver, zinc, and nickel. An alloy of the color of 
gold, and said to be quite constant in air, is 
prepared as follows: Melt 10 parts of silver 
with 45 parts of copper, then add 18 parts of 
brass and 9 parts of nickel. The temperature 
must then be raised to the highest pitch, and 
18 parts of platinum black added. 

Birmingham Platinum and Platinum Lead are 
used for certain castings, but the composition 
is variable, according to the taste of the manu- 
facturer. The following will illustrate this 
point : 

Copper. ....... 46'5 43 20 

Zinc 53-5 57 80 

Pot Metal. — This is an alloy of copper and 
lead, in the proportion of 8 parts of copper to 
3 of lead. The lead is an impurity in the zinc 
used for making the brass. Pot metal is very 
brittle when warmed; it is chiefly used for 
making large vessels. 



Lead. 


Copper. 


Description. 


oz. 

•> 
& 

4 

6 

7 
8 


lb. 
1 
1 
1 
1 
1 


Red ductile alloy. 

do. 
Dry pot metal or cock alloy. 

do. but shorter. 
Wet pot metal. 



Potin.— Copper, 71*9; zinc, 24"9#; tin, V%%\ 
lead, 2. 



Alloys. 



16 



Alloys. 



Prince's Metal.— A name given to various yel- 
low alloys varying from 60 to 75% of copper and 
40 to 2b% zinc. 

Queen's Metal. — A very fine silver-looking 
metal is composed of 100 lb. of tin, 8 lb. of reg- 
ulus of antimony, 1 lb. of bismuth, and 4 lb. of 
copper. 

Reflector Metal, Duppler's.—l. Silver, 80 parts; 
zinc, 20 parts. 

2. Copper, 66*22 parts; tin, 33"11 parts; arse- 
nic, 0*67 part. 

Rivet Metal.— Copper, 32 oz.; tin, 2 oz.; zinc, 1 
oz. 

Rivet Metal, for Hose.— Copper, 64 lb.; tin, 1 lb. 

Rose's Alloy. — Bismuth, lead and tin, equal 
parts. Melts at 93° C. 

ShaTcdo.— This is a famous Japanese alloy. It 
is composed of copper and gold, the propor- 
tions Of the latter being variable, being from 
2 to 8%. 

Patent -Sheathing for Ships.— (Baron Wetter - 
stedt.) This consists of lead with from 2 to 8 
per cent, of antimony. Usually about 3 per 
cent, is used. 

Shot Metal.— 1. Lead, 1,000 parts; arsenic, 3 
parts. 

2. Lead, 97 parts ; arsenic, 3 parts. 

Sideraphite.—l\ on, 63 parts ; 23 parts nickel ; 

4 parts of tungsten ; 5 parts of aluminum ; and 

5 parts of copper. 

Silicon- copper and Silicon-bronze are made, 
according to Weiller, the inventor of these 
combinations, in the following manner. He 
recommends the following proportions : 
potassium silico-fluoride, 450 parts by weight ; 
powdered glass, 600 parts; common salt, 250 
parts; carbonate of soda, 75 parts ; carbonate 
of lime, 60 parts ; and dried chloride of calcium, 
500 parts. The mixture is heated in a covered 
plumbago crucible to a temperature a little 
below the point when they begin to act on 
each other, when the mixture is added to the 
molten copper or bronze, as the case may be ; 
the reduced silicon combining with the metal 
or alloy. 

Silver Alloys. See also the following : Clark's 
Alloy, Baudoin's Alloy, Chinese Silver, Parisian 
Alloy, Minargent, Warm's Alloy, White Alloy. 

Silver Alloys.— Table of silver alloys : 



Filigree silver.. 

1 Standard, Hall. 

2 Standard, coin. 

3 Silver alloy. 
4 



Copper. I Nickel. 



5 
6 

7 

8 

9 
10 

11 Common silver. 
12 
13 



oz. dwt.gr. 

I Pure 
19 6 
18 12 
18 
16 
15 
14 
i0 13 12 
13 
12 12 

12 

1 00 
1 00 
1 Oil 



oz. dwt.gr. , oz. dwt.gr. 



00 

18 

1 12 



2 

4 

5 

6 

6 12 

7 

7 12 

8 
17 
16 

2 












I) 





13 
10 12 

15 



Spelter 


(Zinc.) 


oz. dwt.gr. 

















10 




















3 12 


ooo 



1. Sterling silver. Fine silver, 5 oz., 11 dwt.; 
fine copper, 9 dwt. 

2. Equal to Sterling-fine silver, 1 oz. ; fine 
copper, 1 dwt. 12 gr. 

3. 65 parts of iron and 4 parts of tungsten are 
melted together and granulated ; also 23 parts 
nickel, 5 of aluminum, and 5 of copper, in a 
separate crucible, to which is added a piece of 
sodium, in order to prevent oxidation. The 
two granulated alloys are then melted to- 
gether. Both alloys resist the action of sul- 
phureted hydrogen. 

4. Copper, 71 oz.; zinc, 7 oz.; nickel, 16}^ oz.; 
iron, 1J4 oz.; cobalt (oxide), 1% oz.; tin, 2)4 oz. 
First fuse the zinc with 12 parts of the copper ; 
then fuse the nickel with its own weight of the 
zinc alloy in a good blacklead crucible, and the 



iron, the remainder of the copper, and the- 
oxide of cobalt mixed with charcoal. Cover 
the mass with charcoal, lute, and expose to a 
high heat. When properly fused, allow the 
heat to subside and add the remainder of the 
copper-zinc alloy when the temperature is .just 
sufficient to fuse it. Remove the crucible from 
the fire and stir its contents well with a hazel 
stick. Wrap the tin in several thicknesses of 
dry paper, drop it into the alloy, stir for a 
moment, and run into the moulds. When cold, 
it is ready to be wrought , like silver, which it 
resembles in every respect. The zinc is nearly 
all volatilized during the process of fusion. 

Chinese Silver . — 1. Copper, 58 parts; zinc, 17"5 
parts ; nickel, 11 "5 parts ; cobalt, 11 parts ; silver, 
2 parts. 

2. 55"2 parts copper, 19*5 zinc, 13 nickel, 2 - 5 
silver, and 12 cobalt of iron. 

Imitation of Silver. — Tin, 3 oz.; copper, 4 lb. 

Solder Alloys.— Table of, and the heat at which 
they melt. 



Tin. 


Lead. 


Melts at 


1 part. 


25 parts. 


558° 


Fahr. 


1 " 


10 " 


541 


" 


1 " 


5 " 


511 


tt 


1 " 


3 " 


482 


u 


1 " 


2 " 


441 


" 


1 " 


1 part. 


370 


tt 


3 parts. 


2 parts. 


334 




2 " 


1 part. 


340 




3 '•' 


1 " 


356 




4 " 


1 " 


365 


it 


5 " 


1 " 


378 


It 


6 " 


1 " 


381 


fcfc 



Sorel's Alloy. — 

Copper 1 10 

Zinc 98 80 

Iron 1 10 

Iron is used in the form of turnings, and melted 
with the copper and zinc under a layer of char- 
coal. But as zinc so readily volatilizes, it is 
advisable to employ zinc already containing 
iron, by which a more uniform alloy is obtain- 
ed, with the minimum loss of zinc. 

Speculum Metal.- -Equal parts of tin and cop- 
per form a white metal as hard as steel. Less 
tin and a small quantity of arsenic added to 
the alloy forms a white, hard metal of high 
luster. 2 lb. copper, 1 lb. tin, and 1 oz. arsenic 
form a good speculum metal. An alloy of 
32 copper, 16*5 tin, 4 brass, 1'25 arsenic is hard, 
white, and of brilliant luster. 

Specular Alloys.— These are employed for 
making metallic reflectors, requiring a true 
white color, good luster, and a hard, clean sur- 
face, not easily tarnished or scratched. Fesquet 
gives a number of combinations, as follows: 
1. 62 parts copper, 32 parts tin, 6 parts lead. 2. 
80 parts copper, 10 parts lead, 10 parts anti- 
mony. 3. 66 to 63 parts copper, 33 to 27 parts 
tin. 4. 10 parts copper, 10 parts tin, 10 parts 
antimony, 50 parts lead. 5. 32 parts copper, 50 
parts tin, 1 part silver, 1 part arsenic^. 6. 90 
parts steel, 10 parts nickel. 7. 50 parts palla- 
dium, 50 parts silver. 8. 60 parts platinum, 40 
parts copper. 9. 50 parts platinum, 50 parts 
steel. 10. 50 parts platinum, 50 parts iron. 11. 
10 parts platinum, 90 parts steel. 12. 20 parts 
platinum, 80 parts copper, 5 to 1 part arsenic. 
13. 60 parts platinum, 30 parts iron r 10 parts 
gold. 14. 50 parts gold, 50 parts zinc. 15. 50 parts 
steel, 50 parts rhodium. 16. 10 parts platinum, 
90 parts iridium. 17. 29 parts tin, 19 parts lead. 
18. 52 parts copper, 30 parts nickel, 12 parts 
zinc, 5 parts lead, 1 part bismuth. 

Good speculum metal should be pure white, 
of a fine grained structure, perfectly sound and 
homogeneous when cast, and sufficiently tena- 
cious to stand grinding and polishing without 
rupture. It should contain 65 to 68 per cent, of 
copper to comply with these requisites. The 
following table exhibits different varieties : 



Alloys. 



17 



Alloys. 



English alloy 

Ross's alloy 

Ancient mirror 

Richardson's alloy. 

Sallit's alloy 

Chinese alloy 



Copper. 



666 
68-21 
62 
65 "3 

64-6 
80-83 



Tin. 



31-79 

32 

30 

313 

11-67 



Zinc. 



0'7 



Arsenic. Lead. 



Other metals. 



2 silver. 
4*1 nickel. 
8*5 antimony. 





Table of Speculum Alloys. 




Silver. 


Brass. 


Copper, 


Tin. 


Arsenic. 






32 


14 


o 




. . . 


32 


13/2 


V/z 






6 


2 


1 






33 


2 


1 






3 


1M 








64 


29 




1 


1 


32 


15 





In using arsenic, it must be introduced into 
the crucible when the mixture is in a melting- 
state. Being in a coarsely pounded state, it is 
tied up in a paper bag and let into the cruci- 
ble by a pair of tongs. The whole mixture 
requires to be stirred with a birch rod till va- 
pors cease to rise. Avoid breathing or inhal- 
ing while the vapors appear ; as soon as they 
are over, the alloy is ready for pouring. Arse- 
nic renders alloys white and hard. 

The alloys containing arsenic should be taken 
out of the flask as soon as properly set, and 
placed in hot ashes, and in a pi'oper place for 
protracted annealing. 

Spencers Metal.— This important alloy was 
•discovered by Mr. Spence of England. It is 
prepared by melting together the three sul- 
phides of zinc, iron and lead with sulphur. It 
is proof against the atmosphere and resists 
■acids and alkalies. 

Statuary Metal.— 91*4 parts copper, 5*53 zinc, 
1*7 tin, 1*37 lead ; or copper 80, tin 20. 

Stereotype Metal.— 1 tin; 1 antimony; 4 lead. 
Ln using stereotype metal, brush the type with 
plumbago or a small quantity of oil, then place 
in a frame and take a cast with plaster of Paris. 
The cast is dried in a very hot oven, placed face 
^downward upon a flat plate of iron ; this plate 
is laid in a tray or pan of iron, having a lid 
securely fastened, and furnished with a hole at 
each corner. Dip the tray in the fluid metal, 
which will flow in at the four corners. When 
the tray is removed, dip the bottom only in 
water ; and as the metal contracts in cooling, 
pour in melted metal at the corners, so as to 
keep up the fluid pressure, and obtain a good 
•solid cast. When cool, open the tray; remove the 
•oake of plaster and metal, and beat the edges 
with a mallet to remove superfluous metal. 
Plane the edges square, turn the back flat, in a 
•lathe, to the required thickness, and remove 



any defects. If any letters are damaged, cut 
them out, and solder in separate types instead. 
Finally, fix upon hard wood to the required 
height. 

Stopcocks, Alloy for.— Zinc, 72 parts ; tin, 21 
parts ; copper, 7 parts. 

Tiers Argent.— Silver, 33^ ; aluminum, 66%. 

Metal for Tinning. — Malleable iron, 1 lb., heat 
to whiteness; add 5 oz. regulus of antimony 
and Molucca tin 24 lb. 

Tissier , s Metal. —Copper, 97 per cent.; zinc, 2 
per cent. 

Tombac— 1. An alloy consisting of copper, 16 
lb.; tin, 1 lb.; zinc, 1 lb. Red tombac is com- 
posed of : copper, 10 lb.; zinc, 1 lb. 

2. Copper, 16 lb.; tin, 1 lb.; zinc, 1 lb. 

Bed Tombac— Copper, 10 lb.; zinc, 1 lb. 

Tournay's Metal.— Copper, 82*5^ ; zinc, 17*5#. 

Tubania, Engestrum.—^ copper, 8 antimony, 1 
bismuth, added to 100 tin. 

Tubania, English.— 12 brass (containing 7 cop- 
per, 3 zinc), 12 tin, 12 bismuth, 12 antimony. 

Tubania, German. — 0*4 copper, 3'2 tin, 42 an- 
timony. 

Tubania, Spanish.— 24 iron and steel scraps, 
48 antimony, 9 niter. The iron and steel are 
heated to whiteness, and the antimony and 
niter gradually added ; 2 oz. of this is alloyed 
with 1 lb. tin ; a little arsenic is an improve- 
ment. 

Spanish Tutania.—Iron or steel, 8 oz.; anti- 
mony, 16 oz.; niter, 3 oz. Melt and harden 8 oz. 
tin with 1 oz. of this compound. 

Another Tutania.— Antimony, 4 oz.; arsenic, 1 
oz.; tin, 2 lb. 

Tutenag.— Copper, 8 parts; nickel, 3 parts; 
zinc, 5 parts. 

The manufacture of type from the alloy by 
stamping or pressing is only adopted in certain 
cases, the types being generally cast. The al- 
loys, being well adapted for castings, are em- 
ployed for certain kinds of ornamental work. 

An alloy for keys of flutes and similar parts 
of musical instruments consists of lead 2 parts 
and antimony 1 part. 

Type Metal.— 9 parts lead to 1 antimony forms 
common type metal; 7 lead to 1 antimony is 
used for large and soft type ; 6 lead and 1 anti- 
mony for large type; 5 lead and 1 antlmony 
f or middle type ; 4 lead and 1 antimony for 
small type ; and 3 lead to 1 antimony for the 
smallest kinds of type. 

Erhardfs Type Metal.— Zinc, 93 per cent.; lead 



Type Metal, Alloys used for. 





Lead. 

4-0 

7-5 

90 

64-0 
9-0 

16-0 
30 
5-0 

io-o 


Anti- 
mony. 

1-0 
25 

10 

8-0 
2-0 
4-0 
10 
1-0 
2 
5-0 
25 
8-0 
25 


Tin. 


Bis- 
muth. 


Copper 


Zinc. 


Other 

metals. 










0-5 






tt tt 






Arsenic 
0"5 


It tt 


120 
50 






16-0 




t( tt tt tt 


2-6 












lb I. tt tt 










It It tt It 












tt tt tt lb 


50 

75 

120 

37 5 


10 








Plates for engraving music, etc 








»t tt ._ tt .. tt 


"64 : 6" 
60'0 










tt n tt tt it 






16-0 




«t t*, «t tt <t 



















Alloys. 

3 per cent.; tin, 3 per cent.; copper, 2 per cent. 

Uchatius Bronze.— The composition of this 
famous ordnance bronze is a secret, owned by 
the Austrian government. 

Unalterable Alloy (Jacobi).— Copper, 70 to 73 
per cent.; tin, 2 to 11 per cent.; lead, 15 to 20 per 
cent.; zinc. 0"5 to 1 per cent. This alloy pos- 
sesses a yellowish red tint, and may be used for 
objects of art, imitation jewelry, etc. When 
treated with sulphides, chloride of antimony, 
chloride of arsenic, etc., this alloy becomes 
coated with a black patina, capable of being 
polished. 

Vaucher's Alloy —See White Metal. 

Vert d'Eau, Water Green.— $00 gold, 400 silver. 



18 Alloys. 

No. 1 is used for lining crosshead slides, rod 
brasses, and axle bearings. No. 2 is used for 
lining axle bearings and connecting rod brasses 
of heavy engines. No. 3 is used for lining 
eccentric straps and for bronze slide valves. 
No. 4 is a special alloy for metallic rod pack- 
ing. 

White Alloy.— 1. Copper, 64'5 parts; tin, 32 
parts ; arsenic, 3*5 parts. 

2. Copper, 59 ; tin, 31 ; brass, 8 ; arsenic, 2 per 
cent. 

3. Tin, 82 ; lead, 18 ; antimony, 5 ; zinc, 1 ; and. 
copper, 4 parts. 






White Alloys for Bearings. 




Tin. 


Copper 


Anti- 
mony. 


Lead. 


Zinc. 


Iron. 


Kingston's metal with 6 per cent, of mercury 


88-0 

145 
310 
14-0 
333 
46-0 
85-0 
26-0 
12*0 
140 
81-0 
810 


6*0 

55 
19 

57 
22-2 

*"5 ; 6 ' 
50 
40 
60 
50 
5 

io-o 

12-0 
50 
9-0 
7 
2"0 
6-0 
8-0 










Fenton's metal for axle boxes of locomotives and 






80-0 
19-0 
29-0 




Stephenson's alloy .... 







31*0 






44-4 
12-0 
WO 








420 
















690 
20 

800 






82-0 






Anti-friction metal 




For general bearings 


140 

io-o 

10 

18-0 

17 

8-0 

70 

2-0 

15-0 

2-5 


14'0 




it n .i 






11 Li 11 


80-0 

88 '0 






11 It !< 










85-0 
73-0 
760 
90 
87-0 
20 






11 11 .( 11 








11 11 1( U 








" " heavy work 








.i ii ii ii 








" <k common work 


"850" 
4-5 


88-0 
75-0' 




Soft alloy for pillow blocks 






18-0 







Violet Alloy.— Copper, 75 per cent.; antimony, 
25 per cent. 

Warne's Alloy.— Tin 37, nickel 26, bismuth 26, 
cobalt 11 per cent. 

White Metal Alloys.— The following alloys are 
used as lining metals by the Eastern Railroad 
of France : 
Number. Lead. Antimony. Tin. Copper. 

1 65 25 10 

2 11-12 83 33 5-55 

3 70 20 10 

4 80 8 12 



Hard White Metal.—Sheet brass, 32 oz.; lead,. 
2 oz.; tin, 2 oz.; zinc, 1 oz. 

New Inoxidizable White Metal.— According to 
M. Marlie, an inoxidizable white metal may be 
made of iron, 10 parts ; nickel, 35 parts ; brass, 
25 parts ; tin, 20 parts ; and zinc, 10 parts. The 
alloy is cast and cut in pieces, and the. latter 
are tempered at white heat in a mixture 
of: sulphuric acid, 60 parts; 1 nitric acid 
10 parts; muriatic acid, 5 parts; and water, 
25 parts. 



Table of White Alloys. 



Description. 


Silver. 


Nickel. 


Brass. 


Zinc. 


Tin. 


Lead, 
lb. 


Copper 

lb. 
10 

1-0 

i-o 


Anti- 
mony. 

lb. 


Bis- 
muth. 


Nickel, or German silver.. . 




dwts. 

30 

150 


lb. 

* 


dwts. 
16-0 " 
13-0 


lb. 


lb. 


Queen's metal 








9-0 

49-0 
1-0 
15 

06 
1-0 


20 


1-0 
35 


2 


Britannia metal 






1-0 

160 

2-0 

10 


lb. 
"2 : 6" 




White button metal 








Solder for bell metal 






*'"6-5" 


i-o 

015 






44 " brass. . 








" " tin 






44 44 silver 


10 
1-0 
40 

i-o 

835-0 
950-0 
900 
800-0 
9000 
800 
835-0 
1000 




0-5 

0-3 










ii ii ii 














it it .1 








10 • 






44 44 Mokume 


0-15 












French coin 




165 












50-6 

ioo-o 

200-0 

50 

100 

72-0 






















11 14 11 
















It It 11 






500 

ioo-o 

930 
30 to 50 






11 It . 11 












It 11 11 














Gin shi bu ichi 
















Almonds. 



19 



Amalgam. 



Almonds.— Jordan almonds are the finest 
and most agreeable, and are those ordered in 
the pharmacopoeias. The next in quality are 
Valentia almonds, which, being excellent, and 
cheaper than the preceding, are commonly 
substituted for them in preparations. The 
other varieties of sweet almonds are in- 
ferior. 

Bitter almonds are a variety imported from 
Mogadore, characterized by their bitter, nutty 
flavor, and possessing, when rubbed with 
water, the odor of peach kernels. They are 
chiefly used to relieve the flavor of sweet 
almonds, to flavor confectionery, liquors, etc. 
Their essential oil is used in perfumery, parti- 
cularly toilet soaps. In a quantity, bitter al- 
monds are poisonous. 

Oil of almonds is obtained, by expression, 
from both bitter and sweet almonds, the ex- 
pressed oil of each being equally bland and 
sweet. The essential oil of almonas is obtained 
from bitter almonds by distillation. It is highly 
poisonous. 

Almond Balls. See Cosmetics. 

Blanched Almonds. — Almonds from which the 
husk or seed coat has been removed. This is 
effected by soaking them in warm water until 
the skin can be easily removed by pressure be- 
tween the thumb and forefinger. They are 
then peeled, rinsed in cold water, drained and 
dried. The last is done by either wiping them 
with a soft towel or by exposure to the air or 
sun. Unblanched almonds are scarcely ever 
used in preparations. 

Almond Paste. See Cosmetics. 

Alterant.— A substance added to a color to 
give it brightness, same as raising.— (Dyeing.) 

Alteratives.— Tonics and medicines which 
tend to build up the system and restore and 
preserve the healthy functions of the body. 
Blood maker and purifier (used as a substitute 
for iron tonic, also taken in connection with 
iron tonic). ] ounce manganese sulphate 
mixed with 1 quart of water. Take two table- 
spoonfuls three times a day. 

Alum, Burnt.— Heat the alum in an open 
vessel to 401° Fah., such as an enameled frying 
pan. Alum, in small pieces, one hundred and 
eighty-four parts. To make one hundred 
parts. Expose the alum for several days to a 
temperature of about 80° C. (176° Fah ), until 
it has thoroughly effloresced. Then place it in 
a porcelain capsule, and gradually heat it to a 
temperature of 200° C. (392° Fah.), being careful 
not to allow the heat to rise above 205° C. (401° 
Fah.) Continue heating at the before men- 
tioned temperature until the mass becomes 
white and porous, and weighs one hundred 
parts. When cold, reduce it to fine powder, 
and preserve it in well stopped vessels. 

Alum Cake. — A nearly pure sulphate of 
alumina. 

Alum Chrome. — A double sulphate of 
chromium and potash. It is obtained as a by- 
product in the manufacture of artificial alizar- 
ine and is coming into • use as a mordant. It 
is not, as some suppose, a mixture of alum 
and bichromate of potash. 

Alum Poultice.— Take of alum (in fine 
powder; 1 drachm ; whites of eggs 2 in number; 
shake them together until they form a coagu- 
lum. Formerly much used in broken chil- 
blains, chaps, sore nipples, chronic inflamma- 
tion of the eyes, etc., applied on linen, and 
covered with a piece of fine muslin. This is 
the formula of the old Dublin Ph.;. as also of 
the London Ph. of 1788. 

Aluminum, to Braze. See Brazing. 
Aluminum, to Solder. See Soldering. 

To plate with. See Electro-metallurgy. 

Amalgam.— A mixture of mercury with 
certain metals, as zinc, copper, or tin. Amal- 
gams are formed in three ways. 1. By a direct 



union with the metal. 2. By adding mercury 
to the solution of a metallic salt. 3. By add- 
ing the metal to a solution of a mercury salt. 
Mercury unites with a large number of metals, 
forming definite chemical compounds called 
" amalgams." Some of these are solid, while 
others exist in a fluid state. It is probable, 
however, that fluid amalgams merely repre- 
sent a solution in excess of mercury of some 
fixed compound of mercury with another 
metal, inasmuch as when a quantity of sucl. 
tluid amalgam is pressed through the pores oi 
a chamois leather bag, a small portion of mer- 
cury passes through, leaving behind the solid 
amalgam, Avhich, on examination, is generally 
found to have a fixed chemical constitution. 
The fluidity of an amalgam seems therefore to 
depend upon the presence of an excess of mer- 
cury over and above the amount theoretically 
required to enter into combination with the 
other metal. 

The following are some of the most import- 
ant amalgams : 

Copper Amalgam. — There are several methods 
of preparing this, the following being, per- 
haps, the best: A mixture of finely divided 
metallic copper (obtained by precipitating 
copper sulphate with metallic iron) and mercu- 
roussulphate is triturated under hot water for 
half an hour. After this the water is repeat- 
edly changed until it is no longer blue. The 
mass is then dried, kneaded well, and allowed 
to harden, when it consists of an amalgam of 
7 parts mercury with 3 of copper. The peculi- 
arity of this amalgam is its property of soft- 
ening when kneaded, and becoming quite hard 
again after standing some hours. It has been 
used by Parisian dentists as a stopping for de- 
cayed teeth, t bough, owing to the poisonous 
nature of the copper, it is not to be recom- 
mended for this purpose. 

Gold Amalgam.— This is formed when mer- 
cury is heated with powdered gold or gold foil. 
It consists usually of two parts of gold to one 
of mercury. It has been found native near 
Mariposa, in California, and in the platinum 
region of Colombia. 

The readiness with which mercury combines 
with gold is made use of in the extraction of 
the latter from its ores. The ore is crushed in 
an iron mortar, or battery, as it is termed. 
Water is introduced into each battery by a 
number of pipes. Mercury is placed in the 
batteries in small quantities, and unites with 
the gold as the latter is liberated by the crush- 
ing process. The larger portion of the amal- 
gam is afterward found in the batteries, ad- 
hering to the plates, the remainder being- 
caught by inclined plates placed outside the 
battery. The plates are cleaned by scraping 
off the adhering amalgam, first gently with a 
knife, and finally with a thick piece of hard 
gum or rubber, which scrapes the surface 
closely without cutting or scratching it. The 
plates are then washed with water, and prepar- 
ed for use again by sprinkling mercury over 
them, and spreading the same evenly by means 
of a cloth, thus forming a freshly amalgamated 
surface. 

Iron Amalgam.— Iron will not unite with 
mercury under ordinary conditions. Small 
quantities of an iron amalgam have, however, 
been formed by immersing sodium amalgam 
(containing 1 per cent, sodium) in a clear, satu- 
rated solution of ferrous sulphate. 

Silver Amalgam.— This compound is formed 
by the union of mercury with finely divided 
silver. Native silver amalgam has been found 
at Moschellandsberg, in the Palatinate, and in 
several other places. Mercury is used for 
silver extracting, in a process somewhat simi- 
lar to that described above for the extraction 
of gold. 

Sodium Amalgam. — Sodium and mercury 
combine readily under ordinary conditions by 
being brought into contact one with another. 
The union is attended with much hissing and 



Amalic Acid. 



20 



Ammo iliac u in. 



spluttering-, and with a considerable evolution 
of heat. 

Tin Amalgam. — Tin and mercury combine 
readily at ordinary temperatures. If 3 parts 
mercury be brought into contact with 1 of tin, 
6-sided crystals of tin amalgam are formed. Tin 
amalgam is used for silvering looking glasses. 
When pulverized and rubbed on the polishing 
stone, it forms a kind of mosaic silver. Elec- 
tric amalgam may be made by melting tin and 
zinc together in various proportions in a por- 
celain crucible. The mixture ig "well stirred up, 
and when on the point of solidifying, the mer- 
cury is added and worked into the mass. The 
whole is next transferred to a mortar warm 
enough to keep the amalgam soft while it is 
well worked together, after which a piece of 
tallow or lard, not quite equal in bulk to the 
mass, is kneaded in until the amalgam attains 
the proper consistency. 

Zinc Amalgam is formed by mixing and tri- 
turating zinc filings with mercury, at a heat 
somewhat below the boiling point of the 
latter. It is usually prepared by pouring mer- 
cury into zinc at the temperature at which the 
latter is just kept in a fused state. Care must 
be taken to keep the liquid stirred, and to add 
the mercury slowly and in as fine a stream as 
possible. 

Amalgam for Coating Plastic Castings. —1 part 
tin, 1 mercury, 1 bismuth. The mercury is 
mixed with the white of an egg, and added to 
the tin and bismuth when they are thoroughly 
melted and blended. The alloy while still hot 
forms a pasty liquid, which should be applied 
with a brush. (Giittier.) 

Electric Machines, Amalgam for. — 1. Melt 8 
parts of zinc, add 2 parts tin, place 4 parts 
heated mercury in a wooden box lined with 
chalk. Pour in the alloy, cover the box, and 
shake until cool. Bisulphide of tin is highly 
recommended as a substitute for amalgam. 

2. The rubbers of glass electric machines are 
coated with amalgam, consisting of equal 
weights of tin and zinc melted together, with 
twice their joint weight of mercury added 
during fusion. — (Kienmayer.) Another amal- 
gam is tin 1, zinc 2, mercury 4. For ebonite 
disks the amalgam should be softer than for 
glass. Grease is mixed with the powdered 
amalgam to give it softness and make it stick. 
In France bisulphide of tin is used. 

Mackenzie's Amalgam.— 20 parts of lead and 10 
parts of bismuth are melted separately and 
thrown into fresh crucibles, each containing 5 
parts of mercury. When required for use, rub 
the two amalgams together. 

Amalgam for Spherical Mirrors.— Bismuth, 40 
parts ; mercury, 13 parts. 

Amalic Acid.— A compound obtained from 
caffeine. Bed, blue, and violet-color may be 
obtained from this material, but it is high 
priced. 

Amandine. See Cosmetics. 

Amber, to Bend.— Drop it into hot bees- 
wax . After it has been immersed for a few 
minutes, remove it, and, holding it before the 
fire, bend it to the desired shape. 

Amber, to Cement. See Cements. 

Amber, Factitious.— Prep. Dissolve 
shellac in an alkaline lye, then pass chlorine 
through the solution until the whole of the lac 
is precipitated. After washing in water, this 
must be melted and kept over the fire until it 
runs clear, taking care that it does not burn ; 
it should then be poured into moulds of the 
size of the pieces required. 

Amber, Imitation of.— A fictitious am- 
ber is prepared by melting pure bleached shel- 
lac, and keeping it over the fire until it runs 
clear, with care to prevent burning. It may be 
poured into moulds of the size of pieces re- 
quired. The operation requires considerable 
management. The darkest and hardest pieces 



of gum copal are also substituted for amber. 
The copal may be fused with the shellac. 

Amber, Soluble.— Fragments of amber 
are cautiously heated in an iron pot, and as 
soon as it becomes semi-liquid, an equal weight 
of pale boiled linseed oil, previously made hot, 
is very gradually stirred in, and the whole 
thoroughly blended. Used as a cement for 
glass and earthenware, and thinned with oil of 
turpentine to make varnishes. It will keep any 
length of time if preserved from the air. 

Amber Varnish. See Varnishes. 

Amber, to "Work.— 1. Amber in the rough 
is first split and cut rudely into the shape re- 
quired by a leaden wheel worked with emery 
powder, or by a bow saw having a wire for the 
blade, tripoli or emery powder being used 
with it. The roughly formed pieces are then 
smoothed with a piece of whetstone and water. 
The polishing is effected by friction with 
whiting and water, and finally with a little 
olive oil laid on and well rubbed with a piece 
of flannel, until the polish is complete. In this 
process the amber becomes hot and highly 
electrical ; as soon as this happens it must be 
laid aside to recover itself before the polishing 
is continued, otherwise the article will be apt 
to fly into pieces. 

2. Amber is worked in a lathe, polished 
with whiting and water or oil, and finished off 
by friction with flannel. During the operation 
the pieces often become hot and electrical, and 
fly into fragments, to avoid which, they should 
be kept cool, and only worked for a short 
period at a time. 

3. Anoint the edges to be joined with linseed 
oil, and hold them over a charcoal brazier or 
near a gas jet until the parts become sticky, 
taking the precaution to wrap paper round the 
other parts. Press them together, and hold 
till cold. Polishing is effected first with whit- 
ing and water and then with olive oil and a bit 
of felt or cloth. 

Ambergris.— Syn. Ambergrisea.— (Lat.) 
Ambregris (Fr.) A substance found in irre- 
gular masses floating on the sea in tropical 
climates, and supposed to be a morbid secre- 
tion of the liver or intestines of the spermaceti 
whale. Prop. Dirty pale color ; very odorous; 
lighter than water ; largely employed in per- 
fumerv. 

Ammonia, Spirit of.— 1. Take of quick- 
lime, 12 ounces (troy) ; water (to slake), 6^ 
fluid ounces ; to the slaked lime add of sal 
ammoniac (in fine powder), 8 ounces (troy); 
put the mixture into a glass retort furnished 
with a tube reaching nearly to the bottom of 
a bottle (surrounded with ice or very cold 
water) containing rectified spirit, 1 quart ; and. 
distill, by the heat of a sand bath, as long as 
gas passes over. The product must be kept in 
a well stopped bottle, and in a cool place. Sp. 
gr., about 0*845. Very pungent and caustic ; 
chiefly employed in perfumery, to make other 
preparations, particularly ammoniated per- 
fumes, etc. 

2. Take of carbonate of ammonia, \Yz ounce ; 
rectified spirit, 1 pint ; dissolve. Less caustic 

*and pungent than the preceding, owing to the 
ammonia being in the carbonated state. 

3. The spiritus ammonia? of the London Ph. 
of 1836 was made from sal ammoniac 10 ounces 
(troy) ; carbonate of potash, 16 ounces (troy) ; 
rectified spirit, 3 pints; water, 3 pints; three 
pints only being drawn over by distillation. 

Ammonia, Compound Spirits of. - 
For compound spirits of ammonia, the aroma- 
tic spirits of ammonia are usually dispensed by 
druggists. 
Carbonate of ammonium. ...... 40 parts. 

Water of ammonia 100 " 

Oil of lemon 12 

Oil of lavender flowers 1 " 

Alcohol 700 

Distilled water sufficient to make.1,000 " 
Ammoniacum. See Gums. 



Amorphous, 



21 



Anatomical. 



Amorphous. — A term applied to bodies 
which do not have a crystalline form. 

Amykos. — A tooth wash, 4»'0 grms. clove s 
boiled in 1 gal. of water in which 420 grms. of 
pui*e glycerine are dissolved, and to which 210 
grms. of borax are added. (Hager.) [Not re- 
commended.] 

Analysis.— The determination of the per- 
centage proportions of the elements existing 
in a compound material. The analysis is then 
said to be quantitative. Qualitative analysis 
simply demonstrates the presence of certain 
elements by their reactions on other elements 
or bodies, without determining their relative 
proportions. 

Anatomical Preparations and Natur- 
al History Specimens.— Preserving Anato- 
mical Specimens for a Private Museum.— Bones 
and skulls may be prepared by boiling them for 
some hours in water containing potash, which 
process, I know from experience gained in 
preserving specimens for my own museum, 
quickly causes the flesh to become detached. 
Another way is to carefully remove the flesh 
with dissecting apparatus, and then to place the 
specimens in weak brine, in order to draw 
away any blood from the bones ; next wash 
them in fresh water, and lay them out to dry. 
Gullets, stomachs, windpipes and intestines 
may also be put into weak brine and then 
dried. At sea, in the case of the albatross, I 
have preserved these objects by simply clean- 
ing them, blowing them out, making fast the 
ends with a clove hitch, and hanging up to dry. 
A coat of varnish will finish them off. All soft 
parts should be preserved in proof alcohol. 
Fishes and reptiles should be preserved whole 
in it, having first made very carefully an in- 
cision in the under part to facilitate the intro- 
duction of the spirit ; or, if at its full strength, 
it would harden the exterior and not reach the 
entrails. Neglecting to make these incisions 
results, I have frequently found, in the putre- 
faction of the internals. With large specimens 
the natural juices quickly weaken the spirit, 
which should be added to until it keeps its 
strength. The one great advantage of alcoholic 
specimens is, that at any time they can be re- 
moved from the preserving jars and examined 
in their entirety. On no account should they 
be allowed to come into close contact with the 
sides of the glass or jar, and they should in- 
variably be suspended by a strong thread, the 
end of which should not protrude above the 
cork or stopper.— C. L. Wragge, in English Me- 
chanic. 

Preparations for Preserving Specimens. — 1. 
Nearly saturate water with sulphurous acid 
and add a little creosote. 

2. Dissolve chloride of lime, 4 parts, in water 
100 parts, to which 3 per cent, of hydrochloric 
acid has been added. 

3. Dissolve corrosive sublimate, 1 part, and 
sodium chloride, 3 parts, in water, 100 parts, to 
which 2 per cent, of hydrochloric acid has been 
added. 

4. Babington's : 1 pint wood naphtha, 7 pints 
water. 

5. Burnett's : 1 lb. zinc chloride, 1 gal. water ; 
immerse for 2 to 4 days, and then dry in the 
air. , 

6. Morrill's : 14 oz. arsenious acid, 7 oz. caus- 
tic soda, 20 fl. oz. water, and sufficient carbolic 
acid to produce opalescence when the mixture 
is stirred; add water to make up to 100 fl. oz. 
Used for general disinfecting and embalming 
purposes. 

7. Muller's : 2 to 2^ oz. bichromate of potash, 
1 oz. soda sulphate ; add water to make up to 
100 fl. oz. 

8. Mix ammonia with 3 times its weight of 
water and rectified spirit. 

9. Ammonium chloride, 1 part; water 10 or 11 
parts. For muscular parts of animals : zinc 
sulphate, 1 part ; water, 15 to 25 parts. Used 
for muscles and cerebral masses. 



10. Passini's : 1 oz. mercury chloride, 2 oz 
sodium chloride, 13 oz. glycerine, 11311. oz. dis- 
tilled water. 

11. Reboulet's : 1 oz. saltpeter, 2 oz. alum, 4 
oz. calcium chloride, in 16 to 20 fl. oz. water; 
dilute according to need. 

12. Seseman's: Dr. Seseman states that a 
corpse may be made to retain the natural form 
of expression for months by : 

13. Injecting into it a solution consisting of 
4 to 5 per cent, of aluminum chloride dissolved 
in a mixture of 2 parts alcohol of 90 per cent, 
and 1 part glycerine; or 

14. Painting the entire epidermis with vase- 
line. The quantity of liquid required for in- 
jection is in the proportion of 1-10 to 1-7 of the 
weight of the corpse. 

15. Thwaites 1 : 1 oz. spirit of wine saturated 
with creosote, rubbed up with chalk into a 
thin paste, and 16 oz. water gradually added. 

16. Von Vetter's : 7 oz. glycerine at 36° Tw. 
(22° B.), 1 oz. raw brown sugar, and y% oz. 
niter ; immerse for some days. 

17. GannePs: Sodium chloride and alum, of 
each }4 lb.; niter, \i lb.; water, 1 gal. 

18. Goadsby's : Bay salt, 2 oz.; alum, 1 oz.; 
mercury bichloride, 1 gr.; water, 1 pt. 4 oz. 

19. Bay salt, J4 lb.; bichloride of mercury, 1 
gr.; water, 20 fl. oz. 

20. Bay salt, J4 lb.; arsenious acid, 10 gr.; 
water, 20 fl. oz. Dissolve by heat. 

21. To the last add 1 gr. bichloride of mer- 
cury. 

22. Stapleton's : Niter, 1 dr.; alum, 2J4 oz.; 
water, 1 qt. For pathological specimens. 

23. Beasley's (for feathers): strychnia, 16 gr.; 
rectified spirit, 1 pt. 

Preserving Natural History Specimens.— 1. 
When ready, wipe the fish and place it in the 
following solution, and it will keep for years 
if good alcohol be used : Alcohol (95 per cent.), 
8 parts ; distilled water, 2 parts. 

2. If the fish are small, three or four days 
suffice to harden them, and the following is a 
better solution for them, viz. : Alcohol, 6 parts ; 
distilled water, 2 parts. Kep tiles, rodentia, etc., 
can be also preserved in the same manner. The 
first alcoholic bath can be used over and over 
again for the same purpose, if strained. 

3. Take of chloral, in crystals, one ounce, 
and dissolve it in five ounces of distilled water: 
Alcohol (95 per cent.), l^j oz.; glycerine, iy 2 dr.; 
rock salt, 15 gr.; saltpeter, 30 gr. Dissolve the 
glycerine, salt, and saltpeter in the alcohol, 
and when well mixed add to the chloral solu- 
tion, shake well till thoroughly incorporated, 
filter, and it is ready for use. 

4. The following solution for larva? of insects, 
spiders, and other small, delicate objects, will 
be found very valuable: Glycerine, loz., com- 
mon salt, 1 dr.; saltpeter, 1 dr.; distilled water, 
8 oz. Mix well -ogether. When wanted for 
use, take two ounces of pui-e alcohol and add 
one ounce of the mixture, shake well and 
filter. 

5. For the preservation of tadpoles, young 
frogs, salamanders, and similar objects, take 1 
pound sulphate of zinc, 2 drachms burnt alum 
and mix well together.— Sci. Am. 

Anatomical Preparations, Fluid for.— (Ob- 
jects of natural history, etc.) 

1. Saturate water with sulphurous acid, and 
add a little creosote. 

2. Dissolve 4 parts of chloride of tin in 100 
parts of water, to which 3 per cent, of muri- 
atic acid has been added. 

3. Dissolve 5 or 6 parts of corrosive sublimate 
in 100 of water, to which 2 per cent, of muriatic 
acid has been added. 

4. Mix together one part of ammonia water 
(strong) with three times its weight (each) of 
water and spirit of wine. 

.Remarks.— These fluids are used by immers- 
ing the objects therein, in close vessels. The 
third formula is apt to render animal sub- 
stances very hard.— Coolexj. 






Anatomical. 



Animation. 



5. To preserve anatomical specimens, im- 
merse in a saturated solution of 100 parts 
alum with 2 parts saltpeter. The article at 
first loses color, but regains it again in a few 
days, when it is removed from the liquid and 
kept in a saturated solution of alum and water 
only. 

Animals', to preserve soft and delicate ones — 
(Carpenter) Glycerine, 1 part; alcohol, 1 part ; 
8 to 10 parts sea water. 

Bones, to Clean and Bleach. See Bleacning 
and also Cleansing. 

Preservative for Insects and Animal Tissues. 
—Glycerine, alcohol, distilled water, equal 
parts. 

Insects, to Preserve. — 1. Laboulbene recom- 
mends for the preservation of insects in a fresh 
state plunging" them in a preservative fluid con- 
sisting of alcohol with an excess of arsenious 
acid in fragments; V& pint alcohol will take 
about 14 troy grains of arsenic. The living 
insect, put into this preparation, absorbs about 
3-1000 of its own weight. When soaked in this 
liquor and dried, it will be safe from the rav- 
ages of moths, Anthrenus or Dermestes. This 
liquid will not change the colors of blue, green 
or red beetles if dried after soaking from 
twelve to twenty -four hours. Hemiptera and 
Orthoptera can be treated in the same way. The 
nests, cocoons, and chrysalids of insects may be 
preserved from injury from other insects by 
being soaked in the arseniated alcohol, or dip- 
ped into benzine or a solution of carbolic acid 
or creosote. 

2. For spiders, puncture them and steep for 
several days in a strong- alcoholic solution of 
pure phenol, and then in dilute alcoholic glyce- 
rine. Or use a saturated solution of salicylic 
acid in glycerine ; dry carefully. 

Taxidermy, Preparations for. — Arsenical 
Soap. White arsenic, 2 lb.; white soap, 2 lb.; 
sugar in powder, 12 oz.; salt of tartar, 12 oz.; 
chalk in powder, 6 oz.; camphor, 5 oz. Slice 
the soap, and melt in an earthen vessel, with 
water, over a gentle fire, keeping it stirred with 
a wooden spatula. When melted, put in the 
sugar, salt of tartar, and chalk. Remove from 
the fire, and well stir and mix in the arsenic. 
This soap should be kept in a well closed glass 
or earthen vessel. 

Corrosive Sublimate Solution. — Corrosive 
sublimate, 1 drachm ; spirit of salt, 2 drachms ; 
spirits of camphor, 6 oz. Dissolve the sub- 
limate in the spirits of camphor, and then add 
the hydrochloric acid. This solution is chiefly 
used for the skins of quadrupeds, to the inner 
side of which it is to be applied with a brush 
or sponge before stuffing. 

Preservative Powder— White arsenic, 2 drms.; 
corrosive sublimate, 2 drms.; nutgalls, 1 oz.; 
capsicum in powder, y% oz.; sal ammoniac, y% 
oz.; camphor in powder, 6 drms. Well mixed 
together. 

Dr. Richardson's Powder.— Nut galls coarsely 
powdered, 2 oz.; camphor powdered, 1 oz.; 
burnt alum, 1 oz. Well mixed, and if used in 
a hot climate, with the addition of 2 drms. of 
either oxy muriate of mercury or arsenic. 
One of these powders is generally used for 
dressing the skins of birds. 

Preservative Compound.— Oak bark, pow- 
dered, 4 oz.; burnt alum, powdered, 3 oz.; sub- 
limate of sulphur, 2 oz.; camphor, powdered, 
34 oz.; oxymuriate of mercury, % oz.; well 
mixed. This compound is used for dressing 
the skins of reptiles and fishes before stuffing. 

Preservative Baths.— Bay salt, 4 oz.; alum, 
2 oz.; corrosive sublimate, 3^drm., dissolved in 
1 quart boiling water, and when cold, strained 
through blotting paper. Or, one half spirits 
of wine and one half boiled water. These 
baths are for the immersion of small reptiles, 
such as lizards, snakes, etc., which may be 
kept in them for an unlimited length of time, 
in glass bottles or jars well stoppered, or corked 
and cemented down. See also Bird. Skins. 



Anhydrous.— Free from water, that is not 
only free from water in a state of mechanical 
mixture, but also as chemically combined. 
Unslaked lime for example, CaO, is anhydrous, 
but mixed with water chemical combination 
takes place and CaOHO results. Compounds 
of this kind are then said to be hydrated. The 
term anhydride is used to designate an anhy- 
drous substance. 

Aniline. — Phenylamine. A volatile or- 
ganic base first noticed in empyreumatic bone 
oil and afterward obtained from coal tar as a 
product of various processes attending the 
destructive distillation of organic bodies. 

Aniline, Solvent for.— In converting red 
aniline into a dye for staining wood, a very 
weak solution of alcohol is sufficient to hold 
the dye after it is once dissolved. In all pro- 
bability if the color is first dissolved in a small 
quantity of strong alcohol and then diluted with 
wood spirit, the result will be the same. It has 
been found by experiment that a very con- 
siderable proportion of water can be added 
to the dye without causing the alcohol to 
deposit it. Glycerine can also be used for dis- 
solving aniline. A German writer says that 
" the aniline colors may be made to dissolve in 
water by dissolving them in a solution of gela- 
tine dissolved in acetic acid." The aniline 
color is added to this solution, which is made 
like a sirup in thickness. It is stirred until an 
evenly colored paste is obtained. Then the 
mixture is heated in a glue pot for some little 
time. 

Animals, to Clean. See Cleansing. 

Animals, to Preserve. See Anatomi- 
cal Preparations. 

An imatio n, Suspended.— Syn. As- 
phyxia. Causes. Various ; hence it has been 
divided into four varieties, viz.: 

1. From suffocation produced by hanging and 
drowning. 

2. From suffocation produced by the inhala- 
tion of irrespirable gases or vapors, as the 
fumes of charcoal, fixed air, etc. 

3. From strokes of lightning or electricity. 

4. From extreme cold. (Dr. Mason Good.) 
No general rules can be given exactly suit- 
able to each case ; but the reader is ref erred to 
Drowning. Whenever it is possible to pro- 
cure medical aid, it should be immediately 
sought, as the delay of a single minute may put 
the case beyond the reach of assistance. The 
following valuable remarks on asphyxia, from 
the pen of an eminent physician, may, how- 
ever, be well introduced here : 

The treatment of asphyxia involves an atten- 
tion both to the functions of respiration and to 
that of the true spinal marrow. The object, 
doubtless, is to effect a restoration of the 
respiratory and circulatory functions, the for- 
mer of which has been arrested by the exter- 
nal conditions of the patient ; the latter, by the 
contact of morbidly carbonized blood with the 
capillary vessels of the lungs. The first thing 
to be attempted is the restoration of warmth 
by active friction with warm hands, etc.; the 
* second, the imitation of artificial respiration, 
by any means at hand, of which none is better, 
usually, than the action of alternate pressure 
and its relaxation, applied to the thorax and 
abdomen, so as to induce expiration first, and 
inspiration immediately by the play of the 
elasticity of the ribs. The third effort is made 
by suddenly dashing cold water on-the face and 
general surface, previously warmed by the 
frictions, in the hope of inducing a more de- 
cided inspiration. Artificial respiration must 
be attended to, if these measures, very prompt- 
ly enforced, fail ; and unless the proper ap- 
paratus be present, the mouth of another per- 
son, of robust make, is to be applied to that of 
the asphyxiated person, covered with a hand- 
kerchief, the nostrils being closed. (Dr. Mar- 
shall Hall.) 



Anime. 



23 



Ants. 



Anime. See Gums. 
Anisette. See Iiiquors. 

Annealing. — For a small quantity, heat the 
steel to a cherry red in a charcoal fire, then 
bury it in sawdust, in an iron box, covering 
the sawdust with ashes. Let it stay until cold. 
For a larger quantity, and when it is required 
to be very soft, pack the steel with cast iron 
(lathe or planer) chips in an iron box as fol- 
lows : Having- at least half or three-quarters of 
an inch in depth of chips in the bottom of the 
box put in a layer of steel, then more chips to 
fill spaces between the steel and also the half or 
three-quarters of an inch space between the 
sides of the box and steel, then more steel ; 
.and lastly, at least one inch in depth of chips, 
well rammed down on top of the steel. Heat 
the whole to and keep at a red heat for from 
two to four hours. Ho not disturb the box 
until cold. 

Annealing Chains.— Get your chain to a 
cherry red or bright red heat (it need not re- 
main in the furnace or fire afterward), then 
bury in charcoal dust or fine ashes until 
thoroughly cold. Chains are generally made 
from "best best " iron, and are more liable to 
crystallization than more common iron would 
be, as it is purer. 

Annealing Steel.— It is now recommended as 
a good method of annealing steel to let it re- 
main in the fire until red hot, as it heats more 
evenly, then take it from the fire and carry it 
to some dark place, allowing it to cool in the 
air until the dull red is no longer obvious in 
the dark, and finally cooling it off in hot water. 
This process is called the " water anneal." 

Water Annealing.— First heat the steel to a 
red heat ; let it lie until nearly black hot, then 
throw into soap suds. Steel treated in this 
way can be annealed softer than by putting it 
into the ashes of a forge. 

Annotta.— Annotto, Annatto, Annatta, Ar- 
natto, Arnotto. A coloring matter forming 
the outer pellicle of the seeds of the Bixa orel- 
lana (Linn)., an exogenous evergreen tree, com- 
mon in Cayenne and some other parts of 
tropical America, and now extensively culti- 
vated in both the East and West Indies. It is 
scarcely soluble in water, freely soluble in al- 
cohol, ether, oils, and fats, to each of which it 
imparts a beautiful orange color. Its most im- 
portant property is the affinity of its coloring 
matter for the fibers of silk, wool, and cotton. 

Anodynes.— Medicines which prevent the 
increase of pain and cause it to decrease. 

Anodyne for Stupefying the Senses.— Take 1H 
drms. tincture lupuiine (hops), 1J4 drms. tinc- 
ture henbane, 2^ 2 drms. camphor water. This 
is a substitute for opium, and where that can- 
not be administered, a teaspoonful of this ano- 
dyne every two hours will answer. 

Anthrapurpurine.— A eolor closely con- 
nected with alizarine, discovered first by 
Perkin, and afterward independently obtained 
by Auerbach, under the name isopurpurine. 
With appropriate mordants, it gives purer and 
brighter reds than those obtained by alizarine 
alone. It is now always present in the so- 
called "alizarine for reds." 

Antacids.— Medicines that neutralize the 
acid of the stomach, and thus tend to remove 
heartburn, dyspepsia, and diarrhoea. The 
principal antacids are the carbonates of potas- 
sa, soda, ammonia, lime, and magnesia. Am- 
monia is the most powerful, and when the 
acidity is conjoined with nausea and faintness, 
is the best ; when great irritability of the coats 
of the stomach exists, potash is preferable; 
when accompanied with diarrhoea, carbonate of 
lime (prepared chalk) ; and when with costive- 
ness, magnesia. See Absorbents. 

Anthelmintics.— Medicines that destroy 
worms. 
Anti-attrition. See Lubricants and 

Alloys for Journals. 



Antichlor.— Sodium sulphite. So called 
because it is used to remove the last traces 
of chlorine from paper pulp. 

Antidotes. See Poisons, Antidotes 
for. 

Anti-ferment.— A substance sold in the 
cider districts for the purpose of arresting fer- 
mentation. 

1. It generally consists of sulphite of lime in 
powder, or a mixture of equal parts of the sul- 
phite and powdered mustard. 

2. Mix together 14 lb. of mustard seed with 
1 lb. cloves, and bruise them well without dry- 
ing. 

Use. — A portion of either of the above added 
to cider or perry tends to allay the fermenta- 
tion, when it has been renewed. The second 
may be used for wine and beer as well as cider. 

Caution.— In the above the sulphite must be 
employed, not the sulphate, which is quite a 
different article. 

Anti-friction Metal. See Alloys. 

Anti-incrustations. See Incrusta- 
tions. 

Antimony, Butter of.— Thissubstanceis 
of great use in many mechanical operations. 
It is obtained by the action of chlorine on anti- 
mony or by heating the trisulphide with mer- 
curic chloride. It is diluted with alcohol, as 
water causes a precipitation. 

Anti-rust Varnisb. See Varnisbes. 

Antiseptics.— The use of chemical anti- 
septics has long been known, common salt be- 
ing a very generally employed agent of this 
class. 

1. Herzen's.— The quarter carcasses are soaked 
for 24 to 36 hours in a solution composed of 3 
parts borax, 2 parts boracic acid, 3 saltpeter, 
and 1 salt, in 100 parts water ; they are then 
packed with some of the same. Before use 
they need 24 hours 1 soaking in fresh water. 

2. Beiynoso's.— The meat is subjected to the ac- 
tion of compressed nitrogen, carbonic oxide, 
etc. After being kept in this state for 40 days, 
the freshness has been so maintained that blood 
has flowed from the joints. 

3. Richardson's.— Dr. Kichardson made some 
test experiments with meat treated with va- 
rious antiseptics under a temperature varying 
from 45° F. (7° C.) to 110° F. (43° C), for a period 
of 75 days. The results may be summarized 
thus: Methylene: preservation, good; color, 
imperfect. Methylal : faint taint of decompo- 
sition. Cyanogen: preservation, excellent; 
color, perfect; structure, firm. Sulphurous 
acid : some tainted ; color, dark. Sulphurous 
acid and lime juice : some tainted ; color, in- 
different. Sulphurous acid and glucose : some 
tainted ; structure, dense. Nitrate of methyl : 
preservation, good; color, yellowish; struc- 
ture, firm. Formates : entirely fresh, and ex- 
cellent in color. 

4. Estor's.— This consists in treatment with 
sulphurous acid and chlorine in succession. 

5. Gamgee's — The animals are killed by inhal- 
ing carbonic acid etc., and the carcasses are 
kept in an atmosphere of carbonic or sulphur- 
ous acid. This does not prevent decomposi- 
tion where bruises exist. 

Antiseptic Soap. See Soaps. 

Ants, to Destroy.— Flour of sulphur, y 2 
lb.; potash, 4 oz.; set in an earthen vessel, over 
the fire, till dissolved and united. Afterward 
beat to a powder, infuse a little of the powder 
in water, and sprinkle in places infested by 
ants. , . 

Black, to Destroy— A few leaves of green 
wormwood, scattered among the haunts of 
black ants, will drive them away. 

Bed, to Destroij.-l. Powdered borax sprinkled 
around the infested places will exterminate 
both red ants and black ants. Powdered cloves 
is said to drive them away. Another plan is to 
grease a plate with lard, and set it where these 



Aperients. 



24 



Arrack, 



insects abound. They prefer lard to anything 1 
else, and will forsake sugar for it. Place a few 
sticks around the plate for the ants to climb 
up on. Occasionally turn the plate bottom up 
over the fire, and the ants will fall in with the 
melted lard. 

a. Use a small amount of oil of turpentine, 
run into the cracks with an ordinary sewing 
machine oil can. 

3. Set a quantity of cracked walnuts or shell 
barks on plates, in the closet where these ants 
congregate. The ants will collect on the nuts, 
in myriads. Turn nuts and ants together into 
the lire, and put fresh nuts on the plates. Then 
powder camphor, and put in the holes and 
crevices of the closet. 

Aperients.— Under this head are commonly 
classed all those substances and agents which, 
in moderate doses, gently, but completely, 
open the bowels; and which, in this respect, 
rank between simple laxatives on the one 
hand and the stronger purgatives and cathar- 
tics on the other. Among these may be named, 
as useful examples. (Dissolve all in water.) 

1. Cream of tartar, 1 to 3 dr. 

2. Epsom salt, 1 dr. to 1 oz. 

3. Glauber's salt, J4 to 1 " 

4. Rochelle salt, % " 1 " 

5. Tasteless purging salt, J^ " 1 " 

6. Sodium phosphate. 

7. Seidlitz powders. 

Several of the above substances in large 
doses are active purgatives, or cathartics ; and 
most of them, in small doses, are gentle laxa- 
tives. 

Aphides? to Destroy.— To destroy com- 
mon plant lice (Aphides) and other insects in 
the greenhouse and garden, the following 
remedy has been recommended by M. Cloetz, 
of the Jardin des Plantes, in Paris : 3)4 ounces 
quassia chips, 5 drachms of stavesacre seeds, 
powdered and placed in 7 pints of water, and 
boiled until reduced to 5 pints. Dr. Hull re- 
commends dusting slaked lime on the trees or 
bushes when the foliage is wet ; syringing with 
soapsuds or tobacco water, or a strong decoc- 
tion of q uassia with soapsuds ; also a weak 
solution of chloride of lime is said by Mr. An- 
drews to preserve plants from insects if 
sprinkled over them. The following recipe is 
also highly recommended in an English horti- 
cultural journal as being almost infallible for 
mildew, scale, mealy bug, red spider, and 
thrips : 2 ounces flour of sulphur worked into 
a paste with water, 2 ounces washing soda, }4 
ounce of common shag tobacco, and a piece of 
quicklime about the size of a duck's egg, 
Pour them all into a saucepan with 1 gallon of 
water, boil and stir for a quarter of an hour, 
and let the whole settle until it becomes' cold 
and clear. It should then be poured off, leav- 
ing the sediment. In using it add water 
according to the strength or substance of the 
foliage. It will keep good for a long time if 
kept closed. 

Aphorisms. See Photography. 

Apothecaries' Weight. See Appendix. 

Aprons, Carriage, Dressing for.— Glue, * 
2 parts ; white soap, 4 parts ; yellow wax, 1 
part ; neat's foot oil, 1 part ; lampblack, q. s. 
Soften glue, melt over water, dissolve soap in 
water, q. s., and stir into the glue ; add wax 
in shavings, then oil ; lastly, black to color. 

Aquafortis.— Nitric acid. 

Aqua Reale. See Liquors. 

Aqua Regia.— So called because it is a sol- 
vent of gold. It is made by adding 1 part of 
hydrochloric acid to 2 parts nitric acid. 

Aquariums.— A small and well proportion- 
ed aquarium might be about 20 in. long by 
4 in. wide by 14 in. deep. Make the frame of 
stout tin ; cut eight strips 14 in. long and four 
strips 20 in. long. They may all be about \% 
in. wide ; now angle them in pair of clamps, 



and you have the required number for the 
frame, i. e., four uprights at 14 in.; a piece 
across top and bottom at each end, l4 in.; and 
four pieces, 20 in., for top and bottom at sides~ 
solder them firmly together, being careful to 
get the frame square. You had better strength- 
en the corners by angling some short pieces 
and soldering firmly over them; these will 
also hide the joints. These pieces may be fanci- 
fully cut, unless you intend to case the frame 
afterward. Having put the frame together, 
you should have a flange round the inside of 
the bottom part. Cut a piece of galvanized 
sheet iron, rather stout in substance, to fit.. 
Bed it firmly in with red lead cement, red and 
white lead mixed like putty. Tack it here and 
there with solder to the frame. Before put- 
ting in the bottom make the holes and arrange- 
ments for fountain and waste, also runaway, 
and whatever you require. You may now put 
in the glass, 28 oz., or even 21 oz. will stand the 
pressure very well; but an accidental knock 
would be fatal. If you can use plate it will be 
much better. Bed it firmly in with lead, solder 
tabs of tin or copper close up at top and bot- 
tom. Clear away the superfluous lead, which 
will squeeze out between the frame and glass 
neatly, and let it set hard.— Eng. Mech. 

Aquariums, Cement for. See Ce- 
ments. 

Aquariums, Sea Water for. See 
Aquariums. 

Aqua Vita?. — A name now applied chiefly 
to brandy. 

Arbor Diana?.— Being the materials for 
making a silver tree. 

Directions.— Dissolve the crystals in the blue 
paper in a tablespoonful of water, and add the 
contents of the bottle to this solution and 
allow it to stand aside a little while, when it 
will form a silver tree in full growth. 

Materials.— % dr. of silver nitrate wrapped 
in blue paper and 1 dr. of mercury in a small, 
flat bottle packed in a one dozen powder box 
in cotton wool. Label " Poison." 

Archil.— A violet red, purple or blue color- 
ing matter, or dye stuff, obtained from several, 
species of lichens, but of the finest quality 
from Koccella tinctoria, and next from K. fuci- 
formis. 

Arenaceous.— That which has the proper- 
ties of sand. 

Argentan. See Alloys. 

Argentin. See Alloys. 

Argillaceous.— That which has the pro- 
perty of clay. 

Argiroide. See Alloys. 

Argusoid. See Alloys. 

Armenian Cement. See Cements. 

Army Worm.— Take a pail of water, with 
a half gallon of salt well stirred into it ; with 
a small broom or bunch of feathers sprinkle 
well a row of corn just ahead of the bugs,, 
taking care that the ground between the hills 
is well sprinkled with the brine. The bugs 
generally commence in a corn field on one side 
and go through from row to row with almost 
as much precision as the plowman plowing the 
corn. This remedy is merely mentioned, as, 
should the chinch bugs appear in various places 
in the field at once, the remedy would be of 
little avail, and the brine, if too strong, would 
undoubtedly injure the plants. 

Aromatic Vinegar. See Vinegars. 

Aromatique.— Spirit (90 per cent.) 50 grms.; 
sugar, 45 grms.; extractive matter, 4 grms.; 
(composed of cinnamon, cloves, galangal, zed- 
vary, angelica, anise), water, 81 grms. Recom- 
mended for all derangements of the digestive 
organs.— H ager. 

Arrack. See Liquors. 



Arsenic. 



Balm. 



Arsenic, Simple Test for in Wall 
Paper, etc.— To identify the presence of 
arsenic in wall paper, dissolve the coloring 
matter off in a little ammonium hydroxide, 
pour off this solution on a piece of glass, and 
drop into the liquid a crystal of silver nitrate. 
A yellow coloration around the crystal indi- 
cates the presence of arsenic. This will answer 
as a general rule, but it is only a rough test. 
Marsh's test is better. 

Arsenide.— A combination of arsenic with 
a metal (including hydrogen) in definite pro- 
portion. 

Arsenite.— A salt of arsenious acid. 

Asbestos.— The name given to several 
varieties of amphibolic and augitic minerals. 
It is now used to a large extent in the manu- 
facture of non-conducting and fire-proof ar- 
ticles, as boiler coverings, paint, theater cur- 
tains, etc. 

Ashberry Metal. See Alloys. 

Asphalt.— Native bitumen. 

Asphaltum Liiquid.— 1. Scio turpentine, 2 
oz., melt; add asphaltum (in powder), 1 oz.; 
mix, cool a little and reduce with hot oil of 
turpentine. 

2. (Wilson's.) Asphaltum, y 2 lo., melt ; add of 
hot balsam of copaiba, 1 lb.; and when mixed 
thin with hot oil of turpentine. Both are used 
as black japan or varnish and as a glazing color 
by artistsT" — — 
Asafcetida. See Gums. 
Asteroids. See Pyrotechny. 
Asthma.— The most popular remedies for 
this disorder are those used by inhalation, and 
experience demonstrates them the most effect- 
ive. The following formula has no superior : 

Drachms. 

Grindelia 8 

Jaborandi 8 

Eucalyptus 4 

Digitalis 4 

Cubebs 4 

Stramonium . ... 16 

Nitrate of potash 12 

Cascarilla bark 1 

The ingredients should be in fine powder, 
and thoroughly dry before mixing. The com- 
position is used by burning from one-fourth to 
one-half teaspoonf ul, and inhaling the smoke, 
which is most conveniently done by using the 
cover of a tin box. 

Asthma Cigarettes. — 

Grammes. 

Tobacco , 90 

Extract of stramonium 5 

Iodide of potassium.. 5 

Nitrate of potassium .... 5 

Alcohol 45 

Mix, dry, and make a hundred cigarettes. 

Asthma Pastils (Danl. White & Co., New 
York), according to the analysis of Dr. Fleck, 
contain 20'1 % saltpeter, 3"5 % impure scammon- 
ium resin, 35'0 % gum and sugar, 40 % charcoal 
powder, leaves and stems of some plant. 

Asthma, For.— Dr. W. T. Plant, of Syra- 
cuse, N. Y., says an asthmatic neighbor of his 
gets much relief from inhaling the smoke of a 
teaspoonful of the following combination : 
Stramonium leaves, green tea dust, each, 4 oz.; 
lobelia, 1}4 oz.; mix together and wet up with 
a saturated solution of nitrate of potassium. 
Dry thoroughly and keep in a close can or well 
stoppered bottle.— Pharm. Era. 

Astringents. — In Medicine. Substances 
that constrict the animal fiber, and coagulate 
albumen. When employed to check bleeding, 
they are called styptics. The principal vege- 
table astringents are catechu, kino, galls, and 
oak bark; the principal mineral astringents 
are sulphate of iron, nitrate of silver, chloride 
of zinc, sulphate of copper, acetate of lead, 
etc. 



Dyeing. — A numerous and important class of 
vegetable substances, indispensable in cotton 
dyeing ; the first operation of which generally 
consists in saturating the cloth or yarn with 
the extract or solution of some one of these 
bodies. They include, divi-divi, galls, sumac, 
catechu, cutch or gambier, myrobolans, 
valonia cups, pomegranate husks, hemlock 
bark, babool or bablah, kino, and others of less 
importance. The value of these depends on 
the presence of one constituent, tannin, which 
exists in them all, but in different propor- 
tions. 

Attrition.— The rubbing of bodies, one 
against another, so as to destroy the surfaces. 

Aurantia.— A fine orange color, which is 
scientifically known as the ammonia salt of 
hexanitro diphenylamin. It is generally sold 
as a brick red color ; is soluble in water and 
alcohol. It dyes good orange shades on silks 
and woolens. 

Aureosine.— An artificial dye of thephtha- 
leine class, first obtained by Bouchard t and 
Girard. It dyes light rose shades on silk, if in 
a dilute solution, but if more concentrated 
gives a reddish brown. In either case the dyed 
goods have a greenish yellow reflection. 

Autographs.— One of the best tests of au- 
tographs is the color of the ink. In genuine 
ancient writings the fading of the ink is irregu- 
lar; in forged documents the ink has the same 
color throughout, and the most ingenious or 
forgers have been unable to overcome this 
difficulty. 

Avoirdupois Weight. See Appendix. 

Awnings, to Remove Mildew from. 
See Cleansing, Mildew. 

Awnings, to Waterproof. See Water- 
proofing. 
Axle Grease. See Lubricants. 

Ayer's Pills.— Ayer's pills consist of pep- 
per, colocynth, gamboge (gutti), and aloes. 

Ayer's Hair Vigor.— A solution of 0"6# 
lead nitrate. 

Azote.— Old name for nitrogen. 

Azuline.— A blue coloring matter produced 
by the action of a high temperature upon a 
mixture of aniline and rosolic acid. After 
purification it appears as a reddish mass, with 
golden reflections. It produces upon silk and 
wool shades similar to those obtained from the 
aniline blues. 

Azure. See Pigments. 

Azurine.— An aniline blue color of a very 
deep shade, approaching to indigo. It must 
not be confounded with azuline, which is dif- 
ferent in shade, and prepared by an entirely 
different process. 

Babbitt Metal. See Alloys. 

Badigeon.— Anything used by artisans to 
cover defects in their Avork. See Cements. 

Bagasse.— The dry refuse stalks of the 
sugar cane, as they leave the crushing mill. 
Often used as fuel in the sugar houses. 

Baleen.— The fisher's name for whalebone. 

Ball Clay. — Impure variety of kaolin, 
usually containing more silica. Often called 
pipe clay. 

Balloon Varnish. See Varnishes. 

Balls, Scouring. See Cleansing. 

Balm.— Primarily balsam (of which it is a 
contraction) ; formerly and still properly ap- 
plied to anything assumed to be healing, sooth- 
ing or genial in its action, particularly if also 
aromatic or fragrant ; but chiefly to medicine 
and liquors supposed to possess these proper- 
ties. 

Balm of Mecca ; Balm of Gilead ; 
Balsam of Mecca; Opobalsam.— A irr 



Balm. 



26 



Bath. 



grant oleo-resinous substance obtained from 
Balsamodendron gileadense (Kunth), a tree 
growing" in Arabia Felix, Asia Minor, and 
Egypt. It is the ' balm ' of the Old Testament. 
Pure 'balm of Mecca' is freely though not 
entirely soluble in rectified spirit, but it dis- 
solves more or less completely in the fixed and 
volatile oils, and the fats. Into these solutions 
it carries its fragrance and other properties. 
Cosmetics, oils and pomades, emulsions, washes, 
etc., may thus be readily impregnated with it. 

Balm Water. See Waters. 

Balsams. See also Gums. 

Bates'* Anodyne Balsam. — Laudanum, 1 part ; 
opodeldoc, 2 parts. Mix. 

Ant Balsam.— Dr. Livingston's ant balsam, 
a German remedy, consists of 72 grns. castor 
oil, 2 grns. balsam of Peru, and 5 drops oil of 
bergamot. 

Berlin Balsam, for cure of all kinds of sores, 
burns, cuts, wounds, ulcers, chilblains, etc., 
is nothing but common glycerine contaminated 
with a considerable amount of chloride of cal- 
cium. 

Camphor Balsam ; Camphor Liniment. — 1. 
Take of spermaceti, 2 oz.; olive oil, *4 pint ; 
dissolve by a gentle heat. Add of camphor, 
cut small, 1 oz.; stir the mixture until nearly 
cold, and then put it into dumpy, wide-mouth- 
ed phials, which should be kept well corked. 
Only half the abo v^e quantity of camphor is 
sometimes used. 

2. As the last, but adding (with the camphor) 
of oil of origanum (thyme), 1 drm.; oil of rose- 
mary, ^ drm. 

Canada Balsam.— The exudation of a fir tree 
< Abies balsamea), grows usually in Canada. 

Balsam of Copaiva.—A light colored resin, 
used largely for ink, and in making varnish. 

Balsamic Cigarettes for Asthma, etc.— The Lon- 
don Chemists'' and Druggists' 1 Compendium gives 
the following recipe: Soak strong, unsized 
paper in solution of saltpeter ; this dry, and 
treat first with tincture of cascarilla, and after- 
ward, when nearly dry, with compound tinc- 
ture of benzoin ; cut into squares of a suitable 
size, and roll into the form of cigarettes. 

Cook's Balsam of Life is a filtered decoction of 
20 parts borax in 250 parts water, and \y% parts 
pulverized camphor in 1 liter of liquid. Used 
externally for toothache and all skin diseases. 

Balsam of Flowers. — French rose pomatum, 
12 oz.; French violet pomatum, 12 oz.; almond 
oil, 2 lb.; otto of bergamot, J4 oz. 

Glycerine Balsam.— This is designed to whiten 
and soften the skin, remove roughness, chaps, 
chiblains, and irritations from common causes. 
Take white wax (pure), 1 oz.; spermaceti, 2 oz.; 
oil of almonds, 9 oz. Melt together by moderate 
heat in a glazed earthenware vessel, and add 
glycerine (best), 3 oz.; balsam of Peru, % oz. 
The mixture is to be stirred until nearly cold, 
and then poured into pots. [Instead of balsam 
of Peru, 12 or 15 drops of attar of rose may be 
employed.! 

A preparation used to soften and whiten 
the skin, to prevent chaps and chilblains, 
and to remove the former when present. 1. 
Take of white wax (pure), 1 oz.; spermaceti, 
2oz.; oil of almonds, 14 pint. Melt them to- 
gether by a gentle heat, in a glazed earthen- 
ware vessel ; add of glycerine, 3 oz.; balsam of 
Peru, y z oz. Stir the mixture until nearly cold, 
and then pour it into pots, or china or glazed 
earthenware boxes. 

2. As the last, but substituting 12 or 15 drops 
of attar of roses for the balsam of Peru. 

Balsam of Honey.— Take fine pale honey, 4 
oz.; glycerine, 1 oz. Mix by a gentle heat, when 
cold add alcohol, 1 oz.; essence of ambergris, 6 
drops ; citric acid, 3 drm. This is intended 
to remove freckles and discolorafions, as well 
as to improve the general appearance of the 
skin. 

Cosmetic— 1. Take of finest pale honey 4 oz.; 
glycerine (Price's), 1 oz.; unite by a gentle 



heat , when cold, add of rectified spirit, 1 fluid 
oz.; essence of ambergris, ti drops ; and at once 
bottle it. Used to soften and whiten the skin, 
prevent chaps, etc. 

2. In the last, dissolve of citric acid (pure), 3 
drm. Used to prevent and remove freckles and 
discolorafions. 

Balsam, Pectoral. — Prep. Tincture of tolu 
and compound tincture of benzoin, of each, 2 
oz.; rectified spirit, 4 oz. Mix. Use. As a pec- 
toral in coughs and colds. Dose. A teaspoon- 
ful. 

Balsum of Peru.— Prep, and source. Genuine 
balsam of Peru is obtained by boiling the bark 
and branches of the Myrospermum peruifer- 
um in water. It should possess the following 
characteristics : Pur. and Tests. 1. Balsam of 
Peru should have a consistence and appear- 
ance resembling treacle, and an aromatic odor 
between that of benzoin and vanilla. 

2. It should be entirely soluble in alcohol. 

3. It should undergo no diminution in vol- 
ume when agitated with water. 

4. 1,000 parts of the balsam should saturate 
exactly 75 grains of pure crystallized carbonate 
of soda. 

5. Its sp. gr. should not be less than 1*150 nor 
more than 1 '100. 

Balsam of Tolu. — This substance is obtained 
from the Myrospermum toluiferum, and when 
fresh, is a soft, translucent, tenacious, and 
resinous-looking mass, of a reddish or yellow- 
ish brown color, a fragrant odor, and a sweet- 
ish taste. It is perfectly soluble in alcohol, 
forming a transparent solution. By exposure 
to the air it becomes hard and brittle. It is 
frequently adulterated, in which case it has a 
weaker smell, is less soluble in alcohol, and the 
tincture formed with that fluid is opaque. 

Baking Powder. See Powders. 
Bandoline. See Hair, the. 

Barbotine.— A very thin slip, composed of 
clay and water. 

Barilla.— The name of an impure soda im- 
ported from Spain and the Levant. 

Bark 9 Jesuits'. — Cinchona Bark. 

Barrels, to Age.— Dissolve 1-3 of a lb. iron 
sulphate and 1 lb. sulphuric acid in each gallon 
of water. For external use only. 

Barrels, to Cleanse See Cleansing. 

Barwood.— One of the hard class of red 
woods. It is obtained from the western coast 
of Africa, especially from Angola and Sierra 
Leone. The wood is compact, and when 
polished shows an orange red color. "When 
rasped, it is a rough, harsh powder of a red 
color. 

Basic . Process.— The process of Messi-s. 
Thomas and Gilchrist, by means of which the 
phosphorus and sulphur are eliminated from 
the pig iron, in the Bessemer converter. It 
consists of the substitution of magnesian lime- 
stone or dolomite, which is composed almost 
entirely of metallic oxide, and is therefore 
highly basic, for the silicious ganister which is 
used as a lining in the acid process. 

Basil Vinegar. See Vinegar. 

Bath.— As a dressing in the bath, 3 qts. of 
water with 2 oz. of glycerine, scented with 
rose, which will impart a final freshness and 
delicacy to the skin. 

Sulphur Bath.— The patient is placed (not in- 
cluding the head) in a species of box, at the 
bottom of which is put a piece of hot iron, on 
which a little sulphur is thrown, great care be- 
ing taken to avoid the escape of the fumes, 
and the inhalation of the same by either tne 
patient or the attendants. 

The vapor bath consists in vapor being admit- 
ted to the apartment, and thus not only is the 
body immersed in it, but it is inhaled as well. 
It is iised at different temperatures, known by 
the name of lipid, when the temperature varies 
from 90° to 100° : warm, when from 100° to 112 u t 



Bath. 



Batteries. 



and hot, from 110° to 130° ; but when the vapor 
is not inhaled, the heat of the latter niay be 
raised to 160°. 

Bath Metal. See Alloys. 

Bath. Stone.— Bath oolite, a soft stone used 
in England for building- purposes. 



potash in hot water to saturation ; when cool, 
pour in very slowly one-lif tb its volume of sul- 
phuric acid. For every gallon of solution add 
about one drachm of bisulphate of mercury. 
The solution should be made in an earthenware 
vessel. Great care is necessary in handling the 
acid and finished solution, as they are very 



Baths. 

SUMMER AND WARM WEATHER. 

Tepid Baths, Fresh and Salt Water. 

Time in Bath. Frequency. Period in Day. 

Healthy people Ten minutes Twice daily Before breakfast and retiring to rest. 

Weak people Ten minutes Once daily Before breakfast. 

Cold Baths, Fresh Water. 

Healthy people Ten minutes Twice daily Before breakfast and retiring to rest. 

"Weak people Five minutes Once daily . Before breakfast. 

Cold Baths, Salt Water. 

Healthy people ... Ten minutes Once daily Before breakfast. 

Weak people Five minutes Once daily Two hours after breakfast. 

WINTER AND COED WEATHER. 

Tepid Baths, Fresh and Salt Water. 

Time in Bath. Frequency. Period in Day. 

Healthy people . . . Ten minutes Twice daily Before breakfast and retiring to rest. 

Weak people Ten minutes Once daily Before breakfast. 



Cold Baths, Fresh and Salt Water, to he Taken in a Properly Warmed Chamber. 

Healthy people Ten minutes Once daily Before breakfast. 

Weak people Five minutes Once daily Before breakfast. 

Dry friction with soft towels after bathing is of great service in promoting the circulation, 
cleansing the skin, and, if the bath has been a cold one, in preventing chills. 



. Batteries. — Approximate Resistance of.— 
Variations in the strength of solution and size 
of electrodes varies the resistance. For bichro- 
mate batteries without porous cells, 12 square 
inches of zinc to ^ ampere may be allowed. The 
following resistances are sometimes given : 

Grove cell Yz ohm. 

Daniell cell 3 to 5 

Gravity cell 2 to 4 

Smee cell 1 

Leclanche cell 1 " 

To Reduce Current of.— Make a wooden reel, 
and wind uninsulated wire (German silver best) 
so as to leave a space between each turn. If 
the current burns the wood, put strips of as- 
bestos under the wire. 

Bichromate.— A. plunging bichromate bat- 
tery may be made by clamping together three 
plates (5 in. wide and 7 in. high), one of zinc 
and two of carbon, with intervening strips of 
wood previously soaked in hot paraffine. The 
zinc is placed between the carbons, and sepa- 
rated from them by strips of paraffined wood 
M inch thick, placed at the top. The plates are 
clamped together by two bars of paraffined 
wood, which project beyond the edges of the 
plates and are drawn together by two common 
wood screws so as to closely bind together the 
upper ends of the plates and the intervening- 
wooden strips. Before putting the elements 
together, the upper ends of the carbons should 
be heated and tilled with paraffine for about an 
inch only. This is best done by rubbing on the 
paraffine while the carbon is hot. The zinc 
should be amalgamated by dipping it into a 
solution of nitrate of mercury. Connection is 
made with the zinc and carbon plates by insert- 
ing strips of sheet copper between the plates 
and the wooden clamping pieces. The zinc of 
one element should be connected with both 
carbon plates of the next element, and so on, 
and the first zinc plate and last to carbon plates 
should be connected with the motor. The plates 
thus prepared are to be plunged into the bi- 
chromate solution, which is contained in glass 
or porcelain vessels. The solution is made in 
the following way: Dissolve bichromate of 



poisonous and corrosive. The elements of the 
battery should remain plunged only when the 
battery is in use. 

Trouve's Solution for Bichromate Batteries.— 
The proportional parts by weight are: Bichro- 
mate of potash, 1; sulphuric acid, 3; water, 
6 - 6. To charge a gallon of water, accord- 
ing to M. Trouve's method, dissolve in it 24 oz. 
(1% lb.) of bichromate of potash, and then 
add slowly, 72 oz. (9 lb.) of sulphuric acid, bear- 
ing in mind that 8 fl. oz. equal 1 lb., not 16, as 
in dry measure. 

Carbons, to Out.— Carbons can be cut with a 
handsaw moistened with water. Also by 
scratching deeply and breaking on the scratch. 

Plastic Carbon for Batteries.— Max Nitsche- 
Niesky recommends the following- in Neueste 
Erftnduuy: Good coke is ground and mixed 
with coal tar to a stiff dough and pressed into 
moulds made of iron and brass. After drying 
for a few days in a closed place, it is heated in 
a furnace where it is protected from the direct 
flames and burned, feebly at first, then strong- 
ly, the fire being gradually raised to white heat, 
which is maintained for six or eight hours. 
The fire is then permitted to slowly go down, 
and when perfectly cold the carbon is taken 
out of the furnace. 

A Home-made Daniell.— The following method 
of constructing a voltaic couple, or a home- 
made Daniell cell, may be of interest to the 
student: Select a small, round earthenware 
jar, such as is used for keeping preserves, and 
having lined the bottom with gutta percha, or 
some suitable cement, to the depth of % in., 
fix upright in this a rod of zinc, of equal height 
with the jar, to which a length of copper wire 
has been attached bypassing it through a hole 
drilled in the upper part of the zinc rod, or by 
soldering. Make a cylinder of pipe clay, or 
other porous clay, larger than the zinc rod, and 
having dried it, make it hot in the fire by de- 
grees, till it attains a red heat. Let this cylin- 
der cool gently, and when cold place it in the 
jar round the center rod, encircling it a little 
distance. By moderately heating the end of 
the cylinder it will, when placed on the gutta 
percha, make a groove which will fix the tube, 
and prevent infiltration of the fluids. Line 



Batteries. 



28 



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Batteries. 



29 



Beers. 









fihe inside of the jar with a plate of thin cop- 
per bent into cylindrical form and having a 
lew holes punched in it, through which may 
be threaded the extremity of another length 
of copper wire. On the top of this cylinder 
place a flat ring of copper pierced with holes, 
and nearly, but not quite, touching the porous 
cylinder. This forms the battery. To charge 
it, the Electrician gives a saturated solution of 
sulphate of copper poured between the copper 
; and the clay tube, and some crystals of the 
same salt are placed upon the perforated ring, 
so as just to be in contact with the solution. 
The zinc compartment is then to be filled with 
a solution of sulphate of zinc, sal ammoniac, 
or common salt. 

£>r,y.— A good effect can be obtained from a 
paste of plaster of Paris 1 lb.; oxide of zinc, 
34 lb.; saturated solution of chloride of zinc, 
enough to make a thick paste. They are very 
good for medical coils. 

1 Filling for Dry Batteries.— Charcoal, 3 parts ; 
rpiineral carbon or graphite, 1 part ; peroxide of 
• manganese, 3 parts; lime hydrate, 1 part; 
■white arsenic (oxide), 1 part ; and a mixture of 
.glucose and dextrine or starch, 1 part ; all by 
weight. These are intimately mixed dry and 
then worked into a paste of proper consistency 
with a fluid solution composed of equal parts of 
a saturated solution of chloride of ammonium 
and chloride of sodium in water, to which is 
added 1-10 volume of a solution of bichloride 
mercury and an equal volume of hydrochloric 
acid. The fluid is added gradually and the 
mass well worked up. 

To Make a Leclanche Battery. —Place in a 
porous cell a rod or plate of carbon, and fill 
the cell with coarsely powdered black oxide of 
manganese and clean coke or retort carbon. 
Seal the top, leaving two holes for the air to 
escape when the cell is set up. This cement, 
for the top, may be made of black pitch. Place 
the porous cell in any old jar of the same height 
containing a saturated solution of sal ammo- 
niac and a rod of zinc. 

Agglomerate Leclanches.— MM. Bender and 
Frahcken give the following recipe for mak- 
ing agglomerate Leclanche cells: Manganese 
peroxide, 4A%; graphite,, 4$; gas tar, 9%; sul- 
phur, 0'6 ; water, 6*4. These substances, says 
the Revue Scientifique, are reduced to a line 
powder— gas tar and water apparently includ- 
ed — they are then carefully mixed, placed in a 
mould, and strongly compressed. The mix- 
ture is then gradually raised to a temperature 
of 350° C, which not only evaporates the water 
but also drives off the volatile elements of the 
.gas tar. This result is aided by the presence of 
the sulphur. A portion of the sulphur com- 
bines with the gases, derived from the tar and 
-disappears, while the remainder is said to com- 
bine with the solid ingredients, producing an 
unassailable compound, by a transformation 
analogous to that of the vulcanization of India 
rubber. 

Battery Pomade, for checking the creeping of 
solutions in cells ; parafOne wax, 2 parts ; vase- 
line, 1 part ; melted together. Egyptian as- 
phalt is good. 

Salt.— To prepare batter y salt for Grenet 
batteries : It may be prepared by triturating 
together in a dry atmosphere: potassium 
i dichromate, about 4 lb.; sulphuric acid, sp. 
: gr. 1*8, about 1 lb. The dichromate should be 
1 perfectly dry, and the acid may, with advan- 
i tage, be warm. The mixture should be kept 
ifrom the air in glass, to preserve it in the dry 
/State, as it is very hygroscopic. Its oxidizing 
'action is so strong that it very quickly destroys 
.organic matters by contact at ordinary tem- 
peratures. 

Battery Solution.— Bottone's battery solution 
•consists of chromic acid 6 parts, water 20 parts, 
chlorate of potash y% part, and sulphuric acid 
3^ parts by weight. There is no danger, pro- 
vided the chlorate of potash be dissolved be- 



fore the sulphuric acid is added. The addition 
of chlorate of potash to sodium bichromate 
gives it greater staying powers ; but not so 
markedly as in the case of chromic acid, unless, 
indeed, a large excess of sulphuric acid is used 
to neutralize both the sodium and potassium. 

Bandoin's Alloy. See Alloys. 

Bauxite.— A hydrated aluminous ferric 
oxide. It contains about 60 % of alumina, 20 % 
of ferric oxide, 15 to 20 % of water, and from 
1 to 3% of silica. It is a highly refractory 
body, and is used in the manufacture of bauxite 
bricks. 

Scale's Cement. See Cements. 

Bearings, Brasses for. See Alloys. 

Bear's Grease. See Pomades (Oils). 

Beaumontague or Bomontague,- This 
term is applied in the shops to any compound 
employed for the filling up of holes for pur- 
poses of concealment. 

Beauty. See Cosmetics and the Skin. 

Beef, to Corn. — There are many recipes. 
We give one. To each gallon of water add iy 2 
lb. salt, % lb. sugar, y 2 oz. saltpeter, and y, oz. 
potash. Boil, skim, and when cold pour over 
the meat. 

Beef Tea.— Bouillon, for Dispensing.— Con- 
centrated extract of beef, 12 oz.; table salt, 3 
oz.; essence or tincture of celery, iy oz. or 3 
oz. respectively ; powdered arrow-root, iy oz.; 
essence of oiange or lemon, iy oz.; hot water, 
3 qts.; if desired about \y dr. of tincture of 
capsicum may be added. Dissolve the extract 
of beef, arrow-root and salt in hot water ; the 
other ingredients may then be added. Only a 
small quantity should be prepared at a time. 

Beef, Iron and Wine.— Liebig's extract 
of beef y oz. av\, ammonio-citrate of iron 256 
gr., spirit of orange y 2 fl. oz., distilled water 
1\4 A- oz., sherry wine sufficient to make 16 fl. 
oz. Dissolve the ammonio-citrate of iron in 
the water, dissolve the extract of beef in the 
sherry wine, add the spirit of orange and mix 
the solutions. 

Beef, Iron and "Wine for Soda Foun- 
tains.— Beef, iron and wine, 1 oz.; vanilla 
sirup, 3 oz. 

For Dispensing. — For 2 qts. : concentrated ex- 
tract of beef, 2 oz.; pyrophosphate iron, y gr. 
(dissolve in y pt. boiling water). Add tincture 
curacoa, 2 oz.; tincture orange peel, 2 oz.; sirup, 
12H oz.; alcohol, 12y oz.; solution citrate of 
ammonia, 2 oz.; sherry wine, 23 oz. 

Beers.— Ginger Beer.—l. Jamaica ginger, 2y 
oz.; moist sugar, 3 lb.; cream tartar, 1 oz.; juice 
and peel of 2 lemons ; brandy, y pint ; good ale 
yeast, *4 pt.; water, dy gal. This will produce 
iy doz. bottles of excellent ginger beer, which 
will keep twelve months. Boil the ginger and 
sugar for 20 minutes in the water, slice the 
lemons, and put them and the cream of tartar 
in a large pan ; pour the boiling liquor over 
them, and stir well; when milk warm, add the 
yeast; cover and let it remain 2 or 3 days, skim- 
ming frequently ; strain through a cloth into 
a cask, and add the brandy. Bung down very 
close; at the end of two weeks, draw off and 
bottle, cork very tightly. If it does not work 
well, add a very little more yeast. 

2. Brown sugar, 21b.; boiling water, 2 gal.; 
cream of tartar, 1 oz.; bruised ginger root, 2 
oz. Infuse the ginger in the boiling water, add 
your sugar and cream of tartar ; when luke- 
warm strain; then add half pint good yeast. 
Let it stand all night, then bottle ; if you 
desire, you can add one lemon and the white of 
an egg to fine it. 

3. English. Ginger Beer.— 3 gal. water, 6oz. pul- 
verized ginger ; 4 lb. sugar ; 4 oz. cream tartar. 
Boil, and when cold add 2 tablespoonfuls of 
yeast. Allow it to stand over night, then filter 
and bottle. 



Beers. 



30 



Beers. 



4. Ginger Beer Po wder.— Jamaica ginger, 
powdered, 1 oz.; sodium bicarbonate, 7 oz.; 
sugar, 1% lb.; 1 n. dr. oil of lemon. Make into 
powders. 

5. Ginger Beer Powders. — The London Chemist 
and Druggist says that a powder may be pre- 
pared thus: ginger, bruised, 3*& oz.; cream of 
tartar, % oz.; essence of lemon, 4 drops. Mix. 
Some sugar may be added if it be thought de- 
sirable to make the packet look bigger. For use 
this powder is to be added to a gallon of boil- 
ing water, in which dissolve 1 lb. of lump 
sugar, and when the mixture is nearly cool two 
or three tablespoonfuls of yeast are to be 
added. The mixture should be set aside to 
work for four days, when it may be strained 
and bottled. 

Hop Beer.— Water, 5 quarts ; hops, 6 oz. Boil 
three hours, strain the liquor, add water, 5 
quarts ; bruised ginger, 4 oz. ; and boil a little 
longer, strain, and add 4 lb. of sugar ; and 
when milk warm, 1 pint of yeast. Let it fer- 
ment ; in 24 hours it is ready for bottling. 

Lemon Beer. — 1. Boiling water, 1 gal.; lemon, 
sliced, 1 ; bruised ginger, 1 oz.; yeast, 1 teacup- 
f ul ; sugar, 1 lb. Let it stand 12 to 20 hours, and 
it is ready to be bottled. 

2. Put in a keg 1 gal. of water ; 1 sliced lemon ; 
1 tablespoon ginger ; 1 pt. sirup ; 34 pt. yeast. 
Ready for use in 24 hours. If bottled, tie down 
the corks. 

Maple. — 1. To 4 gal. of boiling water add 1 
qt. of maple sirup, 34 oz. of essence of spruce ; 
add 1 pt. of yeast, and proceed as with ginger 
pop. 

2. To 4 gal. of boiling water, add 1 qt. of 
maple sirup, 34 oz. of essence of spruce, and 1 
pt. of yeast. Let it ferment for 24 hours, and 
then strain and bottle it. In a week or more 
it will be ready for use. 

3. Boiling water, 6 gal.; maple sirup, 134 qt.; 
essence of spruce, '4i oz.; add 1J4 pt. yeast. 

Molasses Beer. — Take 14 lb. molasses ; l l / 2 lb. 
hops ; 36 gal. water ; 1 lb. yeast. Boil the hops 
in the water, add the molasses and ferment. 

Ottawa Beer. — Sassafras, allspice, yellow dock, 
wintergreen, 1 oz. each ; wild cherry bark and 
coriander, 34 oz.; hops, 34 oz.; molasses, 3 qt. 
Put boiling water on the ingredients, and let 
them stand 24 hours. Filter, and add 34 Pt • of 
brewer's yeast. Leave again 24 hours, then put 
it in an ice cooler, and it is ready for use. It is 
a wholesome drink, if it is used in moderation. 

Peruvian Beer, Carbonated.— To 34 gal. of 
sirup add 1 oz. of extract of cinchona or 
Peruvian bark. This may be flavored with 1 
oz. essence sarsaparilla or root beer. 

Root Beer.—l. To 5 gal. of boiling water add 
134 gal. of moiasses. Allow it to stand for 3 
hours, then add bruised sassafras bark, winter- 
green bark, sarsaparilla root, of each 34 lb., and 
y 2 pt. of fresh yeast, water enough to make 15 
to 17 gal. After this has fermented for 12 
hours it can be drawn off and bottled. 

2. Pour boiling water on 2V 2 oz. sassafras; 134 
oz. wild cherry bark ; 2J4 oz. allspice ; 2)4 oz. 
wintergreen bark ; 34 oz. hops ; 34 oz. coriander 
seed ; 2 gal. molasses. Let the mixture stand 
1 day. Strain, add 1 pt. yeast, enough water to 
make 15 gal. This beer may be bottled the fol- 
lowing day. 

3. Sarsaparilla, 1 lb ; spice wood, 34 lb.; 
guaiacum chips, 34 lb.; birch bark, % lb.; 
ginger, 34 oz.; sassafras, 2 oz.; prickly ash bark, 
34 oz.; hops, J4 oz. Boil for 12 hours over a 
moderate fire with sufficient water, so that the 
remainder shall measure 3 gal., to which add 
tincture of ginger, 4 oz.; oil of wintergreen, 34 
oz.; alcohol, 1 pt. This prevents fermentation. 
To make root beer, take of this decoction, 1 
qt.; molasses, 8 oz.; water, 2J4 gal.; yeast, 4 oz. 
This will soon ferment and produce a good, 
drinkable beverage. The root beer should be 
mixed, in warm weather, the evening be tore it 
is used, and can be kept for use either bottled 
or drawn by a common beer pump. Most 



people prefer a small addition of wild chei <$ 
bitters or hot drops to the above beer. 

Spruce Beer.—l. Hops, 2 oz.; chip sassafras, - 
oz.; water, 10 gal. Boil half an hour, straii 
add brown sugar, 7 lb.; essence of spruce, 1 c 
essence of ginger, 1 oz.; ground pimento, % 
Put in a cask and cool, add 1J4 pt. of yeast, 
it stand 24 hours, fine, draAV it off to bottle. 

2. Hops, 8 oz.; chip sassafras, 2 oz.; water, 
gal. Boil half an hour, strain, and add bro\ 
sugar, 7 lb.; essence of spruce, 1 oz.; essence 
ginger, 1 oz.; ground pimento, 34 Oz. Put in 
a cask, and cool, add 134 pt. yeast, let it sta: 
24 hours, fine, draw it off to bottle. 

3. To 6 gal. of water add 1 pt. essence 
spruce ; 10 oz. of pimento ; 10 oz. ginger ; 1 j 
hops. After boiling about 10 minutes, add 
lb. of moist sugar and 22 gal. of warm wal 
When the ingredients are well mixed, and lu 
warm, add 1 qt. yeast. Let it ferment 24 hor 
Strain and bottle. 

4. Sugar, lib.; essence of spi ' "" 1 , 
ing water, 1 gal.; mix well anu . 

cold add 34 a wineglass of yeast, anu ' ' - '• 

day bottle. 

5. Essence of spruce, 34 pt-; pimento ai 
ginger (bruised), of each, 5 oz.; hops, 34 lb- 
water, 3 gal.; boil the whole for 10 minute? 
then add of moist sugar, 12 lb.; warm water, 
gal.; mix well and when lukewarm add 1 pt. 
yeast. After the liquor has fermented f 
about 24 hours, bottle it. 

6. Water, 16 gallons ; boil half, put the wa 
thus boiled to the reserved cold half, whi 
should be previously put into a barrel or otl 
vessel; then add 161b. molasses, with a f 
spoonfuls of the essence of spruce, stirring t 
whole together; add half pint of yeast, ai 
keep it in a temperate situation with the bur. 
hole open for two days, or till f ermentatic 
subsides ; then close it up or bottle it off, ac 
it will be fit to drink in a few days. 

White Spruce Beer.— 5 lb. loaf sugar a 
dissolved in 5 gallons of boiling water, thei 
fl. oz. of spruce are added. When almost co 
add a gill of yeast. Place in warm place ai 
after 24 hours strain through a piece of flann. 
and bottle. 

Table Beer.—" Table beer of a superior quali^ 
may be brewed in the following manner, a pr 
cess Avell worth the attention of the gentlema 
the mechanic, and the farmer, whereby tl 
beer is altogether prevented from working ou 
of the cask, and the fermentation conduct! * 
without any apparent admission of the exte 
nal air. I have made the scale for one barr« 
in order to make it more generally useful 
the community at large; however, the sai 
proportions will answer for a -greater or h 
quantity, only proportioning the materials a 
utensils. Take one peck of good malt, groui 
1 lb. of hops, put them in twenty gallons 
water, and boil them for half an hour; th 
run them into a hair cloth bag or sieve, so 
to keep back the hops and malt from the wo 
which, when cooled down to 60° by Fahrt 
heit's thermometer, add to it 2 gallons of rt 
lasses, with 1 pint, or a little less, of good ye ■* 
Mix these with your wort, and put the wh 
into a clean barrel, and fill it up with c< 
water to within six inches of the bung h 
(this space is requisite to leave room fori 
mentation), bung down tight. If brewed 
family use, would recommend putting in 
cock at the same time, as it will prevent 
necessity of disturbing the cask afterw; 
in one fortnight this beer may be drawn t 
will be found to improve.''— Eng. Mech. 

Beer Tonic. —Plain sirup, 22° Baume, 5 gz 
oil of wintergreen, 2 dr.; oil of sassafras, 2 ( 
oil of allspice, 34 dr.; oil of sweet orange, 2 1 
Mix the oil with 12 oz. of alcohol and add 
the plain sirup. Then add 35 gal. of water 
blood heat, and ferment with sufficient yea 
To this add 1 dr. of salicylic acid dissolved 
conjunction with 1 dr. of baking soda ir 
small glass of water. After it has ceased eff 



Bees. 



m 



American BotUc, be obst ™ted by it.- 

warming, and theref n^ t ho\/o condlt i on when 

no l also wheS retuS ngSentn^- ai ; mJess 
. Neither rir> + 1,^ „++ 8 i f daen to their hives 

righteSg. Wefr^hgSsbv h?n thorou ^f 
mong them or ■ fivrlSmfJfn b y blowing smoke 
n their hives 3 WhoS 1 ^ 8 rather violently 
ive by Tmoke orloncustSnThf^T^ in a 
mlse is to fill their hSn?vH'o thei J first im " 
^mbs. 4. Bees in » wL^ bafir ? lrom their 
§ing rapped IoSn?r w f . * hat I? constantly 
sh^oldlFout f?om amoL m + >f - ±ew minutes 

Beetle- to Exterminate. - Red lead 
^ ar, equal parts, mix; % r !nUe 

Bell Metal. See Alloys 

SS^^tJfJ^gd be run with the 
Belting, to Cement. See Cem™** 

/iping- the inside unt hi i,-^?. ei% , and finally 
line uponac oth wh " l n ,f tha f <**«£ 
- >elt. The pulley shV)iil/^i f ly restore the 
he belting has Vpn^iJ? 6 , clea ned also. If 
^ould be thrown aw?/ Weak and rotten, it 

-SSSS to o^SFfeSl'sS? of a belt should 

re but laid off with 2toS ' f heT.i at by the 

> be made with a «m«.ii U ? boles ought 

istance f ronT the end? th£ Upch at a Proper 

md the distances of th-™ V ize of the holes 

Tidthof the belt The Sn?o Pendi , n §' ou the 

ensible,forthe holel£? fl nt a t^ wl is re P re " 

ular by it, and much la^tha nth ^^ e W 

£ . The end of the lace slioniri L th + ^ ls need 

square knot in the mfddfp n+- ^ tied with a 

the corners of the bSt whP»?-^ e out side, f or 

*posed and apt to whip ou ">£? are most 

.,ce does not looksonSt « c ^ Tym ^ a be lt 

re put through an iSSSnn 7 h + r P - the end s 

■e belt from having SS?n? tying saves 

»e laces ought to he <S ^ oles made in ". 

om end to end, or as ne fl rii h £ Same thickness 

ten happens that w?«?£ rly so as Possible. It 

them ; P S shou d he kKS- f Gry £ hin S P°^ 

dneverused fSi Mono- onS *% sbort belts, 

les must be mad^ ^+^ e , s - , Moreover, the 

d ?ottoom^n?o?them q p a i^ ances a P art 
6 belt, and none ? S5' J P^ y hole weakens 
=entiai should b?cut a n re no f a bsolutely 
w belts, should be 8 u2t?h5 laCG \ as weI * 
ghts on them before SpS by han gmg' 

*7. neat's-fooToli is^bSt^nf g ^ 

'StfZsZne h inSTit^ the belt a * the 

of tf e beKS d ^ n l h ^. t la ^g through one 

responding hole or thi V^h through the 

h laying it T diagonally off to ?ho C Pl of the 

I the other enfoftK e i°n??h lett ' , Now 

3 last used, and carrvft m^fh* « roug:h the 

t he lacing on the inside of th h ? V st strand 

trough the first" hole used »nH e i ^ ? assin ^ 

7 off to the rio-ht S ~ ' and lay Jt diagon- 

ing throulhX holS olPtSSSt t0 PaSS the 

! tke belt obh^^sr&lfcf S t re 



tnen U r?^n% h h°ila^^ of the belt, 

ward the center of thP S+ reverse order to- 
the oblique sSaSi^andmkke^i^fh 3 ^ 8 ^ 11 
strands double. Finally ^ X* 11 t i ie msi ^ 
lacing through the fliJt ffil tbe ^ end of the 
ward through an awlhole tnen™^ then - out " 
down to cause it to hofd ' Th? w f mn ?ering it 
be laced in a similar way Slde ist o 

Slipping of Leather Belt* -Th* a v ■ 
belts is a great annoyance not II sllD P in ^ of 
by tightening. i Whpn n n ^„ i ways re medied 
manded for a slipping tSlt tK^^ is de " 
as whiting, sprinkled spariio.? v P ^ n vd t e h r kn own 

Phc h a? io b ^ 1S leaSt ^r^nTol^anT ^Taf. 

lea'th^lna^SS^I^ "ft s °on dries the 
to get it out ; of the TleKv^h lt is difl Bcult 

TT^e^S 

close of Vork "te tette^nd^ 11 ^ af *er tne 
Plied when the belt is L?^!!^" the oil a P" 
or wash a belt while st?S -h}/ dry lu Never oil 
If iron-faced pulleys were ^« kL ° n 1 the P ul leys. 
leather, there woufd rfefttfoT^ 8 ? a ^ ed Wlt h 
slipping of belte. Zt of ten ?hS m « plai - nt of the 
to too much strain on the h iV 1 ^ pin8 '. lsdue 
nomy in running ■ w?dP bS? 1 ; tb J ere is eco " 
the usual practice M a n V » ^-wider than is 
to do duty for a four S K th ^ e ?- incn belt has 
ance of the opeffi 2nr T thS elt '- to . the anQ oy- 
x 4. A Piece of rubbe?b2it?n e r J? in * of the belt . 
the belt puUey of an iJfiSl! 1 ^ tastened around 
from slipping n engme wjl1 keep the belt 

sideSS&^o?^^ cubbed on thein- 
ary remedy in C ase?ofpmo PUjleys as a tempor. 
proper si JSlg fSd 1 puhSvf G ?' th ? u ^ h ^ith 
there should not SSS^fc £5^^* in ' 

be^t^uT&^d 8 mir^n ° f ^™b- 
partsoilof tu?pe2Sne?n«n^ together with 5 
vessel; then add fpaits oA^V eli covered 
and add 4 parts of yeHow w« v S l? W - elJ ' melt ' 
stantly while meltin " T-^ ax ' st ^ring con- 
warm is added with 8 ™ T + hls mixture while 
melted mixture of 15 nSSfW s , tirr mg, to a 
of tallow, and the who^p i?«?> h + 0l i and 5 P art s 
congealed. The miss 15Sf ,ff- a ^ e< ! until « has 
upon both sides inawal p P ied t0 o]d belts 
belts are in use, f r ? nY^Si't^ti^ when the 
inner side. By this s trea mPn ft u ^ n the 
very durable.- Chem tVuEffii * he y become 
lubrication. <~entralhlatt. See also 

sayTruS frain sid? tn'7h A11 % n 6 best belt makers 
ed tha 3 3 | mSre p wr A?, U ^ ey ' £ nd jt '« cl£m! 
than with the fle P sr s Se nlxtfhp e ^n nSmi " ed 
gram of the leather L! « 1 P uJJe V- The 
which enables it to hii^th a ve vety surface, 
will the hard flesh sfil th e Pulley closer than 
flesh side to the pullev f oV «™ m f 1 U ^ ers run the 
d aub and stick up tteMtW and then 
resin to make it take hold h,,7th- b ^ eswax or 
npmical for the life of ? h'J} * 1S 1S not ec °- 
bke, and there is ahvavs mn ' A S unw orkman- 
in running machineri ^ e °l les , s iussiness < 
treated, instead of l heir v,? the be ltsareso 
without any attention as E'S £° r years 
do when run grain side tntL 11 , 1 SOmetimes 

4 oz.; precipitated oSi? • : Lin seed oil, 

d ry over a stove at °i&¥ / inc ' : oz - and 

When thoi-ouffhlv d?v 1 "^ ° ver 160 ° Fa h. 

pumice powder and lnnu" ghen ^ y mean s of 

i>ry as before and variSii?.^^ 1, eoatin ^ 
varnish. «*rmsn with amber or copal 



Benedictine. 



32 



Beverages. 



Benedictine. See Liquors. 

Bengal Lights. See Pyrotechny. 

Benzine.— An ethereal hydrocarbon, ob- 
tained in many ways, principally from the dis- 
tillation of petroleum. It is very useful in the 
arts as a solvent and for the removal of grease 
spots, etc. 

To Deodorize Benzine— 1. Shake repeatedly 
with fresh portions of metallic quicksilver. 
Let it stand for 2 days, then rectify, or shake 
with plumbate of soda (oxide of lead dissolved 
in caustic soda), then rectify. 

2. Digest litharge in strong solution of soda, 
and shake the benzine up with this. 

3. The Scientific American states that the dis- 
agreeable odor of benzine can be removed by 
shaking repeatedly with plumbate of soda, 
made by dissolving oxide of lead in caustic 
soda, and rectifying. Simply shaking with 
charcoal and Altering will partially remove the 
odor. 

Benzoate.— A salt in which one atom of 
benzoic acid is replaced by a metal or other 
basic radical. 

Benzoic Acid.— A vegetable principle of 
feebly acid properties, existing in gum ben- 
zoin. When pure it forms light and soft white 
scales of a sweetish acrid taste soluble in 25 
parts of hot and about 200 parts of cold water. 
At a strong heat, it is entirely volatilized, and 
is deposited on any cold surface. 

Benzoin.— The balsamic resin exuded from 
incisions made in the stem of the Styrax benzoin, 
a native of Sumatra, Borneo, Laos, and Siam. 
Several varieties of benzoin are in the market, 
two, however, are chiefly used in medicine, one 
in agglutinated masses, the other (from Siam) 
in tears, being the purer, and having the 
stronger odor. Odor agreeable and somewhat 
like that of vanilla, but more balsamic. It 
fuses at a gentle heat. 

Benzol, True.— A peculiar ethereal hy- 
drocarbon discovered by Faraday, among the 
products of the destructive distillation of 
whale oil and other organic substances (1825) ; 
and subsequently shown by Mitscherlich to 
form the principal ingredient in the distillate 
procured by the action of heat on a mixture of 
benzoic acid and hydrate of lime. In 1849, Mr, 
C. B. Mansfield discovered its presence in coal 
tar naphtha, from which the benzol of commerce 
is now chiefly if not wholly obtained. 

Berries, Persian.— Known also as French, 
Avignon, and Turkey berries. These berries 
are the fruit of Bhamnus infectorus, B, saxa- 
tilis, B. amygdalinus, the dyer's buckthorn, 
small trees which grow in France, Spain, the 
Mediterranean islands, and Turkey. The quality 
of the berries differs considerably according to 
the locality where they are grown. Some of 
the berries are large and greenish, while others 
are smaller, brown and wrinkled, the coloring 
principle in the two kinds being distinct. 

Beton. See Cements. 

Beverages. See Beers, Liquors and 
Cordials, Waters, and Wines, etc., and 
the names of separate drinks, as Punches, 
Sherry Cobblers, etc. 

Bounce, Cherry— To 6 gal. cherry juice add 
j-o gal. 80 ^spirit; 15 gal. Catalonia or Marseilles 
wine; V/% oz. essence noyau; 34 lb. cinnamon, 
ground and infused in 34 gal. water ; J4 lb. of 
cloves, ground, infused in 34 gal. of water; % 
oz. of mace infused in y z pt. 95 % alcohol. Mix 
all the above ingredients in a clean barrel, and 
add 30 gal. sugar sirup, 13° Beaumur. Stir up 
all the ingredients well together, and filter 
alter 4 or 5 days. Make the color a little darker 
with sugar coloring, an. to give a good shade 
add a little archil. 

Champagne a la Minute.— Put into a pitcher 
or bowl 2 teaspoonf uls of carbonate of soda 



and about 2 oz. of finely powdered sugar; 
pour upon these 1 quart of sharp cider, and 
you have a very pleasant imitation of cham- 
pagne. 

Claret Beverage.— To 1 quart of orangeade add 
a bottle of claret and freeze as for iced coffee. 

Cocoanut Beverage.— To 2 grated cocoanuts 
with their milk add 2 quarts pure water ; place 
over the fire and boil for 5 or 6 minutes, stirring 
constantly with a wooden spatula ; then strain 
through a hair sieve. Add to the liquid 12 oz. 
of pulverized sugar; mix well together and 
ice. This is a delightfully cooling beverage. 

Iced Tea or Coffee.— Make a strong infusion 
of tea or coffee ; fill a pitcher or bowl with 
broken ice; upon this pour the infusion and 
sweeten to taste. 

Iced Coffee Beverage.— Makel quart of strong 
coffee, to which add 1 pint of simple sirup ; 
mix well and put into a freezer, and freeze just 
sufficiently to admit of its being poured into 
glasses for use. 

Egg FMp.—Beev, 1 pint ; eggs, 3 ; sugar, 2 oz.; 
nutmeg and ginger, sufficient. Break the eggs 
into one-half of the beer ; add the sugar, and 
beat well together ; then place it in a clean 
warmer, and heat it over the fire to nearly the 
boiling* point, stirring it all the time, but do 
not let it boil : next add the other portion of 
the beer and the spices, and mix well together. 
Some persons add a glass of spnits. Care must 
be taken not to let it boil, as, if it does, the 
eggs will separate. 

Egg Nog.— Take the yelks of 8 eggs, and beat 
with them 6 large spoonfuls of pulverized loaf 
sugar ; when this is a cream, add the third part 
of a nutmeg, grated ; into this stir one tum- 
blerful of good brandy, and a wineglassful of 
good Madeira wine; mix them well together; 
have ready the whites of the eggs beaten to a 
stiff froth, and beat them into the mixture; 
when all are well mixed, add three pints of 
rich milk. 

English Rumfiistian, Winter or Summer. — 
Whisk well up the yelks of a dozen eggs, and 
add them to a quart of strong beer ; to this is 
added a pint of gin. Put into a saucepan half a 
pound of loaf sugar, a grated nutmeg and a stick 
of cinnamon, and the yellow rind of one lemon. 
Pour over these a bottle of sherry wine ; place 
upon the fire, and when the wine boils pour it 
upon the gin and beer; mix well and drink hot, 
or it may be cooled and iced. 

Cooling Fever Drink.— Vinegar, 1 lb.; honey, 
2 lb. ; water, 6 lb.; mix. 

German Beverage.— -To 1 pint of orgeat sirup 
add 3^ gill of rum, 1 gill Kirschenwasser, and 1 
quart of Seltzer water. Now ice. 

Holland Beverage.— Make a inch lemonade or 
lemon ice, and to every three quarts add 1 pint 
of the best Holland gin. 

Imperial Beverage.— Pare off the yellow rind 
or zest from 1 fresh lemon ; add it to 1 quart of 
cream. Place upon the fire and bring it to the 
boiling point, stirring continually ; now remove 
and continue to stir until quite cold. Sweeten 
with powdered sugar to your taste. Strain the 
juice of four lemons into china bowl, pour the 
cream slowly upon the juice, holding the vessel 
containing it 2 feet above the bowl ; stir well 
together, and let it stand two hours before 
using it. 

Jove's Nectar.— For 3 gallons, peel the yellow 
rind from 13^ doz. fresh lemons, very thin, and 
steep the peelings for 48 hours in a gallon of 
brandy; then add the juice of the lemons, with 5 
quarts of water, 3 lb. loaf sugar, and 2 nutmegs, 
grated; stir it till the sugar is completely dissolv- 
ed, then pour in 3 quarts of new milk, boiling 
hot, and let it stand 2 hours, after which run it 
through a jelly bag till it is fine. This is fit f or 
immediate use, but may be kept for years in 
bottles, and will be improved by age. 

Narranada.— To 4 quarts of rich orangeade 
add 2 lemons and 2 oranges, cut into thin slices 
crosswise, and one pint Schiedam schnapps. Mix 
well and ice. 



Bibra's Metal. 



33 



Bile*. 



..Orgeat Beverage. -Blanch 1 lb. sweet and 1 oz 
bitter almonds ; put them into a stone mortar 
and pound them to a fine paste, with 1 wine- 
glassful of orange flower water ; then add and 
rub in by degrees V> pt. rose water and IV, pt 
pure water Strain through a hair sieve and 
add it to 3 pt. simple sirup ; place it upon the 
fire and boil up for 1 minute, remove and bottle 
A tablespoonful of this added to tumbler of 
ice water, soda, or Seltzer, is a pleasant and re- 
freshing drink. 

Soda Negus.— Put 1 pt. port wine, with V± lb 
white sugar, y 2 doz. cloves, y A of a nutmeg grat- 
ed into a saucepan; make it hot, but do not let 
it boil; pour it into a bowl, and upon the warm 
wine decant 2 bottles of soda water 

Spanish Beverage.— To % lb. sugar and 6 oz 
pounded almonds, as for orgeat, add 1 pt. grape 
juice and 3 pt water. Mix well together and 
filter. It should then be iced. 

Spanish Beverage. - To 3 pt. rich lemonade 
add 1 bottle claret and M>, a nutmeg, grated 

1 urkish Beverage— Put any quantity fresh 
ripe grapes, picked from their stalks, into an 
earthen pan, cover them with boiling water and 
set in a warm situation for four or five hours to 
infuse, after which strain off the liquid, sweeten 
it to your taste, place in a freezing can and half 
freeze. Grated pineapple prepared as above 
forms also a delicious beverage. 
West India Tipples.-To a tumbler filled two- 

nSiwiT! 18 ' 16 ' add a wineglass of brandy 
and fill to the brim with green lime juice. To a 
tumbler of punch add a teaspoonf id of extract 
of Jamaica ginger, and a little sirup of fine 
sugar. To a tumbler of ice cold water add the 
juice of three ripe limes, and sweeten to your 
taste. These are very refreshing and health- 
ful beverages for the hot season. 

Bibra's Metal. See Alloys. 

Brickwork, Efflorescence on. —This 
white coating which is such a disfigurement can 
usually be prevented by adding oil to the mor- 
tar at the rate of 1 gal. to the cask of lime. 
-Linseed od or any oil not saline will do. If cement 
is used, an extra gaUon of oil must be used. 
When mcrustrations are once formed, nothing 
can be done except to wash with ddute hydro" 
chloric acid. J 

Bicycles, Enamel for. See Enameling 

,« B » C Z Cle Tires ' Cemeilt *>r. See Ce- 
menis. 

Bidery. See Alloys. 
Bilberry Wine. See Wines. 
Billiard Balls, to Color. See Dyeing. 
Bird Cages, to Paint. See Paints. 

^4- B K r u 1 i nie '~ ? re V- Boil the middle bark 
of the hohy, gathered in June or July, for Tor 
i™iSr ter ; until it becomes tender ; then 
drain off the water, and place it in a pit under 

stones. Leave it to ferment for two or three 
weeks until it forms a sort of mucilage which 
must be pounded in a mortar, intoima^S 

wlter ^n^pi^m the h ^ ds ' ^ ^nnmg 
JK 'i u, o al1 the refuse is worked out; then 
lwVV n a , n earthen vessel, and leave it for 
SS«ri5 Ve ^?r t0 ferment and purify itself! 
m?SptS : >,o Bl -* dll ^ e ^ ay also be mad e from 
™S ^ bemes V t t? bark of the wayfaring tree 
ShnmS ?« r v f W? 1 ? 8 '* b ^ a similar Process. 
n£S5?J n £ oflt stlc K to the hands, it may be 
tnm= V ™+ by me . ans of a little oil of lemon bot- 
fn m Q S ;^ r K UI ? entine - Vse - To rub over twigs 
rWntS^ lrC S or sma ^ animals. It is said to be 
aiscutient when apphed externally. 

r-n?!? 1 ^'! Rocking, Food for.-6 parts 
mJ». ?^ ? P. arts pea meal, and 3 parts moss 
£S ( A h ^ h 1S dried < ground German moss 
seeoj. Add a very little lard, melted, and 



molasses to sweeten. This preparation is put 
in a covered jar, after having been fried for Half 

Th- o h0 ^V bem f stii ; red a11 tbe time it cooks. 
This will keep lor a length of time. 

Birds, Singing, German Paste for 

Feeding. -Blanched sweet almonds, 1% lb.- 
pea meal 3 lb.; butter, 4^ oz.; a few grain! saf- 
f o r0 2M hone ^- s - Fo™ into a paste, and granu- 
late by passing through a colander. The yelks 
of 2 eggs may be added. 

Bird Skins, to Preserve.— Make an in- 
cision from the breastbone to the vent • with a 
small piece of wood work the skin from the 
flesh. When the leg is reached, cut through the 
knee joint and clear the shank as far as possi- 
sible, then wind a bit of cotton wool on which 
some arsenical soap has been put round the 
bone; do the same with the other lea-. Now 
divide spine from root of tail, taking care not 
to cut too near the tail feathers, or they will 
come out. Next skin the wings as far as possi- 
ble and cut off. The skin will now be entirely 
clear of the body. The skin must now be turned 
inside out and the neck and skin gently pulled 
in opposite directions till the eyeballs are f ullv 
exposed. The whole of the back of the head 
may be cut off and the eyes and brains taken 
out and their places filled with cotton wool 
lhe whole skin should be rubbed well with 
arsenical soap or plain arsenic, and the neck re- 
turned to its natural position, when, after fill- 
ing the body with a little dry grass or wool, the 
job is done. It is very easy, and the skin of a 
bird is much tougher than one would suppose, 
though, of course, they vary, the night-jar being 
^R\5 llln, wmle humming birds are fairly tough. 
All the apparatus required is a sharp knife and 
a pair of scissors, or, for large birds, a strong- . 
pair of nippers to divide the bones. 

Biscuit.— Term applied to ware before it 
has been glazed. 

Bishop.— To two bottles of claret add a 
quarter of a pound of loaf sugar, the thin yellow 
rind of an orange, and six cloves ; make all hot, 
but do not aDow it to boil; then strain it 
through a hair sieve into a bowl and ice. 

Heidelberg Bishop.— To a bottle of red Rhine 
wine add 2 oz. of lump sugar, the thin yellow 
rind of a lemon, a small stick of cinnamon, and 
half a dozen of coriander seeds and wineglassf ul 
of Kirschenwasser ; warm all without boding 
and strain; ice. 

Bishop, to Make— Procure a large, ripe, sound 
lemon ; pierce the same in various parts, and 
rub into the peel as much pounded white loaf 
sugar as will abstract a sufficiency of the essen- 
tial spirit of the rind into it. Introduce into 
each puncture a spice clove, and lay the lemon 
in a bowl. Have ready at hand, on the side of 
the fire, a quart of the best port wine, scalding 
hot; pour the same into the bowl, over the 
lemon, adding sugar to your taste, and crown 
the bowl with the whites of half a dozen eggs, 
whipped up into a consistent froth. 

Bismutli Bronze. See Alloys. 

Bismuth, Purification of.— M. E. Smith 
adds to 16 parts of bismuth, kept in fusion 
at the lowest possible temperature, 1 part of 
a mixture of 8 parts of cyanide of potassium 
and 3 parts flowers of sulphur. After fifteen 
minutes the metal is allowed to cool. Do not 
inhale the fumes. 

Bismuth Solder. See Soldering. 

Bites and Stings will generally be reme- 
died by a paste composed of equal parts of 
subnitrate of bismuth and glycerine. Treat- 
ment.— It the part bitten shows any tendency to 
become inflamed, rub into it dilute carbolic 
acid— strength 1 part in 20. A piece of lint 
soaked in the same should be placed over it, 
covered with oiled silk, and secured by strap- 
ping. At the same time internal tonics will be 
required, and the bowels must be rendered 



Bitters, 



34 



Blacking. 



active. The carbolic acid treatment is anti- 
septic. The acid being absorbed kills the germs 
and bacteria, and so prevents putrefaction; 
but it does not of necessity allay inflammation, 
since the mechanism of the latter having been 
set going, it may depend on causes other than 
the presence in the blood of septic material. If 
the inflammation appears to increase, the best 
method of treatment will be to take of bread 
crumbs so much as suffices to make a poultice 
for the part ; then take a known quantity of 
hot water, and add. to it one-twentieth of its 
volume of strong carbolic acid; to this add 1 
drm. of tincture of opium ; and with this liquid 
make the poultice. 

Wasp and Bee Stings.— Examine the part with 
a lens, and the sting will probably be found. 
Remove it with tweezers. Rub in some dilute 
ammonia— 1 part of dilute liquor ammonias to 
3 parts of water— and then apply ice. If am- 
monia is not at hand, chalk or carbonate of 
soda may be used, or any alkali. If ice cannot 
be had, a piece of lead, marble, or stone may be 
used. 

Bitters.— Bitters are considered as tonic and 
stomachic, and to improve the appetite when 
taken in moderation. The best time is early in 
the morning, or an hour before meals. An ex- 
cessive use of bitters tends to weaken the 
stomach. They should not be taken for a longer 
period than a fortnight at one time, allowing a 
similar period to elapse before again having 
recourse to them. 

Angostura. — 4 oz. gentian root; 10 oz. each 
calisaya bark, Canada snake root, Virginia 
snake root, licorice root, yellow bark, allspice, 
dandelion root, and Angostura bark ; 6 oz. car- 
damom seeds ; 4 oz. each balsam of tolu, orang- 
etis, Turkey rhubarb, and galanga ; 1 lb. orange 
peel ; 1 lb. alkanet root ; V/% oz. caraway seed ; 
1>£ oz. cinnamon ; \& oz. cloves ; 2 oz. each nut- 
megs, coriander seed, catechu and wormwood ; 
1 oz. mace ; 134 lb. red sanders wood and 8 oz. 
turmeric. Pound these ingredients and steep 
them for fifteen days in 50 gal. proof spirit; 
before filtering, add 30 lb. honey. 

Aromatic. — Macerate 2% lb. ground dried 
small orange apples ; J4 lb. ground dried orange 
peel ; 2 oz. ground dried calamus root ; 2 oz. 
ground dried pimpinella root; 1 oz. ground 
dried cut hops, for fourteen days, with 10 gal. 
of spirit at 45^ ; press, and add 234 pt. brown 
sugar sirup. Filter. Color dark Drown. 

Berlin Bitters. — Dissolve in 3 qt. 80^ alcohol 
Tr., 40 drops oil of juniper, 40 drops oil of cori- 
ander, 20 drops oil of angelica, 20 drops badian 
seed oil, 22 drops oil of ginger; add 3 qt. of 
water and 14, lb. of sugar to this solution. Filter 
and color brown. 

Bolter's. — 134 oz. quassia ; 1J4 oz. calamus ; 134 
oz. catechu, powdered ; 1 oz. cardamom ; 2 oz. 
dried orange peel. Macerate for ten days in 34 
gal. strong whisky, and then filter and add 2 
gal. water. Color with mallow or malva flow- 
ers. 

Brandy.— Grind to coarse powder 3 lb. gentian 
root, 2 lb. dry orange peel, 1 lb. cardamom^ 
seeds, 2 oz. cinnamon, 2 oz. cochineal. Infuse 
ten days in 1 gal. brandy, 8 gal. water, and 
filter. 

Hamburg.— Grind to a coarse powder 2 oz. 
agaric, 5 oz. cinnamon, 4 oz. cassia buds, y 2 oz. 
grains of paradise, 3 oz. quassia wood, % oz. 
cardamom seeds, 3 oz. gentian root, 3 oz. orange 
apples dried, 134 oz. orange peel. Macerate with 
434 gal. 95% alcohol, mixed with 5% gal. water ; 
add 2-M oz. acetic ether. Color, brown. 

Hostetter's.— The following is given as the com- 
position of Hostetter's bitters : Calamus root, 2 
lb.; orange peel, 2 lb.; Peruvian bark, 2 lb.; gen- 
tian root, 2 lb.; Colombo root, 2 lb.; rhubarb, 
8 oz.; cinnamon, 4 oz.; cloves, 2 oz.; diluted 
alcohol, 4 gal.; water, 2 gal.; sugar, 2 lb. 

Orange. — Macerate 6 lb. orange peel for 
twenty-four hours with 1 gal. water, cut the 
yellow part of the peel from off the white, and 
chop it fine ; macerate with 4% gal. 9„% alcohol 



for two weeks, or displace ; then add a sirup 
made of 434 gal. water and 16 lb. sugar. Filter 
through Canton flannel . 

Peruvian. — 8 oz. red Peruvian bark; 8 oz. 
orange peel, 134 dr. each cinnamon, cloves and 
nutmeg, and 75 cayenne pepper seeds. Infuse 
them, well bruised, in 8 gal. proof spirit, for 
fifteen to twenty days, stirring every day. 
Draw off and filter. 

Spanish.— Grind to coarse powder 5 oz. poly- 
pody, 6 oz. calamus root, 8 oz. orris root, 234 oz. 
coriander seed, 1 oz. centaurium, 3 oz. orange 
peel, 2 oz. German chamomile flowers; then 
macerate with 4% gal. 95% alcohol, and add 5J4 
gal. water and 134 oz. sugar. Filter and color 
brown. 

Stomach.— Grind to a coarse powder 34 lb. car- 
damom seeds, 34 lb. nutmegs, 34 lb. grains of 
paradise, 34 lb. cinnamon, 34 lb. cloves, 34 lb. 
ginger, 34 lb. galanga, 34 lb. orange peel, % lb. 
lemon peel; then macerate with 4% gal. 95$ alco- 
hol, and add a sirup made of 434 gal. water and 
12 lb. sugar ; Alter. 

Wild Cherry.— Wild cherry bark, 4 lb.; squaw 
vine (partridge berry), 1 lb.; juniper berries, 8 
oz. Pour boiling water over, and let stand for 
twenty-four hours; strain, and again pour boil- 
ing water on the ingredients; let macerate for 
twelve hours, then express and filter through 
paper, so that the whole will make 5 gal., to 
which add 334 lb. of sugar, 134 gal. molasses, 6 
oz. tincture of peach kernels, 3 oz. tincture of 
prickly ash berries, 2 qt. alcohol. 

Wine. — 1. Bruised gentian root, fresh orange 
and lemon peel, of each 134 oz.; white wine, 1 
qt.; digest for a week, and strain. 

2. Cinchona bark oruised, 8 oz.; white canella, 
134 oz.; juniper berries, lemon peel, and winter's 
bark, of each 134 oz.; carbonate of soda, % oz.; 
Madeira wine, l%gal.; digest for a week. 

3. French lemon peel, lib.; dried orange peel, 
34 lb.; bruised gentian root, 34 lb.; Cape wine, 1 
gal.; as before. 

Bitumen.— A name given to several of the 
hydrocarbons. 

Black Ash.. — Crude soda, ball soda. This 
is the first crude result of the decomposition of 
salt cake, containing, besides caustic and car- 
bonated soda, lime, oxide of iron, carbon, etc. 
It was at one time employed by bleachers to a 
large extent, but is now abandoned. It forms 
large blocks of a dark color, and is very readily 
soluble, leaving, however, a quantity of insolu- 
ble impurities. The name is sometimes wrongly 
given to alkali waste. 

Blackboards, Paint for. See Paints. 

Black Florey.— Dried scum of the dyer's 
wood bath. A superior blue black. 

Blackings, Polishes, and Waterproof 
Compositions, Harness. — 1. Properties 
of a good blacking are: That it makes the 
leather both soft and flexible and that it shines 
or polishes with slight friction. It is not manu- 
factured as the ordinary boot and shoe black- 
ings are, but where animal charcoal is used this 
substance is very often best prepared before 
use, so that the phosphate of lime may be re- 
moved, which otherwise would give an inferior 
blacking, and present a grayish tinge instead of 
a black one. It is therefore advisable to treat 
the bone black; 20 parts of it may be taken and 
treated with 6 parts of pure hydrochloric acid, 
it is then allowed to stand for twenty-four 
hours, and 100 parts of boiling water added and 
allowed to settle. Draw off the liquid and then 
treat the sediment with five parts of pure con- 
centrated sulphuric acid; again stand by for 
twenty-four hours, add another 100 parts of 
boiling water and draw off. When the sedi- 
ment is deposited this residue is then nearly 
pure and free from acid, and is capable of pro- 
ducing a good blacking of a deep color. Other 
blacks that are frequently used are Frankfort 
black and lamp black, which do not require the 
above treatment. Berlin blue which has been 
freshly precipitated also gives a most beautiful 



Blacking. 



35 



Blacking. 



color of a metallic luster, but is more expensive. 
Every blacking - must also contain a substance 
which will cause it to adhere to the leather, so 
that the color may become fixed. This is at- 
tained by the addition of a mixture of 2 parts 
of molasses and 1 part of glycerine; where gly- 
cerine is not used other substances take its 
place, to render the leather soft. This is accom- 
plished by using one of the following oils, which 
are of a non-drying character: olive, sesame, 
lard, fish, seal, sperm ; but good cod liver oil of 
the curriers answers better than all: white of 
egg, isinglass and flour are injurious, as they 
grow mouldy and will not keep, as well as pro- 
ducing cracking. Kesin oil should also be 
avoided as unfit for blacking. The following 
are some receipts for the preparation of various 
blackings, etc. 

2. Harness polish is made by breaking 4 oz. 
of glue in pieces and pouring over it 1 pint of 
vinegar. This is allowed to remain until per- 
fectly soft, then make another solution of 2 oz. 
of gum arabic and half a pint of black ink ; to 
mix add another half pint of vinegar to the glue 
solution over a moderate fire, but do not ^et it 
boil. When it is dissolved add the gum solution, 
keep at a temperature of 180° F„ and further 
add 2 drm. of isinglass in a little water, then re- 
move from the fire and draw off for use. It is 
to be applied by a sponge, and a very thin coat 
given, allowing to dry quick, which gives a 
better polish. 

3. Harness blacking is made by melting 2 oz. 
of mutton suet and 6 oz. of beeswax together, 
add 6 oz. of sugar candy, 2 oz. of soft soap, 2}4 
oz. of lampblack, y^ oz. of powdered indigo, and 
when thoroughly mixed add J4 pi n t oil of tur- 
pentine. 

4. Waterproof harness paste is made by put- 
ting into a glazed vessel 2 oz. of black resin, 
which is melted over a fire. When dissolved 
add 3 oz. of beeswax, and when this is melted 
remove from the fire, then add 3^ oz. of fine 
lampblack, y% drm. of Prussian blue in powder. 
These are stirred well together, and enough 
turpentine is added to form into a thin paste. 
Allow to cool, apply with a sponge, and finally 
polish with a soft brush. 

5. Another blacking is made by taking 34 oz. 
of isinglass, 34 oz. of fine powdered indigo, 4 oz. 
of soft soap, 5 oz. of glue, 4 oz. of logwood, 2 pt. 
of vinegar, % oz. of ground animal charcoal, 
and 1 oz. of beeswax. The color of the logwood 
is to be extracted by putting it into the vinegar 
and applying a gentle heat, then strain it and 
add the other ingredients, boil till perfect solu- 
tion takes place, and store up in glass or stone- 
ware jars. This is very useful for army har- 
ness. 

6. A good blacking for a working harness, 
which is to be applied with a sponge and pol- 
ished with a brush, is prepared as follows, and 
should be applied at least once a week. Melt 4 
oz. of mutton suet with 12 oz. of beeswax, then 
add 12 oz. of sugar candy, 4 oz. of soft soap dis- 
solved in water, and 2 oz. of fine powdered in- 
digo. This, when well mixed, is thinned out 
with i^j pt. of turpentine. 

7. Blacking for harness. Molasses 8 oz., lamp 
black 1 oz., 1 teaspoonful of yeast, sugar candy 
1 oz., olive oil 1 oz., gum tragacanth 1 oz., and 1 
oz. of isinglass. To this is added a cow's gall, 
then mix with 2 pt. of stale beer, and stand by 
the fire for one hour. 

8. Another polish for carriage harness, which 
must not be applied too frequently, as it is 
liable to crack the leather, is made from 3 
sticks of black sealing wax, dissolved in yi pt. 
of alcohol, and applied with a sponge, or a sim- 
ilar one may be made by dissolving lac in alco- 
hol, and coloring black with lamp black. 

9. Harness that has become soiled can be re- 
stored by the use of the following French 
blacking: 43^ lb. of stearine, 6M lb- of turpen- 
tine, 3 oz. of animal charcoal. It is prepared by 
beating the stearine into thin sheets, then mix- 
ing with the turpentine, and heating in a water 



bath during continual stirring, then the char- 
coal is added and the whole placed in another 
vessel and stirred so as to prevent its crystalliz- 
ing. It must be warmed when using and 
rubbed on with a cloth as quickly as possible, 
giving it a very thin coat, and when nearly dry 
polish with a silk cloth. 

10. Another blacking : Molasses 8 parts, lamp 
black 1 part, sweet oil 1 part, gum arabic 1 part, 
isinglass 1 part, water 32 parts. Melt all together, 
and when cold add 1 oz. spirits of wine, apply 
with a sponge, and if required, warm it before 
use by placing in hot water. 

11. Glue or gelatine 4 oz., gum arabic 3 oz., 
water % pint. Dissolve by heat, and add of 
molasses 7 oz., finely powdered animal charcoal 
5 oz., and then gently evaporate until the com- 
pound is of the proper consistence when cold, 
stirring- all the time. It must be kept corked. 

12. Beeswax 1 lb., animal charcoal 34 lb., 
Prussian blue 1 oz., ground in linseed oil 2 oz., 
oil of turpentine 3 oz., copal varnish 1 oz. Mix 
them well, and form the mass into cakes while 
it is still warm. 

13. Add to No. 12, while still warm, soft soap 
4 oz., oil of turpentine 6 oz.; put into pots or 
tins while warm. 

14. A good blacking consists of hog's lard 4 
oz., neatsfoot oil 16 oz., yellow wax 4 oz., animal 
charcoal 20 oz., brown sugar 16 oz., water 16 oz. 
Heat the whole to boiling, then stir it until it 
becomes cool enough for handling, and roll it 
into balls about 2 in. in diameter. 

15. Soften 2 lb. glue in 1 pt. water ; dissolve 2 
lb. soap (Castile is the best, but dearest) in 1 pt. 
warm water ; after the glue has become thor- 
oughly soaked, cook it in a glue pot, and then 
turn it into a larger pot; place this over a 
strong fire, and pour in the soap water, slowly 
stirring till all is well mixed ; then add 14 lb. 
yellow wax cut into slices ; let the mass boil till 
the wax melts, then add 3^ pt. neatsfoot oil and 
sufficient lampblack to impart a color ; let it 
boil a few minutes, and it will be fit for use. 

16. 2 oz. shellac, 3 pt. alcohol, 143^ pt. fish oil, 
19 pt. West Virginia oil, 1 lb. lampblack, 1 pt. 
spirits of turpentine, 9 pt. coal oil ; the first two 
are combined, then the third is added, and all 
the others are well mixed. 

17. English ball blacking for harness is made 
from 1 oz. of lard, 1 oz. of beeswax, 8 oz. of 
ivory black, 8 oz. of sugar, 4 oz. of linseed oil, 
and 2 or 3 oz. of water; or it may be com- 
posed of 8 oz. of beeswax, 4 oz. of ivory black, 
2 oz. of Prussian blue, 2 oz. of spirits of turpen- 
tine, and 1 oz. of copal varnish. Melt the wax 
and stir in the other ingredients, and when cold 
roll into balls and use as required. — Harness. 

18. Heat together over a slow fire, 2 oz. 
white wax and 3 oz. turpentine ; when the wax 
is dissolved, add 1 oz. ivory black and 1 dr. indi- 
go, thoroughly pulverized and mixed ; stir the 
mixture until cold. Apply with a cloth, and 
polish with a shoe brush. 

19. An excellent oil for farm and team har- 
ness is made of beef tallow and neatsfoot oil 
as follows : Melt 3 lb. pure tallow, but do not 
heat it up to a boil ; then pour in gradually 1 
lb. neatsfoot oil, and stir until the mass is cold ; 
if properly stirred, the two articles will become 
thoroughly amalgamated, and the grease will 
be smooth and soft ; if not well stirred, the tal- 
low will granulate and show fine white specks 
when cold. The addition of a little bone-black 
will improve this oil for general use. 

20. Melt together 8 oz. beef suet, 2 oz. neats- 
foot oil, 2 oz. white wax, and 2 oz. pulverized 
gum arabic; add 1 gill of turpentine, and suffi- 
cient bone-black to give the whole a good color ; 
stir until thoroughly mixed, remove from the 
fire, continue to stir until cold, then roll into 
balls. To apply, warm the ball, rub it on the 
leather, and polish with a woolen cloth. 

21. Another kind is made of 2 oz. hog's lard, 8 
oz. best neatsfoot oil, 2 oz. beeswax, 10 oz. 
ivory black, and 8 oz. water. Heat the whole 
to a boil, remove from the fire, stir until suffi- 



Blacking. 



36 



Blacking. 



ciently cool, and form into balls about 2 in. in 
diameter. 

23. A third description is made of 2 oz. each 
ivory black, copperas, and neatsfoot oil, 4 oz. 
brown sugar, 4 oz. soft water, and 1 oz. gum 
tragacanth; boil until the water has evapor- 
ated, stir until cold, then roll into balls or 
mould into cakes. 

23. A fourth is made of 34 lb. beeswax, 4 oz. 
ivory black, 2 oz. Prussian blue, 2 oz. spirits of 
turpentine, and 1 oz. copal varnish ; melt the 
wax, stir in the other ingredients, and, when 
cool, roll into balls. 

24. Still another famous harness and saddlery 
blacking is made of 34 oz. isinglass, 34 oz. indigo, 
4 oz. logwood, 2 oz. soft soap, 4 oz. glue, and 
1 pint vinegar ; the whole is warmed, mixed, 
strained, allowed to cool, and is then ready for 
use. 

25. Mix 1 oz. indigo, 1 lb. extract of logwood, 

1 oz. softened glue, and 8 oz. crown soap (com- 
mon soft soap can be used if the other cannot 
be had) in 2 qt. vinegar ; place the mass over a 
slow fire, and stir until thoroughly mixed. Ap- 
ply with a soft brush, and use a harder one for 
polishing. 

26. Restoring Leather-covered Mountings. — 
Melt 3 par-ts white wax, then add 1 part gum co- 
pal, dissolved in linseed oil, and 1 of ivory black ; 
allow the mass to boil for five minutes, remove 
it from the fire, stir until cold, and roll up into 
balls. 

27. For the flesh side mix together 1 lb. prime 
lampblack and 12 lb. pure neatsfoot oil ; melt 
6 lb. good tallow, and add it while hot to the 
lampblack and oil. Mix well, and when cold it 
will be fit for use. 

28. Another : to \% lb. lampblack add 1 gal. 
pure neatsfoot oil and 1 qt. vinegar black; 
allow it to stand twenty-four hours, and it will 
be ready for use. 

29. Crown Soap Black.— Dissolve, over a slow 
fire, 1 lb. beeswax, 1 lb. crown soap, 3 oz. indigo, 
4 oz. ivory black, and 34 pt. oil of turpentine ; 
as soon as dissolved, remove from the fire, and 
stir until cold. 

30. Take 6 oz. turpentine, 3 oz. beeswax, 134 
oz. ivory black, 34 oz. indigo blue, 34 oz. ink. 
Cut the beeswax fine, pour the turpentine on 
it, let it stand covered five or six hours, and mix 
well together ; to be kept covered. 

31. Digest 12 parts shellac, 5 white turpentine, 

2 gum sandarac, 1 lampblack, with 4 of spirits 
of turpentine and 96 of alcohol. 

32. For Russet Leather. — Mix together 1 part 
palm oil and 3 parts common soap, and heat up 
to 100° F.; then add 4 parts oleic acid, and 1% 
of tanning solution, containing at least ^ of 
tannic acid (all parts by weight) and stir until 
cold. This is recommended as a valuable grease 
for russet leather, and as a preventive of 
gumming. 

33. Cordova Wax.— Mix together 134 pt. red 
acid (chromic), 1 pt. beer, 1 gill thick glue, 2 oz. 
ivory black, and 1 dr. indigo ; boil for half hour 
and apply with a sponge. 

34. Wax Polish.— Melt together 1 lb. white 
wax, 1 lb. crown soap, 2 oz. ivory black, 5 oz. in^ 
digo, and 34 pt. nut oil ; dissolve over a slow 
lire, stir until cool, and turn into small moulds. 

35. French Polish.—}/*, lb. logwood chips, 34 lb. 
glue, 34 oz. indigo, 34 oz. soft soap, 34 oz. isin- 
glass ; boil in 2 pt. vinegar and 1 pt. water for 
quarter of an hour ; strain and bottle for use. 
The leather must be freed from dirt, and the 
polish applied with a piece of sponge. 

36. Vaseline Harness Composition.— Prussian 
blue, in fine powder, % oz.; lampblack, 4 oz.; mo- 
lasses, 2 oz.; soft soap, 2 oz. Mix together in a 
large Wedgwood mortar, previously warmed, 
and add: Vaseline, 6 oz.; ceresin, 5 oz.; yellow 
resin, 34 oz. Melted together , then sufficient 
turpentine to give the composition the proper 
consistency. Mix thoroughly.— Chem. and Drug. 

37. To preserve, harness and leather exposed 
to the action of ammonia given off in stables, 
and which causes it to rot, although it may be 



protected by grease, is to add to the oil or fat 
that is employed a small quantity of glycerine, 
which is said to keep the leather always soft and 
pliable. 

38. Black Harness Lacquer.— Dissolve 40 parts 
of best shellac, 10 parts of sandarac, and 5 parts 
of mastic in 500 parts of spirits of wine. To 
prevent it from becoming brittle, add to the 
solution 20 to 30 parts of Venetian turpentine, 
and finally sufficient aniline black (nigrosinej 
dissolved in water or spirits of wine to color. 

39. A waterproof liquid is made from India 
rubber in chips, 1 oz., and boiled oil 1 pt., dis- 
solving by the aid of heat, then finally stir in 
another pint of hot boiled oil. Another water- 
proof composition is boiled oil, 1 pt.; 2 oz. of 
beeswax; 2 oz. of yellow resin, and melt all 
together. Or, take I pt. of salad oil, 4 oz. mut- 
ton suet, 1 oz. spermaceti, 1 oz. white wax, and 
melt together. Another is prepared from 2 oz. 
bisulphide of carbon, 34 oz. gutta percha, 2 oz. 
asphaltum, 34 oz. brown amber, 1 oz. linseed oil. 
First dissolve the gutta percha in bisulphide of 
carbon, and the asphaltum and amber in the oil, 
and thoroughly mix together. 

40. A lacquer for harness makers is prepared 
from the following : 5 parts of colophony ; lamp- 
black, 1 part; mastic, 2 parts ; sandarac, 5 parts; 
shellac, 20 parts ; Venetian turpentine, 5 parts ; 
spirits of wine, 100 parts. 

41. Composition by Farnham of glycerine and 
other resinous substances used for forming a 
base for a high polish, rendering it impervious 
to water and preserving the flexibility of the 
leather ; resinous substances by themselves are 
objectionable, because in becoming dry they 
crack and cause the leather to break, but by 
mixture with glycerine the composition formed 
excludes the water and preserves the softness. 
It is made as follows: 1 gal. 9i% alcohol, lib. 
Venice turpentine, 1 lb. gum shellac, 1 lb. gly- 
cerine, 4 oz. myrtle wax, and fine lamp or ivory 
black to give color and consistency. It is pre- 
pared by digesting the gum in the alcohol till 
dissolved, a portion of the glycerine is used in 
grinding the myrtle wax, and a portion in grind- 
ing the blacking so as to render it soluble in 
alcohol. Mix all thoroughly and apply with a 
sponge or brush ; castor oil may be used with 
the glycerine resin for carriage tops and other 
work where a brilliant polish is not required.— 
Harness. 

Blacking Metals.— Brass. — The dead black 
on optical, instruments is produced by -dipping 
in a solution of chloride of platinum. To 
make this, take 2 parts hydrochloric acid, 1 part 
nitric acid, mix in a glass bottle and put in as 
much platinum foil as the acid will dissolve 
when placed in a warm sand bath, or to hasten 
the solution, heat to nearly the boiling point of 
the acids. 34 oz. nitric and 1 oz. hydrochloric 
acid will absorb about 30 grn. platinum, but in 
order to neutralize the acid, it is better to have 
a surplus of platinum. Dip the article or brush 
in the chloride. 

Lustrous Black on Brass.— Mix equal parts 
of copper sulphate and sodium carbonate. These 
solutions must be hot. Wash the precipitate 
as it lies on the filter paper, and dissolve im- 
mediately in ammonia ; there should be an ex- 
cess of ammonia. Dilute the solution with 
water (34), and add a small quantity of plum- 
bago, 20 to 50 grn., depending on the amount of 
solution used, then heat to 100° F. The brass 
articles must be thoroughly cleaned and left in 
this bath until they are black; wash well in 
water and dry in sawdust. , Prepare only as 
much solution as is wanted for immediate use. 

Blue-black Coating for Brass.—" oz. copper 
carbonate is dissolved in 134 Qt- of strong am- 
monia. A precipitate is formed, and the solu- 
tion is diluted with 1 qt. water. 

Blacking for Optical Instruments and Other 
Brass Work—l.Fov dead black for inside of tubes 
use alcoholic shellac varnish and lampblack, 
equal parts by weight, and thin with enough 
alcohol to make it flow freely with the brush. 



Blacking. 



37 



Blacking. 



2. Dissolve in 4% fl. oz. of ammonia Y> oz. cop- 
per carbonate, stirring- constantly while dis- 
solving. Add y<z pt. water. The articles should 
be suspended in this solution by brass or copper 
wires, for a short time. This coating- is durable 
in the open air. 

3. Optical and philosophical instruments made 
in France often have all their brass surfaces of 
a fine dead black color, very permanent and 
difficult to imitate. The* following, obtained 
from a foreign source, is the process used by the 
French artisans : Make a strong solution of 
nitrate of silver in one dish, and of nitrate of 
copper in another. Mix the two together and 
plunge the brass into it. Remove and heat the 
brass evenly until the required degree of dead 
blackness is obtained. 

4. The best means of producing a black sur- 
face on brass, pinchbeck, or silver is said to be 
platinum chloride, which is allowed to liquefy 
by exposure to the air. It is rubbed in with the 
finger, or, best, with the ball of the thumb. 
After blacking, the object is washed and polish- 
ed with oil and leather. Platinum chloride is 
dear, but a little of it will do a great deal of 
work. 

5. Black Brasswork for Instruments. — Take 
lampblack, about a thimbleful, and put it on a 
Hat stone or smooth slate; add four or five 
drops of gold size, and mix well with a palette 
knife, make the whole about as thick as putty ; 
mix weD. The less gold size there is the better, 
so that the lampblack just sticks together ; if 
too much gold size be added, the effect will be a 
bright black and not a dead black. Now add 
turpentine, about twice its own volume, to the 
whole, mix with a camel hair brush, and apply 
to the brasswork. 

Dull Black on Copper.— Brush over the copper 
with a solution of platinum chloride diluted with 
live times its bulk of water. When thoroughly 
dry rub off with an oiled flannel rag. 

Black or Enameled Copper. — Clean the copper 
thoroughly with sand and sulphuric acid, then 
apply the following mixture: 3 parts white 
arsenic ; 6 parts hydrochloric acid ; \y 2 parts 
sulphuric acid ; water, 36 parts. 

Gun Metal.— For blacking gun barrels, 2 oz. 
solution of nitric acid, 4 oz. tincture of iron, 3 
oz. spirits of wine, 3 oz. sweet spirits of niter, 1 
oz. vitriol blue, IYq pt. of rain water. Scour the 
barrel smooth; remove all grease with lime, then 
coat freely with the mixture with a piece of 
sponge, but not so as to run about the barrel. 
Let stand in a cool place for about 10 hours ; 
then remove to a warm room, and let stand till 
dry, when the rust will fly off, and not be sticky 
or streaky. The barrels are not dry, and must 
stand until quite dry, or the result will be a red 
barrel. The scratching must be done with lard, 
then boil for about 10 minutes ; take out and 
wipe inside and out; let stand till cool, then 
scratch to remove the dead rust ; wipe with 
clean rag, then coat with the mixture lightly ; 
let it stand till dry. Scratch, boil, etc., as in first 
coat for six coats, when the barrels may be fin- 
ished by oiling. 

Black on Gun Barrels.— First take chloride of 
mercury and sal ammoniac; second, perchloride 
of iron, sulphate of copper, nitric acid, alcohol 
and water; third, perchloride and protochloride 
of iron, alcohol and water ; fourth, weak solu- 
tion of the sulphide of potassium. These solu- 
tions are successively .applied, each becoming- 
dry before the other is used. No. 3 is applied 
twice, and a bath of boiling water follows Nos. 
3 and 4. The shade of color is fixed by active 
friction with a pad of woolen cloth and a little 
oil. The shade thus obtained is a beautiful 
black of uniform appearance. This process is 
used in the manufacture of arms at St. Etienne, 
Fiance. We regret that the proportions of the 
different ingredients are not given. Several of 
our gunsmiths have made many inquiries as to 
the mode of producing the blue-black coating on 
the Whitworth and other English rifles. Per- 
haps the above solution will effect the object. 



The alcohol is used to make the application dry 
quickly. The perchloride of iron and the sul- 
phate of copper in No. 2 should be used only in 
a moderately strong solution, and only about 10 
% of nitric acid added to the water. We hope 
that our gunsmiths will meet with success in 
using these solutions. No. 2 applied in three or 
four coats will form the common brown coat- 
ing for gun barrels. After the last application 
has become dry it is rubbed with a wire scratch 
brush, washed with warm water, then dried, 
and afterward rubbed down with a composi- 
tion of beeswax dissolved in turpentine. 

Black Polish on Ironand Steel.— Oil of turpen- 
tine, 15 parts; sulphur, 1)4, parts. Boil together. 
Put a very thin coat on the article, and hold 
over the flame of an alcohol lamp. 

Black having a Polish for Iron.— Pulverized 
asphaltum, lib.; gum benzoin, % lb.; spirits of 
turpentine, 2 qts. If needed quickly keep in a 
warm place, shaking very often. It can be 
shaded well with ivory black finely ground. It 
should be used on iron exposed to the weather 
as well as interior work requiring a nice polish. 
Apply with a brush. 

Blacking for Metal.— -1. Take 4 parts turpen- 
tine, 1 part gold size, or copal varnish. Add 
best vegetable black till the whole is of the 
consistence of thin cream. Grind and strain 
through muslin. Apply quickly once over the 
work, with a soft haired brush, and dry off in a 
warm room or hot closet. This is the Berlin 
black used by stove grate makers. It is also 
used in some classes of optical instruments. 

2. Chloride of platinum painted on zinc gives 
a very dead black. 

3. Vegetable or drop black, mixed with 6 parts 
of turps, 1 part japanner's gold size, 1 part tere- 
bine. 

\ ^inc± to Blacken.— 1. Zinc may be given a tine 
blacK color, according to Knaffl, by cleaning its 
surface with sand and sulphuric acid, and im- 
mersing for an instant in a solution composed 
of four parts of sulphate of nickel and ammonia 
in forty of water, acidulated with one part of 
sulphuric acid, washing, and drying it. The 
black coating adheres firmly, and takes a bronze 
color under the burnisher. Brass may be stained 
black with a liquid containing two parts of 
arsenious acid, four of hydrochloric acid, and 
one of sulphuric acid, in eighty parts of water. 
2. A Aveak solution of sulphate of copper, and 
then with a decoction of logwood. 

Blacking for Boots and Shoes.— As 

this is a subject on which numerous calls for 
information have been made in the Scientific 
American, the greater portion of the receipts 
in "Cooley" and in the "Workshop Receipts" 
will be published entire. The article on Leather 
Polishes in the fourth volume of "Workshop 
Receipts" is probably the most complete and 
reliable in the language. Many later receipts 
collected from the journals have been added. 

Liquid.— 1. The well-known liquid blacking of 
Day & Martin is prepared in the following 
manner : Very finely ground animal charcoal, 
or bone black, is mixed with sperm oil till the 
two are thoroughly commingled. Raw sugar 
or molasses, mixed with a small portion of 
vinegar, is then added to the mass. Next a 
small measure of dilute sulphuric acid is intro- 
duced, which, by converting into sulphate a 
large proportion of the lime contained in the 
animal charcoal, thickens the mixture into the 
required pasty consistence. When all efferves- 
cence has subsided, but while the compound is 
still warm, vinegar is poured in until the mass 
is sufficiently thinned ; then it is ready to be 
bottled for the market. 

2. Animal charcoal 5 oz., molasses 4 oz., sweet 
oil % oz. Triturate until the oil is thoroughly- 
incorporated, then stir in gradually J4 pint each 
vinegar and beer lees. 

3. Animal charcoal 1 lb., sperm oil 2 oz., beer 
and vinegar each 1 pt., or sour beer 1 qt. 

4. Bryant & James 1 India rubber blacking. In- 
dia rubber in very fine shreds 18 oz., hot rapeseed 



Blacking. 



38 



Blacking. 



oil 9 lb. (1 gal.), animal charcoal in line powder 
60 lb., molasses 45 lb., gum arabic 1 lb., previ- 
ously dissolved in vinegar, No. 24 strength, 20 
gal. The mixture is triturated in a color mill 
until perfectly smooth, then placed in a wooden 
vessel, and sulphuric acid is added in small suc- 
cessive quantities amounting altogether to 12 
lb. This is stirred for half an hour daily for 
fourteen days, then 3 lb. of finely ground gum 
arabic are added, and the stirring is repeated 
for an additional fourteen days, when the 
blacking will be ready for use. 

5. It has been proposed to treat the leaves 
and other portions of the mastic gum tree, 
Pfetacia lentiscus, by decoction or distillation, 
principally to obtain from them a blacking 
which dries almost immediately after applica- 
tion, shines without the necessity of being 
brushed, and is much less liable to soil the 
clothes. 

6. Acme Blacking.— To 1 gal. rectified spirit is 
added 21 drm. blue aniline and 31 drm. Bismarck 
brown aniline, the solution of the last two being 
effected by agitation for eight hours to twelve 
hours. After the solution is completed the 
mass is allowed to settle, and the liquid portion 
is drawn off by spigots above the sediment and 
filtered if necessary. The alcohol is placed in 
the apparatus first, then the colors, and the 
mixture agitated every hour for a space of 10 
to 15 minutes. Of this liquid 34 gal. is added to 

I gal. of rectified spirit, and in this are dissolved 

II oz. camphor, 16 oz. Venice turpentine, 36 oz. 
shellac. To 1 qt. benzine add 3£ fl. oz. castor 
oil and If fl. oz. boiled linseed oil. The two 
solutions are then united by agitation, but 
should not be allowed to stand over two days in 
any vessel of iron or zinc, as in the presence of 
the gums the colors will be decomposed by con- 
tact with zinc in eight days, and with iron in 
eighteen to twenty-four days,. 

7. A quantity of ordinary starch is dissolved 
in hot water, and while still hot, oil or wax is 
added; the mixture is stirred and ahowed to 
cool . When cold, a small quantity of iodine is 
added to give a bluish black color. To 1 gal. of 
this are added 8 oz. of a solution of iron per- 
chloride, a small quantity of gallic or tannic 
acid (or both), and sometimes about 2 drm of 
oil of cloves with 8 oz. glycerine. The whole is 
thoroughly stirred. 

8. Nicolet, of Lyons, prepares boot blacking 
by dissolving 150 parts wax and 15 of tallow in a 
mixture of 200 of linseed oil, 20 of litharge and 
100 of molasses, at a temperature of 230° to 250° 
F. (110° to 120° C.) After this, 103 parts lamp 
black are added, and when cold it is diluted 
with 280 of spirits of turpentine, and finally is 
mixed with a solution of 5 of gum lac and 2 of 
aniline violet in 35 of alcohol. 

9. Hein, in Kaufering, makes another kind of 
shoe blacking by melting 90 parts beeswax or 
ceresine, 30 of spermaceti and 350 of spirits of 
turpentine, with 20 of asphalt varnish, and adds 
10 of borax, 20 of lamp black, 10 of Prussian 
blue and 5 of nitro-benzol. 

10. Brunner uses 10 parts bone black, 10 of 
glucose sirup, 5 of sulphuric acid, 20 of train 
oil, 4 of water and 2 of soda carbonate. The 
bone black and glucose are stirred with the 
acid in a porcelain vessel until the whole mass 
is homogeneous and has a shining black surface 
when at rest. The soda is dissolved in a little 
water, and boiled with the oil under constant 
stirring until it forms a thick liquid ; then the 
other mixture is stirred into it. By varying the 
proportions of these two mixtures the blacking 
is made thinner and softer, or harder and 
firmer. The substances sold as French polish 
are mostly composed of these ingredients. In 
this and all other kinds of shoe blacking made 
with bone b\ack and sulphuric acid, the precau- 
tion must be observed of stirring rapidly and 
evenly after the acid is added, otherwise lumps 
will be formed that are difficult to crush, and 
the blacking will have a granular condition 
that does not belong to it. 



11. A good liquid blacking may be prepared by 
mixing 3 lb. lampblack with 1 qt. stale beer and 
34 pint sweet oil, adding thereto 1 oz. molasses, 
34 oz. green copperas, and 34 oz. logwood ex- 
tract. This furnishes a blacking which polishes 
easily and well. 

12. Cheap and Good Shoe Blacking.— To 1 lb. 
best ivory black add 1 lb. molasses, 8 tablespoon- 
f uls sweet oil, dissolve 1 oz. gum arabic in 2 qt. 
vinegar, with 34 lb. vitriol. 

13. Guttapercha.— To 30 parts sirup, contained 
in a boiler, add 9 of lampblack and 134 of finest 
bone-black, and mix the whole intimately to- 
gether. Heat 134 part guttapercha, cut into 
small pieces, in a kettle over a coal fire, until it 
is nearly all melted, add to it gradually, under 
constant stirring, 234 parts olive oil, and when 
guttapercha is all dissolved, 34 part stearin. 
Pour the latter mixture, while still warm, very 
slowly and gradually into the first mentioned 
mixture, and when the whole has been thor- 
oughly incorporated, add a solution of 2 T 1 ? parts 
gum Senegal in 6 of water, likewise stirring. 
Finally, the product may be aromatized by 
the addition of It's part rosemary or lavender 
oils. This blacking produces a fine gloss of a 
deep black. It is not injurious to^the leather. 

14. Take ivory or bone black, any quantity, 
and to every pound put 134 oz. measure of sul- 
phuric acid, and well triturate it. It will be- 
come damp, like snuff. Next add cod oil, 2 oz. 
to the lb. If liquid add treacle, 3 oz. to the lb., 
and small beer to mix, or stale beer if for paste, 
enough to make up into a paste. Foots sugar is 
preferable to molasses, and a better black is got 
by adding 34 oz. to the lb. of Prussian blue. It 
is improved if laid up light for a day or two 
after first manipulation, and again after the 
second, as a decomposition takes place. 

15. A fine, brilliant, elastic dressing for leather 
can be made as follows : To 3 lb. of boiling water 
add, with continual stirring, 34 lb. white wax, 1 oz. 
transparent glue, 2 oz. gum Senegal, 134 oz. 
white soap, 2 oz. brown candy. Finally, add 234 
oz. alcohol, and, after the whole is cooled, 3 oz. 
fine Frankfort black. The dressing is thinly 
applied to the leather with a soft brush, and 
after it is dried it is rubbed with a piece of fine 
pumice and polished with a stiff brush. 

16. 7 lb. each of ivory black and molasses, well 
mixed with 2 qt. boiling water ; add 2 lb. i0 oz. 
vitriol, and the previously thin liquid will be- 
come quite thick. After the effervescence has 
ceased add 1 pt. of any common oil— fish oil is 
the best. If you want it liquid, add stale beer 
or vinegar. 

17. Useful blacking for leather may be made 
thus : Dissolve 11 lb. of green vitriol and 5 lb. 
tartaric acid in 9 gal. water. After the settling 
draw off the clear liquid ; then boil 16 lb. logwood 
with about 18 gal. water and 11 gal. of the fluid. 
Let the boiled mixture stand for about eight 
days, pour it off from the sediment, dissolve in 
it 2 lb. grape sugar, and mix this liquid with the 
green vitriol solution. The blacking so obtained 
may be made still blighter by mixing the log- 
wood decoction with 4 lb. aniline black-blue 
before the addition of the vitriol. The appli- 
cation of the blacking is very simple. The 
leather is first well brushed with a solution of 
soda, or still better, with ammonia, in 25 
times as much water, to get rid of the grease. 
The blacking is then applied with the proper 
brush for the purpose. 

18. Finishing Black.— Mix together 34 oz. each 
gelatine and indigo, 1 oz. logwood extract, 2 oz. 
crown soap, 8 oz. softened glue, and 1 qt. vine- 
gar; heat the whole over a siow fire, and stir 
until thoroughly mixed. Apply with a soft 
brush, and polish with a woolen cloth. 

19. Mix a quantity of bone-black with equal 
parts of neatsfoot oil and brown sugar, in pro- 
portions to produce a thick paste ; then with 
vinegar and sulphuric acid in proportions of 3 
parts of the former to 1 of the latter. 

20. Melt 2 lb. wax, and add 34 lb. washed and 
well dried litharge by screening it through a 



Blacking. 



39 



Blacking. 



X 



fine sieve ; then add 6 oz. ivory black and stir 
until cool, but not cold ; add enough turpentine 
to reduce it to a thin paste, after which add a 
little birch or other essential oil to prevent it 
from souring. 

21. A liquid black is made by mixing 3 oz. 
ivory black with one tablespoonf ul citric acid, 
2 oz. brown sugar, and a small quantity of vine- 
gar, afterward adding 1 oz. each sulphuric and 
muriatic acids; mix the whole together, and 
add a sufficient quantity of vinegar to make 1 
pt. in all. 

22. Vinegar, 2 pt. ; soft water, 1 pt. ; glue 
(fine), 4 oz. ; logwood chips, 8 oz. ; powdered in- 
digo, 2 dr. ; potash bichromate, 4 dr. ; gum trag- 
acanth, 4 dr. ; glycerine, 4 oz. Boil, strain, and 
bottle. 

23. A German journal gives the following: 
Mix 200 parts shellac with 1,000 of spirit (95$ 
in a well stoppered bottle. Keep in a warm 
place for two or three days, shaking frequently. 
Separately dissolve 25 parts Marseilles soap in 
375 of warmed spirit (25#), and to the solution 
add 40 of glycerine. Shake well and mix with 
the shellac solution. To the mixture add 5 parts 
nigrosin dissolved in 125 of spirit. Well close 
the vessel and shake energetically, and then 
leave the mixture in a warm place for a fort- 
night. 

24. < Ivory black, 6 lb.; molasses, 4 lb.; gum 
arabic (dissolved in hot water), 2 oz.; vinegar, 2 
gal.; sulphuric acid, 2*4 lb.; India rubber dis- 
solved in about 1 pt. of oil, 2 oz. Mix well to- 
gether. This blacking may be applied by means 
of a brush, or a small sponge attached to a piece 
of twisted wire. 

25. Boot Top Liquid. — Oxalic acid, 1 oz.; zinc 
sulphate, 1 oz.; water, 30 oz. Dissolve, and ap- 

Ely with a sponge to the leather, which should 
ave been previously washed with water ; then 
wash the composition off with water, and dry. 
This liquid is poisonous. 

26. A waterproof blacking, which will give a 
fine polish without rubbing, and will not injure 
leather: 18 parts beeswax, 6 spermaceti, 66 tur- 
pentine oil, 5 asphalt varnish, 1 powdered borax, 

vine twig (Frankfort) black, 2 Prussian blue, 

1 nitro-benzol. Melt the wax, add powdered 
borax, and stir till a kind of jelly is formed. In 
another pan melt the spermaceti, add the asphalt 
varnish, previously mixed with the turpentine 
oil, stir well, and add to the wax. Lastly add 
the color, previously rubbed smooth with a 
little of the mass. The nitro-benzol gives fra- 
grance. 

27. Without Vitriol.— Take of ivory black (in 
very fine powder), 2 lb.; molasses, V& lb.; sperm 
oil, y± pt.; mix as before; then add of gum 
arabic, 1 oz. dissolved in strong vinegar, % pt.; 
mix well; the next day further add of good 
vinegar, or strong sour beer, 3 to 4 pt. (or q. s.); 
stir briskly for a quarter of an hour, and again 
once a day for a week. Excellent. 

28. Ivory black, 7 lb.; molasses, 6 lb.; sweet 
oil, 1 lb.; oil of vitriol, y& lb.; water, q. s., as 
last. 

29. Ivory black, 3 cwt.; crude molasses, 2 cwt.; 
linseed oil, 3 gal.; oil of vitriol, 20 lb.; water, q. 
s., as last. 

30. Gum shellac, J4 lb.; alcohol, 3 qt.; dissolve 
and add camphor, \% oz.; lampblack, 2 oz. The 
foregoing will be found to give an excellent 
gloss, and is especially adapted to any leather 
the surface of which is roughened by wear. 

31. 2 lb. of ivory black in fine powder ; mo- 
lasses, 13^ lb.; 34 pt- sperm oil Rub the black 
and oil well together, add the molasses and 
mix. 

32. 4 oz. of ivory black, 3 oz. coarse sugar, a 
tablespoonful of sweet oil, and 1 pt. of weak 
beer; and mix them graduaUy together until 
cold. 

33. For Kid Shoes.— Gum shellac, 2 oz.; aqua 
ammonia, 1 oz.; water, 8 oz.; black aniline, 
enough to color. Heat the ingredients slowly 
together (except the aniline) until the whole is 
near boiling and the shellac dissolves. It may 



be necessary to add a little more ammonia dur- 
ing the boiling. Then add the aniline and 
water (enough to make the whole measure 16 
oz.) 

34. Liquid Dressing for Shoes.— Gum arabic, 4 
oz.; molasses, V/& oz.; good black ink, J/£ pt.; 
strong vinegar, 2 oz.; spirits of wine, 1 oz.; sweet 
oil, 1 oz. Dissolve gum in ink, add the oil, rub 
them in a mortar until thoroughly united ; then 
add the vinegar, lastly the spirit. 

35. Liquid Stain Polish for Shoes.— Gum traga- 
canth, 2 oz.; isinglass, loz.; beer, 1 gal.; glycer- 
ine, lib.; extract of logwood, 2 oz.; powdered 
galls, 1 oz.; copperas, 2 oz. Steep the logwood, 
galls and copperas in the beer for some days, 
add the glycerine, strain and dissolve the gum 
and isinglass in the mixture, and if necessary 
strain again. This formula makes a prepara- 
tion suitable for light leather. 

36. French Dressing for Shoes.— Logwood ex- 
tract, 3 oz.; dissolve in 2 qt. of water.; borax, 
3 oz., dissolve in soft water, 2 qt., and add % oz. 
shellac, boil to dissolve ; bichromate of potash, 
34 oz., dissolve in soft water, 34 pt., and add 3 
oz. ammonia water, mix all together. 

37. The following is a -German recipe: Dis- 
solve 3\4 oz. of shellac in half a pint of alcohol, 
Rub smooth 25 grains of lampblack with 6 drm. 
of cod fiver oil and mix. A few drops are to be 
applied to the leather with a sponge. 

38. Ivory black 50 lb., cod liver oil 1 gal., oil 
of vitriol 10 lb., powdered gum arabic or Senegal 
1 lb., molasses 4 gal., vinegar 15 gal. Grind to- 
gether the ivory black, gum and oil with a por- 
tion of the vinegar, add the molasses, and while 
stirring pour in slowly the oil of vitriol. When 
all action ceases, add the rest of the vinegar. 

39. Pour 1 qt. of alcohol of 95^ over y 2 lb. of 
ruby shellac, close the flask hermeticaDy, let it 
stand in a warm place for two or three days, 
shaking it every day, until the shellac is dis- 
solved. Then dissolve 1 oz. of dry Castile soap 
in 34 Pint of warm alcohol of 95#, add to it 1% 
oz. of glycerine, shake thoroughly, and then add 
this mixture to the solution of shellac. To give 
the black color, dissolve 134 drm. of aniline 
black, soluble, in 1 gill of alcohol, add this to the 
other mixture, close the flask hermeticaDy, 
shake thoroughly, and let the mixture stand in 
a warm place for fourteen days before using it. 
To cheapen it you may substitute solution of 
borax for the alcohol, but the product will dry 
slowly, and be far inferior in every way. 

40. Clausen's ink is made as follows : Nutgalls, 
8 parts; logwood extract, 10 parts; boil together 
in water, q. s., and add Castile soap, 4 parts; 
glycerine, trace. 

41. Crooker's— Logwood extract, 6 oz.; water, 
1 gal.; ivory black, 1*5 oz.j glycerine, 1 oz.; bi- 
chromate of potassa, 0'125 oz.; copperas. 0*125 
oz.; boil together. 

42. Sefton's— Orange shellac, 64 oz.; alcohol, 
5 gal.; pure asphaltum, 60 oz.; neat's foot oil, 1 
pt.; lampblack, q. s. 

43. Ovington's— Water, 1 gal.; logwood ex- 
tract, 6 oz.; water, 1 gal.; borax, 6 oz.; shellac, 
1*5 oz.; water, 0*5 pt.; bichromate of potassa, 
0*375 oz. Mix the solutions, and add 3 oz. am- 
monia. 

44. Shaw's— Borax, 3 oz.; orange shellac, 5 oz.; 
water, q. s.; boil and add soluble aniline black 
or nigrosine, q. s. Rub the spots with strong 
aqueous solution of ferric chloride, and dry be- 
fore applying the dressing. 

1. Automatic Blacking; Self-shining Black- 
ing.— Gum arabic, 4 oz.; molasses or coarse moist 
sugar, 13^ oz.; good black ink, 34 Pt.; strong 
vinegar, 2 oz.; rectified spirit of wine and sweet 
oil, of each 1 oz.; dissolve the gum in the ink, 
add the oil, and rub them in a mortar or shake 
them together for some time, until they are 
thoroughly united, then add the vinegar and 
lastly the spirit. 

2. Lampblack, % oz.; indigo, in powder, 1 drm.; 
put them in a mortar and rub up with sufficient 
mucilage, made by dissolving 4 oz. of gum in 34 
pt. of strong vinegar, to form a thin paste; add 



Blacking;. 



40 



Blackiiisfc 



very gradually 1 oz. of sweet oil, and triturate 
until their union is complete, adding the re- 
mainder of the mucilage; then further add V/z 
oz. of molasses, and afterward successively 2 oz. 
of strong vinegar; alcohol, 1 oz.; lastly, bottle 
lor use. 

3. Mix the whites of 2 eggs with a table- 
spoonful of alcohol, 2 large lumps of sugar, 
crushed, and sufficient finely powdered ivory 
black to give the required color and thickness. 

Self-shining Dressing for Shoes. — Dissolve 8 oz. 
gum arabic in 8 oz. of best black ink, then add 2 
oz. of olive oil. Mix thoroughly and then add 4 
oz. strong vinegar, 3 oz. brown sugar, 2 oz. of 
alcohol. 

Paste blackings are also made in a variety of 
ways, of which the following are the chief : 

1. Bryant & James' India rubber blacking 
may be made in a solid form by reducing the 
proportion of vinegar from 20 gal. to 12 gal. 
The compound then only requires stirring for 
about six or seven days in order to prepare it 
for use, and it may be liquefied by subsequent 
addition of vinegar. 

2. Dr. Artus manufactures blacking from the 
following materials : Lampblack, 3 or 4 lb.; ani- 
mal charcoal, Yz lb.; are well mixed with glycer- 
ine and molasses, 5 lb. Meanwhile gutta-percha, 
2Yz oz., is cautiously fused in an iron or copper 
saucepan, and to it is added olive oil, 10 oz., 
with continual stirring, and afterward stearine, 
1 oz. The warm mass is added to the former 
mixture, and then a solution of 5 oz. gum Sene- 
gal, in li^ lb. water, and 1 drm. each of rosemary 
and lavendar oils may be added. For use it is 
diluted with 3 to 4 parts of water, and tends to 
keep the leather soft, and render it more dur- 
able. 

3. All ordinary paste blackings require to be 
mixed with some liquid before application, 
causing considerable waste. It is claimed for 
the subjoined method of preparation, that by 
its means the blacking is rendered of such a 
condition that when merely dipped in water or 
other solvents the required quantity can be 
rubbed on to the article to be blacked without 
the cake crumbling or breaking up. The in- 
gredients of the blacking are those in ordinary 
use, but it is brought to the required consist- 
ence by combination with Russian tallow, in 
the proportion of '3%, and casting the mass into 
the desired forms. These may be cylindrical, 
etc., and may be inclosed in covers of card- 
board, tinfoil, etc., in which the blacking can 
slide, so that when one end is pushed out for 
use, the remainder acts as a handle. The ex- 
posed end when damped by immersion or 
otherwise can be rubbed on the article without 
crumbling. The ivory black, animal charcoal, 
which has been used in the preparation of white 
paraffin, according to Letchford & Nation's 
patent, may be conveniently used for making- 
blacking. 

4. The addition of sulphuric acid to animal 
charcoal and sugar produces lime sulphate and 
a soluble acid lime phosphate, which make a 
tenacious paste. Thus: Animal charcoal, 8 
parts; molasses, 4 parts; hydrochloric acid, 1 
part; sulphuric acid, 2 parts. These are well * 
mixed. A liquid blacking may be produced 
from this by the addition of the necessary pro- 
portion of water. 

5. Fuller's earth, 8 oz.; molasses, 3 lb.; animal 
charcoal, 2 lb.; butter scrapings, 4 oz.; rapeseed 
oil, 4 oz.; strong gum water, Yz pt.; powdered 
Prussian blue, Yz oz.; commercial sulphuric 
acid, 8 oz. If the blacking is required in a liquid 
form, add Yz gal. vinegar. 

6. To 1 lb. animal charcoal add 4 oz. commer- 
cial sulphuric acid ; work them well together, 
and when the acid has done its duty upon the 
charcoal add 4 oz. fish or colza oil ; stir the mix- 
ture till the oil is thoroughly incorporated, then 
pour in gradually a strong solution of washing 
soda or other suitable antacid, and continue the 
stirring till ebullition ceases or the acid is 
neutralized. Next add about 8 oz. molasses, and 



then pour in a solution of gelatine and glycerine, 
in quantity about 2 qt. if liquid blacking is re- 
quired, but less will suffice to produce paste. 
The solution of glycerine and gelatine is made 
by dissolving the best size in hot water, in the 
proportion of 4 parts water to 1 part of size, 
and then adding to every qt, of the liquid lYz 
oz. glycerine. The addition of the glycerine 
and gelatine preparation gives great brilliancy, 
depth of color, and permanency to the blacking 
when applied to leather, and at the same time 
makes it damp proof ; besides which the antacid 
has the effect of neutralizing the sulphuric 
acid employed, and thus prevents the injurious 
action of that acid on the leather, as in the 
case of most ordinary blackings. 

7. Soften 1 part white glue in water, add 3 
parts crown soap, and heat the whole over a 
slow fire until the glue is thoroughly dissolved ; 
moisten 3 parts bone black with vinegar, and 
mix it with 1 part wheat starch, beaten smooth 
in cold water; mix the whole and allow it to 
stand over a slow fire for half hour, stirring it 
all the time ; then turn it into another kettle 
and stir until it is cold. To use, dissolve a small 
quantity in sour beer or vinegar, and apply 
with a brush, spreading it as thinly as possible. 

8. A leather varnish or polish is prepared by 
Gunther, of Berlin, by mixing a filtered solu- 
tion of 80 parts shellac in 15 parts of alcohol, 
with 3 parts of wax, 2 parts of castor oil, and a 
sufficient quantity of pigment. The mixture is 
evaporated in vacuo to a sirup. The varnish is 
applied to the leather with a brush moistened 
with alcohol or with a colorless alcoholic var- 
nish. 

9. Soften 2 lb. good glue, and melt it in an 
ordinary glue kettle ; then dissolve 2 lb. Castile 
soap in warm water and pour it into the glue ; 
stir until well mixed, and add Yz lb. yellow wax 
cut into small pieces; stir well until the wax is 
melted, then add Y2 Pt. neats' foot oil and 
enough lampblack to give the desired color. 
When thoroughly mixed, it is ready for use. 

10. Molasses, 1 lb.; ivory black, V/a lb.; sweet 
oil, 2 oz.; rub together as before, then add a 
little lemon juice or strong vinegar. 

11. Ivory black, 2 lb.; molasses, 1 lb.; olive oil 
and oil of vitriol, of each Ya lb.; water, q. s. as 
before. 

12. Ivory black, 28 lb.; molasses, 21 lb.; com- 
mon oil, 1 qt.; oil of vitriol, 3 lb.; water, q. s. 

13. Ivory black, 3 cwt. ; molasses, 2 cwt.; lin- 
seed oil and vinegar bottoms, of each 3 gal.; oil 
of vitriol, 34 cwt.; wate., q. s. 

14. Ivoi-y black, 25 lb.; molasses, 2 gal.; oil of 
vitriol, 4 lb.; cod liver oil, 4 gal.; vinegar, 6 gal.; 
powdered gum arabic or Senegal, Yz lb. All the 
ingredients except the oil of vitriol are first 
thoroughly mixed and ground, then the oil of 
vitriol is slowly stirred in. It is kept for a week 
and stirred daily to insure combination. 

Waterproof. — 1. Melt together 4 oz. black 
resin and 6 oz. beeswax over a slow fire; when 
thoroughly dissolved, add 1 oz. lampblack and 
Ya lb. finely powdered Prussian blue; stir the 
mixture well, and add sufficient turpentine to 
make thin paste. Apply with a cloth and polish 
with a brush. 

2. Liebig's. — Mix bone black in Yz its weight 
of molasses and Y& its weight of olive oil, to 
which add Yz its weight of hydrochloric acid, 
Ya its weight of strong sulphuric acid, with a 
sufficient quantity of water to produce a thin 
paste. 

3. Molasses, 1 lb.: ivorv black,-lJ4 lb.; sweet 
oil, 2 lb. Rub together in a Wedgwood mortar 
till all the ingredients form a perfectly smooth 
homogeneous mixture : then add a little lemon 
juice or strong vinegar— say the juice of one 
lemon, or about a wineglassful of strong vine- 
gar—and thoroughly incorporate, with just 
enough water added slowly to gain the required 
consistency. 

4. Ivory black, 2 lb.; molasses, 1 lb.; olive oil, 
Ya lb.; oil of vitriol, J4 lb. Add water to gain 
required consistency. 



Blacking. 



41 



Blacking. 



5. Take 1 part ivory black, )4 part of melted 
tallow, and work up well in a mortar. Incor- 
porate with this paste )4 part treacle, J4 part of 
sulphuric acid, and )4 part of spirits of salt. 
This will form an excellent paste blacking. 

6. Waterproof Blacking - .— James & Bryant's. 
Dissolve 6 oz. caoutchouc in 3 lb. rape oil (hot). 
Add 20 lb. ivory black ; 15 lb. molasses ; and 6 or 
7 gal. vinegar, in which 6 oz. ground gum arabic 
has been dissolved. Work perfectly smooth and 
add 4 lb. sulphuric acid, stirring constantly. 
Let it stand for two weeks, then add 1 lb. fine 
gum arabic; stir daily for two weeks longer 
and bottle. 

7. Boiled oil, 1 pt.; oil of turpentine, black 
resin, and beeswax, of each, 3 oz. Proc. Melt 
the wax and resin, then stir in the oil, remove 
the pot from the fire, and when it has cooled a 
little, add the turpentine. 

8. Take 3 oz. spermaceti, and melt it in a 
pipkin, or other earthen vessel, over a slow fire; 
add thereto 6 drm. India rubber, cut into slices, 
and these will presently dissolve. Then add 
in order tallow, 8 oz.; hog's lard, 2 oz.; am- 
ber varnish, 4 oz. Mix, and it will be fit for 
use immediately. The boots or other material 
to be treated are to receive two or three coats, 
with a common blacking brush, and a fine polish 
is the result. 

For application to dress boots the following 
compositions are prepared: 1. Gum arabic, 8 oz.; 
molasses, 2 oz.; ink, )4 pt.; vinegar, 1 oz.; spirit 
of wine, 2 oz. Dissolve the gum and molasses in 
the ink and vinegar, strain, and then add the 
spirit of wine. 

2. Mix together the whites of 2 eggs, 1 tea- 
spoonful spirits of wine, 1 oz. sugar, and as 
much finely pulverized ivory black as may be re- 
quired to produce the necessary shade of black. 
Apply with a sponge, and polish with a piece of 
silk. 

3. Mix together )4 lb. each ivory black, puri- 
fied lampblack, and pulverized indigo, 3 oz. 
dissolved gum ai'abic, 4 oz. brown sugar, and )4 
oz. glue dissolved in 1 pint water; heat the 
whole to a boil over a slow fire, then remove, 
stir until cold, and roll into balls. 

Miscellaneous Greases, Blacking, etc. See also 
Boots and Shoes. 

Boot-top Liquid.— 1. Oxalic acid and white 
vitriol, of each 1 oz.; water, 1)4 pt. Proc. Dis- 
solve and apply with a sponge to the leather, 
previously washed with water, then wash the 
composition off with water, and dry. This 
liquid is poisonous. 

2. Mix in a vial, 1 drm. of oxymuriate of 
potass, with 2 oz. of distilled water ; and when 
the salt is dissolved add 2 oz. of muriatic acid. 
Then shake well together, mix in another vial 3 
oz. of rectified spirit of wine with )4 an oz. of 
the essential oil of lemon, unite the contents 
of the two vials, and keep the liquid thus pre- 

Eared closely corked for use. This liquid should 
e applied with a clean sponge, and dried in a 
gentle heat ; after which, the boot-tops may be 
polished with a proper brush, so as to appear 
like new leather. 

3. Sour milk, 1 qt.; gum arabic, 1 oz.; juice of 
2 lemons ; white of 2 eggs ; oil vitriol, 2 oz. Mix. 

4. Sour milk, 1 qt.; butter of antimony, cream 
of tartar, tartaric acid, and burnt alum, of each 
2 oz. Mix. 

Nubian Blacking.— The blacking: Rectified 
(or methylated) spirit, 1 gal.; mother liquid, )4 
gal. Mix, and add camphor, 11 oz.; Venice tur- 
pentine, 16 oz.; shellac, 31 oz. Dissolved in 40 
oz. benzine, 3)4 oz. castor oil, and 1% oz. of 
boiled linseed oil. Mother liquid : This is the 
coloring agent, and it is a solution of aniline 
colors in spirit, viz.: Blue-blue aniline, 20'8 drm.; 
Bismarck-brown aniline, 31'2 drm.; rectified 
spirit, 1 gal. It is this mother liquid which is 
the special claim of the patent. 

Boots, Grease for.— Dr. Alexander Zoroastroff , 
of Belostok, recommends a grease for boots 
which is said to prevent sore feet entirely. The 
ointment is made of 4 parts of lard, 4 parts of 



olive oil, and 1 part of caoutchouc— raw rubber 
—which are melted together on a slow fire. 
Having moistened the sole of the boot with 
water, the inventor warms the boot in a stove 
or before a fire, and then smears it over with the 
compound. The boot is said to become soft, 
pliable, shining, waterproof, and even more 
durable. 

" Treer^s' 1 ' 1 Blacking. — Dissolve gum traga- 
canth in water, then add a little ink to make it 
black, and finally add a small quantity of neat's 
foot oil. It must be quite thin, or ©Ise, if thick, 
it is likely to cake. 

Blacking, Stove.— 1. Mix 2 parts of black 
lead, 4 parts of copperas, and 2 parts of bone 
black, with water, so as to form a creamy 
paste. This is an excellent polish, as the cop- 
peras produces a jet black enamel, causing the 
black lead to adhere to the iron. 

2. Plumbago, 2 lb.; water, 8 oz.; turpentine, 8 
oz.; sugar, 2 oz. Knead thoroughly and keep in 
tin boxes. Apply with a brush. 

3. Plumbago, make into a thin paste with 
sodium silicate or water glass. This makes an 
excellent stove polish and should be brushed 
thoroughly. 

4. Pulverized black lead, 2 lb.; spirits of tur- 
pentine, 2 gal.; water, 2 oz.; sugar, 2 oz. Mix. 

5. Mix 5 parts black lead, 5 parts bone black 
and 10 parts of iron sulphate. Use water q. s. 
to form a paste. This is an excellent preparation 
and the coating is very permanent. 

6. Keduce graphite to an impalpable powder 
by grinding in a mill with water, dry ; use with 
water first, then dry and polish. This is the 
base of nearly all commercial stove polishes. 

7. Turpentine and black varnish, put with any 
good stove polish, is the blacking used by hard- 
ware dealers for polishing heating stoves. If 
properly put on, it will last throughout the 
season. 

Paste Stove Polish.— Pulverized black lead, 2 
lb.; spirits of turpentine, 2 gal.; water, 2 oz.; 
sugar, 2 oz.; mix. 

Liquid Stove Polish.— Bone black, 2)4 parts; 
• pulverized graphite, 2)4, parts; copperas, 5 parts , 
water, q. s. to f orrn a creamy paste. 

Liquid Black Lead Polish.— Pulverized blac:i 
lead, 1)4 lb.; turpentine, 1)4 &ih; water, 1)4 8'ih ; 
sugar, 1)4 oz. 

Bone Black Polish— Mix 2 parts copperas. 1 
part powdered bone black, and 1 part black lead 
with enough water to give proper consistency, 
like thick cream. Two applications are to be 
recommended . 

Brunswick Black for Grates, etc.— Asphaltum, 
5 lb.; melt and add boiled oil, 2 lb.; spirits of 
turpentine, 1 gal.; mix. 

Black Pigments, See Pigments. 

Bladders •> to Prepare.— Soak them for 
twenty-four hours in water, to which a little 
chloi-ide of lime or potassa has been added, then 
remove the extraneous membranes, well wash 
them in clean water, and dry them. 

Blankets, to Clean. See Cleansing. 

Blasting.— In small blasts, 1 lb. of powder 
will loosen about 1)4 tons of rock. In large blasts 
1 lb. of powder will loosen 2)4 tons. Fifty or 
60 lb. of powder inclosed in a bag and hung 
against a barrier will demolish any ordinary 
structure. One man can bore with a bit 1 in. in 
diameter from 50 to 60 in. per day of ten hours 
in granite, or 300 to 400 in. per day in limestone. 
Two strikers and a holder can bore with a bit 2 
in. in diameter 10 ft. per day in rock of medium 
hardness. 

Bleaching.— The remarkable bleaching 
compound of Mr. Charles Toppan, of Salem, 
Mass., consists of 3 parts, by measure, of mus- 
tard seed oil, 4 parts melted paraffine, 3 parts 
caustic soda, 20° Be., well mixed to form a sa- 
ponaceous compound. Of this, 1 part of weight 
and 2 parts pure tallow soap are mixed, and of 
this mixture 1 oz. for each gal. of water is used 
for the bleaching bath, and 1 oz. caustic soda. 



Bleaching. 



42 



Bleaching, 



30° Be., for each gal. is added, when the bath is 
heated in a close vessel, the goods entered, and 
boiled "until sufficiently bleached." 

Bleaching Fluid, Instantaneous.— In 5^ pt. of 
water heated to 190° or 212° Fah. are introduced 
successively: Mother of pearl, 33^ oz.; indigo, 
0'75 grn.; cochineal. 0'75 grn.; chloride of lime, 
150 grn.; soda crystals, 150 grn.; potash, 150 grn. 
Boil for half an hour, and the preparation is 
ready for use. The inventor, M. Boiseller, says : 
" The mother of pearl gives softness, luster, 
suppleness, etc., and gives to hemp the feel of 
cashmere; the indigo gives a slight azure tint, 
the cochineal adds brightness, the chloride ef- 
fects the bleaching, the soda washes and brushes 
and the potash removes all grease." 

Bleaching Powder, or Chloride of Lime, is pre- 
pared by passing chlorine gas into boxes of 
lead in which a quantity of slaked lime is laid 
on shelves. The stuff to be bleached is first 
boiled in lime water, wash, and without drying 
boil again, in a solution of soda or potash; 
wash, and without drying, steep in a weak mix- 
ture of chloride of lime and water for six hours; 
wash, and without drying, steep for four hours 
in a weak solution or mixture of sulphuric acid 
and water ; wash well and dry; upon an emer- 
gency chlorate of potash mixed with 3 times its 
weight of common salt, and diluted in water, 
may be used as a bleaching liquid. 

Beeswax, to Bleach.— Pure white wax is ob- 
tained from the ordinary beeswax by exposure 
to the influence of the sun and weather. The 
wax is sliced into thin flakes and laid on sacking 
or coarse cloth, stretched on frames, resting on 
posts to raise them from the ground. The wax 
is turned over frequently, and occasionally 
sprinkled with soft water if there be not dew 
and rain sufficient to moisten . it. The wax 
should be bleached in about four weeks. If on 
breaking the flakes the wax still appears yellow 
inside, it is necessary to melt it again, and flake 
and expose it a second time or even of tener, 
before it becomes thoroughly bleached, the 
time required being mainly dependent upon 
the weather. There is a preliminary process, 
by which, it is claimed, mucfy time is saved in 
the subsequent bleaching ; this consists in pass- 
ing melted wax and steam through long pipes, 
so as to expose the wax as much as possible to 
the action of the steam; thence into a pan 
heated by a steam bath, where it is stirred 
thoroughly with water and then allowed to 
settle. The whole operation is repeated a sec- 
ond and third time, and the wax is then in con- 
dition to be more readily bleached. 

Bristles, to Bleach.— The bristles are cleansed 
well in a preparation of tepid water and soft 
soap. They are then dipped in cold water. For 
two or three days they are then left in an aque- 
ous solution of sulphurous acid, after which 
they are washed and dried. 

Bones, to Bleach. — Dip the bones for a few 
moments in a boiling solution of 1 lb. caustic 
soda in 1 gal. of water, then rinse thoroughly in 
water, rub down with fine pumice stone, and 
expose until whitened to the vapor of burning 
sulphur largely diluted with air, then rinse in 
warm water. Bones may also be whiteneo - by 
exposure in a weak solution of javelle water. 

Calico, to Bleach.— Boil in strong solution of 
caustic soda, rinse thoroughly in clean water ; 
steep for half an hour in a strong, clear solution 
of chloride of lime in water ; wring out, and 
pass through water containing 3% sulphuric 
acid, rinse thoroughly in running water, dry. 

Bleaching Coral.— First well wash in very 
dilute hydrochloric acid; then well rinse in 
water ; then put into some chloride of lime and 
water. 

Bleaching Cotton.— Make a strong solution of 
chloride of lime (hypochlorite of lime— bleach- 
ing powder) in water, allow to settle, and draw 
off the clear liquid. Rinse the goods in clean 
water containing about 5% of sulphuric acid, 
and then pass them slowly through the bleach- 
ing solution. They should then be well rinsed 



in water containing a little carbonate of soda. 
If the cloth is much colored it may be necessary 
to allow it to remain for a short time in the 
bath. This is the usual method of bleaching in 
laundries. 

Engravings, to Bleach.— Immerse the prints 
for one minute in javelle water, and then wash 
thoroughly in water containing a little hypo- 
sulphite of soda. To prepare the javelle water 
take 4 lb. of bicarbonate of soda and 1 lb. of 
chloride of lime, put the soda in a kettle over 
the fire, add 1 gal. of boiling water, let it boil 
from ten to fifteen minutes, then stir in the 
chloride of lime, avoiding lumps. When coM 
the liquid can be kept in a jug or a bottle ready 
for use. 

Feathers, to Bleach.— 1. The feathers are put 
into a bath of permanganate of potash, con- 
taining 4 to 5 parts permanganate to 1,000 of 
water ; a solution of sulphate of magnesia of 
the same strength is added, and it is heated 140° 
F. (60° C.) at the most. The feathers, previously 
washed, are put into this bath, then taken out, 
rinsed, and passed through weak sulphuric acid 
at about 1V6° to 3° Tw. 

2. It is also possible to bleach the feathers in 
a bath of 1 part barium peroxide in 100 parts 
of water at 86° F. (30° C.) Leave forty-eight 
hours in this solution, wash, pass through weak 
acid bath, and wash. 

3. Feathers may be bleached by exposure to 
the vapor of burning sulphur (sulphurous acid) 
in a moist atmosphere, but it is usually neces- 
sary to remove the oily matters from them be- 
fore they can be satisfactorily so bleached. 
This may be accomplished by immersing them 
for a short time in good naphtha or benzine, 
rinsing in a second vessel of the same, and thor- 
oughly drying by exposure to the air. This 
treatment does not injure the feathers. 

Flannel, Bleaching of.— Flannel which has be- 
come yellow with use may be bleached by 
putting it for some days in a solution of hard 
soap to which strong ammonia has been added. 
The best proportions are l^$ lb. hard curd soap, 
50 lb. soft water, and % lb. strong ammonia 
solution. The same object may be attained in 
a shorter time by placing the flannel for a 
quarter of an hour in a weak solution of bisul- 
phite of sodium, to which a little hydrochloric 
acid has been added. 

Bleaching Animal Glue (Muzzarelh).— Add to 
fine white glue prepared from rabbit skins, for 
dressing white tissues, a small quantity of sul- 
phate of soda, and mix well ; acetate of lead is 
then added, whereby a precipitate of sulphate of 
lead is occasioned; the resulting jelly is thus 
blanched, and after cooling is cut up and dried 
as usual.— Science Record, 1875. 

Gutta Percha, to Bleach.— 1. Dissolve the gutta 
percha in twenty times its weight of boiling 
benzole, add to the solution plaster of very good 
quality, and agitate the mixture from time to 
time. By reposing for two days the plaster is 
deposited and carries down with it all the im- 
purities of the gutta percha insoluble in ben- 
zole. The clear liquid decanted is introduced 
by small portions at a time into twice its volume 
of alcohol of 90%, agitating continually. During 
this operation the gutta percha is precipitated 
in the state of a pasty mass, perfectly white. 
The desiccation of the gutta percha thus puri- 
fied requires several weeks' exposure to the air, 
but may be accelerated by trituration in a mor- 
tar, which liberates moisture which it tends to 
retain. 

2. White gutta percha is obtained oy precipi- 
tating a solution of ordinary gutta percha in 
chloroform by alcohol, washing the precipitate 
with alcohol, and finahy boiling it in water, and 
moulding into desired form while still hot. 

Hair, to Bleach.— 1. A recipe stated to bleach 
human hair white instead of blond or yellow. ■ 
Mix 1 lb. hydrogen peroxide with 1 oz. ammo- 
nia; mix 4 oz. hydrogen peroxide with 1 oz. 
cream of tartar dissolved in 1 oz. soda. Blend 
the two solutions and steep 1 lb. of the hair in 



Bleaching. 



43 



Bleaching. 



it for three hours. Then wash in clean water 
with "soapine," in a bath of pottery or clay, 
and thoroughly dry. Repeat the process fifteen 
or sixteen times, but thoroughly mix and shake 
up the hair after the twelfth and every succeed- 
ing time. FinaDy draw the hair through a 
solution of blue aniline and alcohol. 

2. A hot dilute solution of nitric acid is most 
effectual. Brown hair, when carefully treated, 
is turned the most brilliant golden, resembling 
golden spun glass. The method employed is to 
put the hair in a porcelain dish with dilute N0 2 
HO (about 1 part strong acid to 10 of water), 
then gradually heat, and, soon as the required 
shade is obtained, take out and wash. If the 
acid is too strong, or the heat too great, the 
fiber of the hair is spoiled. Dark brown hair 
acquires generally a reddish color, and black 
hair will turn nearly white. 

Hats, to Bleach.— To bleach Panama hats, wash 
the goods clean, and while slightly damp, expose 
to the fumes of burning sulphur in a closed 
vessel. To color one dozen hats, take 12 lb. 
logwood, 1 lb. sulphate of iron, and % lb. verdi- 
gris. Digest the logwood for some time. Add 
the sulphate of iron and the verdigris. Dip the 
hats in the bath several times and hang in the 
open air. By the peroxidizement of the iron 
with the atmospheric oxygen the hats will be 
more completely blackened. When fully dried 
wash in running water. 

Horn. — Besides hydrogen peroxide, horns^can 
be bleached by immersing for a short time in 
water slightly mixed with sulphuric acid, chlo- 
ride of lime, or chlorine, or they may be exposed 
in the moist state to the fumes of burning sul- 
phur, largely diluted with air. 

Ivory, to Bleach.— I. First clean the ivory by 
boiling it with a paste composed of burned 
pumice stone and water. After cleansing place 
the article under a glass vessel, and expose it to 
the sun's rays until it assumes its original white- 
ness. The ivory should be kept moist with 
water while bleaching. If the first operation 
does not succeed perfectly, it should be repeated. 

2. Mix a thin lime paste and heat over a 
moderate fire. Place the ivory in this paste, 
and leave it until it bleaches white, after which 
remove the paste, dry and polish. 

3. Dr. Artus's process. — The ivory articles 
are placed in a solution containing 11*4 oz. car- 
bonate of soda in crystals and i5% oz. of water, 
and allowed to remain in solution for 2 days. 
The articles are then removed from the solution, 
well washed in pure water, and then smeared 
for five or six days in a solution composed of 
IT oz. of sulphite of soda and 45J^ oz. of water. 
At the end of five or six days there should be 
added to the solution containing the articles an 
ounce of hydrochloric acid diluted with 5^ oz. 
of water. The vessel containing the liquid 
should then be covered and left standing for 
from 24 to 26 hours, after which the ivory may 
be taken out, washed in clean water and dried. 
The quantities named in this recipe book are 
sufficient to bleach 22fcj oz. of ivory. A glass or 
porcelain vessel should be used, as the acid will 
act upon metallic " vessels. A very fine polish 
may be put upon the ivory by the use of putty 
powder and water applied by means of a rubber 
made of old felt hat. If the ivory articles are 
of a character to be placed in a lathe, they may 
be polished by the use of pulverized pumice 
stone mixed with water, after which the ivory 
should be heated by rubbing it, while revolving 
in the lathe, with a piece of linen or sheepskin, 
and when it has become hot it should then be 
rubbed with a little whiting mixed with olive 
oil, then with a little dry whiting, and finally 
with a piece of soft white rag. 

4. Immerse for a short time in water slight- 
ly mixed with sulphuric acid, chloride of 
lime, or chlorine, or it may be exposed in the 
moist state to the fumes of burning sulphur, 
largely diluted with air. Ink stains may be re- 
moved by repeatedly using a solution of caustic 
potash in water. 



5. Ivory that has become yellow by exposure 
can be whitened by washing in a solution com- 
posed of 1 oz. of nitric acid and 10 oz. of soft 
water ; apply with a rough brush ; cleanse thor- 
oughly with clean water. 

6. Peroxide of hydrogen is used in Sheffield 
to bleach the inferior ivory for knife handles. 
The mode of procedure is as follows: Place, 
say, 2 qt. of the liquid in a stone pot, adding 4 
oz. of liquid ammonia fort (880°), immerse the 
handles, and put over a common shop stove for 
twenty- four to thirty-six hours; the handles 
are then taken out and gradually dried in the 
air, not too quickly, or they would split. The 
deep color of the ivory is removed, and a beau- 
tiful pearly white ivory results when polished. 
The ivory is previously treated with a solution 
of common soda, to get rid of greasy matter, 
and open the pores. 

7. Antique works in ivory that have become 
discolored may be brought to a pure whiteness 
by exposing them to the sun under glasses. It 
is the particular property of ivory to resist the 
action of sun's rays when it is under glass ; but 
when deprived of this protection, to become cov- 
ered with a multitude of minute cracks. Many 
antique pieces of sculpture in ivory maybe seen, 
which, altnough tolerably white, are, at the 
same time, defaced by numerous cracks. This 
defect cannot be remedied; but, in order to 
conceal it, the dust may be removed by brushing 
the work with warm water and soap, and after- 
ward placing it under glass. Antique works in 
ivory that have become discolored may be 
brushed with pumice stone, calcined and diluted, 
and while yet wet placed under glasses. They 
should be daily exposed to the action of the sun, 
and be turned from time to time, that they may 
become equally bleached ; if the brown color be 
deeper on one side than the other, that side 
will, of course, be for the longest time exposed 
to the sun. 

8. To bleach ivory, place the ivory in a satu- 
rated solution of alum for an hour. Polish with 
a woolen cloth, and wrap in linen to dry. Also 
with peroxide of hydrogen, to 1 pt. add 1 oz. 
aqua ammonia. Warm, soak the ivory for 
twenty-four hours, wipe and polish with chalk. 

9. Peineman's Process of Bleaching Ivory 
which has Turned Yellow.— Place the ivory in a 
saturated solution of alum, soak fo^ one hour. 
Kub with a woolen cloth, and wrap in a linen 
cloth to dry. Another method which is pre- 
ferred by some is to prepare a thin paste with 
lime, heat over a fire. Put the ivory in this 
paste, and let it remain until it becomes white. 
Take out, dry and polish. 

10. To bleach ivory handles of steel tools, pro- 
tect the steel with a coat of wax or paraffin, and 
set the handles in a solution of chloride of lime 
1 part, water 4 parts, for a day, more or less, 
then wash the handles with clean warm water, 
wipe and dry. If satisfactory, warm the metal 
part and wipe off the wax or paraffin. Another 
way is to dip the handle in a saturated solution 
of alum in water for from one to three hours, 
wash, wipe, and dry. If the handles are not 
very dark, the latter way is preferable. For 
polishing the steel points, use putty powder 
(oxide of tin) on a buff wheel wet with alcohol. 
This will not stain the handles. 

Bleaching Jute.— Jute is still less tolerant of 
chemical agents than linen, especially of acids. 
For bleaching 50 lb. the following process is 
recommended: Make up a solution of 5 lb. 
soap at 140° F., and pass the jute five times 
through it. Rinse in clean water. For the 
chemic bath mix 2^ lb. of chloride of lime with 
an equivalent quantity of sulphate of magnesia 
(Epsom's) both dissolved in water. Stir up, let 
settle, dilute to ]4° Tw., steep the jute for three 
hours in the cold, taking care to keep the goods 
below the surface of the liquid. Take out and 
wash well. The operation of exposing vege- 
table fiber of any kind to sun, air and moist- 
ure is known in some parts as "crofting," and 
in others as "grassing." The process of boil- 



Bleaching. 



4-1 



Bleaching. 



ing with alkali and soap is known as " bowk- 
ing," and the liquid in the keirs is spoken of 
as the "bowking liquor."— Crookes. 

To Bleach Lac— Dissolve shellac in a lye of 
pearlash by boiling; filter, pass chlorine through 
it in excess, wash and precipitate ; afterward 
melt it into sticks. This makes an excellent 
varnish- with spirits of wine; its color also ren- 
ders it good for white and delicate colored seal- 
ing wax. 

Leaves, to Bleach. — Mix 1 drm. chloride of lime 
with 1 pt. water, and add sufficient acetic acid 
to liberate the chlorine. Steep the leaves about 
ten minutes, and until they are whitened ; re- 
move them on a piece of paper, and wash in 
clean water. 

Bleaching, Microscopical. See Microscopy. 

Oils and Fats.— Many plans of decolorizing oils 
are in vogue. 1. Exposure to sunlight in large 
white glass bottles ; the oil soon becomes color- 
less, but acquires an almost rancid flavor. 

2. Agitation with 2% of a solution of perman- 
ganate of potash bleaches effectually, but also 
leaves a bad flavor. 

3. The oil is first agitated with water contain- 
ing gum, and to the emulsion thus formed is 
added coarsely crushed wood charcoal; the 
whole is then slowly warmed to a degree not 
reaching 212° F. (100° C.) and when cold the oil is 
dissolved out by ether or petroleum spirit, and 
the latter is recovered by distillation; the result 
is good. 

4. The oil, 500 parts, is clarified by addition of 
50 parts of China clay and 50 parts of water. 

Paraffin.— The crude paraffin is filtered, and 
boiled for two hours with 5$ of its weight of 
sodium sulphide and sufficient water. It is 
allowed to cool, so that the mass swimming- on 
the top may become compact and be removed ; 
it is then washed with river water, pressed, and 
afterward dissolved in 20$ amyl alcohol, the 
paraffin being left as a pasty and pliable mass. 
It must remain for a time, and then be strongly 
pressed after filtering through bone black.— 
Be Molon. 

Piano Keys, Bleaching. —The reason piano 
keys turn yellow is because they absorb the 
grease from the fingers; it will, therefore, be 
necessary to remove this. If a paste made 
from whiting and a solution of potash is laid on 
and allowed to remain for about twenty-four 
hours, the ivories will be restored very nearly, 
if not quite, to their original color, without re- 
moving them from the keys. See Staining 
Ivnry, below. 

Rosin, to Bleach. — Rosin is bleached by melting 
in a suitable vessel at a temperature of not more 
than 600° and passing steam through the fluid 
mass. The steam and rosin are then condensed 
in a receiver and the product dried. Carbonic 
acid, or a mixture of carbonic acid and nitrogen 
or hydrogen gas, are introduced sometimes, to 
perfect decolorization. Rosin oil is one of the 
products of destructive distillation of rosin, the 
residium being tar. 

Sails, to Bleach. — Use a solution of chloride of 
lime in water, in which the sail may be im- 
mersed for a short time and then thoroughly 
washed and dried in the sun. This will whiten 
it. 

Shellac. — 1. By exposure in thin threads to 
the atmosphere. 

2. 1 lb. of shellac is dissolved in 4 lb. of very 
strong alcohol, 1 lb. of bleaching powder — con- 
taining at least 20$ bleaching chlorine — mixed 
into a paste with water, strained through linen, 
and the residue washed with water until the 
nitrate amounts to 1 lb. It is then mixed with 
a solution of carbonate of potash in 3 parts of 
water until no further precipitate is produced. 
The precipitate is separated by filtration, the 
warm alcoholic solution of shellac is treated with 
hydrochloric acid until the mixture is decidedly 
acid. The shellac then separates as white clots, 
which are to be washed until the water ceases 
to pass away milky, and then rolled out into 
thin strips upon a wet board. 



3. Lemming's method consists in either boil- 
ing with or filtering the hot alcoholic solution 
through well burnt and recently heated animal 
charcoal. When necessary, this operation is re- 
peated until the solution is colorless, when it is 
filtered through fine silk, and finally thi-ough 
fine filter paper. To insure success, the solution 
should be in the proportion of about 5 oz. of 
shellac to 1 qt. of alcohol (rectified spirits of 
wine). 

4. Dr. Hare published a method for bleaching 
the lac by means of chlorine. He dissolved one 
part of shell or seed lac in a boiling solution of 
1 part of pearlash in about 8 parts of water. 
The solution was then cooled and impregnated 
with chlorine gas till the lac was all precipitated. 
The precipitate thus obtained is white, but the 
color deepens by washing and consolidation; 
dissolved in alcohol, lac bleached by this pro- 
cess j'ields a varnish which is as free from color 
as any copal varnish. The application of chlor- 
ine must be made by a person acquainted with 
chemistry. Hence chloride of lime is safer as a 
bleaching agent, the lime being afterward dis- 
solved out from the precipitate by dilute muri- 
atic acid. 

5. Shellac (Orange), to Bleach to "White.— Rub 
up with and dissolve in 2 lb. water, 21b. chloride 
of lime. Add to above 4 oz. caustic potash in 1 
lb. of water. Digest 2 lb. of the shellac in 1 gal. 
of alcohol for a few days. Add the above fluid 
then with constant stirring, and after half an 
hour add excess of hydrochloric acid. Pour off 
the fluid after the shellac has separated, wash 
the shellac with boiling water until the latter 
comes off clear, place the shellac on a moist 
board, and dry. 

Instructions for Bleaching Silk.— The articles 
to be bleached must be freed from all mechani- 
cally adhering dirt, grease, etc. This is effected, 
according to the nature of the article, and of 
the impurities to be removed, by means of soap, 
ammonia, sulphuret of carbon, ether, or alco- 
hol. These cleansing agents must then be en- 
tirely removed, either by washing or by evapora- 
tion. A bleach bath is then made up with the 
peroxide of hydrogen, either alone or along 
with small traces of ammonia or of soda lye. 
The silks are simply laid in this liquid, and left 
to steep as may be required. The pi*ocess is 
accelerated by heat not exceeding 77° F., and by 
the light of the sun. The bleaching process 
may last from two to fourteen days. When it 
is completed, the silks are rinsed in condensed 
steam water, and carefully dried. 

In China, silks are scoured with carbonate of 
potash or of soda, but this method has been 
nearly abandoned in Europe on account of the 
amount of care and attention it requires. 
From 10 to 12 lb. of carbonate of soda are re- 
quired for 100 lb. of raw silk. The scouring 
bath is not allowed to get hotter than 185° F., 
and the process may last from sixty to ninety 
minutes. The action is considered to have gone 
far enough when the threads give a kind of 
crackling sound if rubbed with the finger nail. 
Two or three washings with lukewarm water 
complete the process. The loss is rarely below 
18$, and may rise to 28$. 

Caustic soda is used in very weak solutions for 
coarse kinds of silk. From 3 to 4 lb. solid caus- 
tic is sufficient for 100 lb. silk. It is dissolved 
in about 300 gal. water at 140°, and the yarns are 
worked for thirty minutes and are then washed. 
The loss does not exceed 12%.— Crookes. 

Bleaching Small Articles.— Articles, as pocket 
handkerchiefs, require, every few weeks, to 
get a good " stewing " in .a warm oven, often 
having to be left there, in a good large stewpan, 
for several days at a time, until they look 
white. As a preparation for washing, always 
steep white (not color-printed ones) articles in 
cold water for a few hours, and then the soiled 
parts can be very much cleansed by a good 
pressing together between the hands— no violent 
rubbing— then use good white soap on them, 
and let them remain overnight, folded flat in 






Bleaching. 



45 



Bleaching. 



a dish, not in water, but yet wet enough to com- 
pletely melt the soap through the texture of 
the articles. Do not be stingy of soap ; you can 
use the lather with other articles of a less tine 
sort. A little practice will bring you to the use of 
enough without waste. Next day pour on to said 
clothes a kettlef ul of very clean boiling water 
—boiling, mind you; for if only one degree be- 
low the boiling point, it will not be hot enough 
to whiten them. Cover your washing mug (or 
basin) at once, so that the steam is kept in ; 
after twenty to thirty minutes has passed, wash 
your things, and give them a rinse in plenty of 
tepid water. If now they are not to your satis- 
faction, spread them, well pulled out, while wet, 
upon a large dish, which place at or outside an 
open, sunny window, sprinkle them with clean 
cold water several times a day, and they will 
bleach lovely. Keep this going for two or three 
days; then wash again in a clean "■scald," as 
above described, and when you have them fin- 
ished it will be your own fault if your laces and 
handkerchiefs are not a wonder to all beholders. 
Never starch your lace articles, but crisp them 
in cold water, in which two or three lumps of 
loaf sugar are dissolved ; also, be sure to stretch 
out the work while wet, then dry flat on a towel 
upon the bed. 

Sponges, to Bleach.— 1. As is well known, chlo- 
rine and its compounds cannot be used for 
bleaching sponges, as they impart a yellow 
color to the latter, which in addition become 
hard and lose their fine texture. The method 
now generally employed is a water solution of 
sulphurous acid, and requires from six to eight 
days, and considerable manipulation. Accord- 
ing to the latest researches made in Germany v 
the bleaching of sponges can be performed 
more conveniently and expeditiously by means 
of bromine dissolved in water. As is well 
known, 1. part of bromine requires 30 parts of 
water to dissolve it, and thus a concentrated 
solution can easily be obtained by dropping a 
few drops of the former into a bottle of dis- 
tilled water and shaking it. The sponges are 
submerged in this solution, and after the lapse 
of a few hours their brown color changes to a 
lighter one, the dark red bromine solution 
changing at the same time to light yellow. 
By treating the sponges to a second immersion 
of a fresh solution, they acquire the desired 
light color in a short time. They are improved 
still more if finally dipped in dilute sulphuric 
acid and washed with cold water. It seems 
strange that such closely allied bodies as chlo- 
rine and bromine should act so differently 
toward the coloring matter in sponges. 

2. Saturate in 1 qt. of buttermilk for twenty- 
four hours, and rub between the hands. 

3. Soak in dilute muriatic acid (1 part acid to 
V/z parts water) for twelve hours, wash well 
with water to remove lime, then immerse it in 
a solution of 2 lb. hyposulphite of soda in 12 
lb. water to which 2 lb. muriatic acid has been 
added a moment before. After it is sufficiently 
bleached, remove, wash again, and dry. 

4. Soak for several days in cold water, renew- 
ing the water and squeezing the sponges occa- 
sionally. Then wash in warm water, and put 
into cold water aciduated with hydrochloric 
acid. Next dry, take out, and wash thoroughly 
in soft water; then immerse in an aqueous 
sulphurous acid (sp. gr. 1*034) for a week. 
Afterward wash in plenty of water, squeeze, 
and allow to dry in the air. 

5. Soak in dilute hydrochloric acid to remove 
the lime, then wash in water, and place for 
ten minutes in a 2% solution of potassium per- 
manganate. Their brown appearance on re- 
moval from this is due to deposition of man- 
ganous oxide, which may be removed by steep- 
ing for about two minutes in a 3% solution of 
oxalic acid to which a little sulphuric acid has 
been added. As soon as the sponges appear white, 
they are washed out in water to remove the 
acid. Very dilute sulphuric acid may replace 
the oxalic acid. 



6. First wash in tepid water, and then in a 
solution of hydrochloric acid (3 c. c. per liter =5 
fl. drm. per 7 pt.), which frees the pores from 
carbonate of lime; next immerse for twenty- 
four hours in a solution composed of 5 pt. 
hydrochloric acid in 100 pt. of water, with addi- 
tion of 6 pt. hyposulphite of soda.— Blondeau. 

Straw, to Bleach.— 1. The articles, having 
been washed as below, may be placed for an 
hour in weak chloride of lime water, and then 
hung out on a line to dry slowly. The chloride 
of lime water should be made by mixing 1 part 
(by weight) of chloride of lime with 20 parts of 
water, agitating the mixture with a stick until 
all the particles of chloride of lime are thor- 
oughly broken up, allowing the mixture to 
settle, and pouring off the clear portion from 
the dregs for use. 

2. On a small scale, with such an article as a 
straw hat, a bonnet, a basket, etc., the follow- 
ing method may be followed : The straw, hav- 
ing been well washed with weak soda lye, is 
rinsed in plenty of clean, water, lightly shaken, 
etc.; remove superfluous moisture, and place, 
supported on a stick, under a large glazed 
earthenware pan turned upside down. A very 
small pipkin, capable of holding about ]4 Pt., is 
now placed on the fire, and about % oz. of roll 
brimstone placed in it. When the brimstone 
is all melted, a light is applied to it, so as 
to cause it to catch fire. The pipkin, with 
the inflamed sulphur, is now placed under the 
glazed pan in such a position as not to scorch 
the article to be bleached. The spaces between 
the pan and the table or floor on which it rests 
must be carefully closed with damp cloths 
placed around to prevent the escape of the sul- 
phurous acid gas produced by the combustion 
of the sulphur. In about two hours the pan 
may be removed, when the straw will be found 
nicely bleached. 

Starch.— Potato starch is largely bleached by 
the application of sulphuric acid, this being* 
absolutely requisite when the potatoes are at 
all decayed. After the use of the sulphuric 
acid, any remaining traces of acid must be 
neutralized by ammonia or milk of lime, fixed 
caustic alkalies being inadmissible. Chlorine is 
also much used for bleaching starch, usually as 
a solution of calcium chloride in water soured 
by the addition of sulphuric acid; this and 
some other salts cause the grains to swell, and 
render them soluble in cold water. Sal ammo- 
niac is another favorite agent.— Spoils' 1 Encyclo- 
pedia. 

Tallow, to Bleach and Harden.— In a copper 
boiler put H gal. water and 100 lb. rendered 
tallow; melt over a slow fire, and add, while 
stirring, 1 lb. of oil of vitriol, previously di- 
luted with 12 lb. of water ; afterward, ]4 lb. bi- 
chromate of potassa, in powder ; and lastly, 13 
pt. water, after which the fire is suffered to go 
down, when the tallow will collect on the sur- 
face of the dark gi-een liquid, from which it is 
separated. It is then of a fine white, slightly 
greenish color, and possesses a considerable de- 
gree of hardness. 

Composition for Cleansing and Bleaching Tex- 
tile Fabrics, Paint, Floors, Casks, etc.— 1. Car- 
bonate of potash, 22 parts; sand free from 
alumina and iron, 50 parts; charcoal, 2 parts. 

2. Carbonate of soda, 22 parts; carbonate of 
potash, 70 parts; silicate of potash, 20 parts; 
charcoal, 1 part. 

3. Silica, 1 part; common salt, 2 parts.— Sci- 
ence Record, 1875. 

Wax.— Melt the wax in a jar, and put into it 
powdered nitrate of soda, in the proportion of 

1 oz. to 1 lb. of wax. Afterward add by degrees 

2 oz. to 1 lb. of sulphuric acid, diluting with ten 
times its weight of water, keeping the wax 
warm and stirring the while. Let it stand a 
short time, and then fill up the jar with hot 
water, and allow the whole to cool. The wax 
should then be white. Afterward wash with 
water to remove any nitric acid that may re- 
main, as it would make the wax yellow. 



Bleedin". 



Wood, to Bleach.— In most cases the staining 
of wood may be effected so as to produce very 
bright colors without any previous preparation, 
as, generally speaking, the mordants employed 
have a bleaching action on the wood. But in 
many cases, in consequence of the quality of 
the wood under treatment, it must be freed 
from its natural colors by a preliminary bleach- 
ing process. To this end it is saturated as com- 
pletely as possible with a clear solution of 17J4 
oz. chloride of lime and 2 oz. soda crystals in 
10V£ pt. of water. In this liquid the wood is 
steeped for half an hour, if it does not appear to 
injure its texture. After this bleaching it is 
immersed in a solution of sulphurous acid to 
remove all traces of chlorine, and then washed 
in pure water. The sulphurous acid which may 
cling to the wood in spite of washing does not 
appear to injure it, or alter the colors which 
are applied. 

Bleeding', to Arrest. See Styptics. 

Blisters.— When arising from friction or 
other irritation, they should be pricked with a 
needle, and emptied of their contents by pres- 
sure; but the skin should on no account be 
broken. 

The f ollowing preparation may then be gen- 
tly rubbed into the part : Spermaceti, 1 part ; 
olive oil, 1 part ; subnitrate of bismuth, 1 part. 
The part must be protected from friction, or a 
disagreeable sore will probably result. This is 
especially necessary when the blister is situated 
on the heel. One method of protecting it in 
this situation is to first place over it a piece of 
court plaster, and over this a good thick piece 
of cotton wool, at least twice the size of the 
blister ; this should be kept on by strips of ad- 
hesive strapping. 

Another plan is to thickly spread a small 
piece of lint with the preparation recommended, 
to place this over the blister, and over this cot- 
ton wool. 

BUste7s. See Photography. 

Bloom of Boses. See Bouges and Face 
Paints. 

Blotters, Substitute for.— 14 parts by 
weight gypsum, 2 parts potato flour. Mix and 

Eour into a mould. When this mass becomes 
ard, the blotter is ready for use. 

Bluing for Laundry Use.— 1. Dissolve 
indigo sulphate in cold water and filter. 

2. Dissolve good cotton blue (aniline blue 6 
B) in cold water. 

3. Dissolve fine Prussian or Berlin blue with 
y% part of oxalic acid in water; or use ferro- 
cyanide of potassium ( T x 5 part) in place of ox- 
alic acid. 

4. Dissolve 7 oz. of yellow prussiate of potash 
in 2'1 pints of water. Make a solution of 
sesquichloride of iron which shall contain 1 
part of the solid salt by weight to every 10 
parts of water by weight. Take equal volumes 
of the two solutions, and add to each twice its 
volume of cold concentrated solution of sul- 
phate of soda. Finally, mix the two solutions 
thus obtained. The solid Prussian blue will im- 
mediately precipitate. This may be put upon a 
filter and washed, being kept exposed to the 
air for perhaps fifteen or twenty days. The 
excess of soluble salts will first be washed 
away, and then the latter washings will dissolve 
the blue, forming a deep-blue liquid, which 
may be used for preparations of bluing for 
clothing. It is, however, better to buy the soft 
Prussian blue than to attempt to prepare it on 
a small scale. 1 oz. of the soft Prussian blue 
powdered, and put into a bottle with 1 qt. of 
clear rain water, acidulated by J4 of an oz. of 
oxalic acid, is a good preparation. A very small 
portion suffices for a large amount of clothing. 

5. A Disinfective Laundry Blue.— Mix together 
16 parts of Prussian blue, 2 parts of carbolic 
acid, 1 part of borax, and 1 part of gum arabic 
into a stiff dough. Roll it out into balls as large 
as hazel nuts, and coat them with gelatine or 



46 Bluing. 

gum, to prevent the carbolic acid from escap- 
ing. 

6. Liquid Washing Blue. —Water 15 parts ; dis- 
solve in this l\i parts indigo-carmine. Add y± 
part gum ai*abic. 

Blue Pigments. See Pigments. Blue 
Prints. See Photography. 

Bluing Metals. —Blue Finish, without 
Heat.— Clean every part carefully, and apply 
nitric acid 1 part, diluted with 10 parts of water 
until a blue film is produced on the surface. 
Then wash with warm water, dry and wipe with 
linseed oil. 

Brass, to Color Blue like Steel.— The brass laid 
in a leaden vessel, containing hydrochloric acid 
and a little arsenic acid, assumes iridescent tints, 
and may be removed when the desired shade of 
blue is obtained. 

Bluing Gun Barrels.— I. For bluing gun barrels 
by staining dissolve 4^j oz. hyosulphite of soda in 
1 qt. water, also 1M oz. acetate of lead in 1 qt. 
water. Mix the two solutions and bring to a 
boil in a porcelain dish or stone pot. Clean the 
gun barrel free from grease, oil, or varnish, 
warm the barrel and smear with the hot solu- 
tion, using a piece of sponge tied to a stick. 
When color develops wash and •wipe dry, finish 
with boiled linseed oil. 

2. The bluing of gun barrels is effected by 
heating evenly in a muffle until the desired 
blue color is raised, the barrel being first made 
clean and bright with emery cloth, leaving no 
marks of grease or dirt upon the metal when 
the bluing takes place, and then allow to cool 
in the air. It requires considerable experience 
to obtain an even, clear blue. 

Hoiv to Blue a Revolver.— 3. Sometimes the steel 
is heated to a light gray color, allowed to cool 
and reheated until blue. 1. Get as high a polish 
as possible on the part which you want to blue. 
2. Get ,*>n iron box made (thin sheet iron). If for 
the chamber only, say about 6 in. square, no 
need for rivets, just doubled together. 3. Pound 
up some wood charcoal; fill j'our box -with it; 
put the box on a fire (any fire); stir up the char- 
coal now and again, till you find it is partly 
igmted. Now put your chamber into the box 
of partly ignited charcoal; put it in about mid- 
way, so as to have as much heat at bottom as at 
top and sides. 4. Have handy a handful of 
dry powdered lime and a piece of tow or cotton 
waste; you will want a small pair of tongs, or 
other means of lifting your article out of the 
box. When you put the article in the box place 
it again on the fire. Now you must pay atten- 
tion to it; lift it out about every ten minutes 
and don'tstand looking at it, but at once rub it 
with the tow dipped in the lime. As quickly as 
possible put back into the charcoal. Don't let 
your charcoal get too hot; when you see it get- 
ting very hot lift the box off the fire and stand 
it in any convenient spot; replace on fire 
again if necessary. Now, the following is im- 
portant: Your chamber in a short time gets 
of a purple color, then bright blue. It is very 
tempting to leave off at this bright blue. Don't. 
This first blue is no good, at least no good 
where the article has to be rubbed and cleaned. 
Continue, the bright blue will depart, leaving 
your chamber nearly as before you put it in 
the box. Don't forget every seven or ten 
minutes to take out the article and rub it with 
the tow and dry lime. It must not be kept 
long in the air. Presently you should obtain a 
rich, dark blue. Finally, when blued, let it cool, 
then oil (any oil).— English Mechanic. 

Steel, Bluing of. —I. Try the following: Scour 
the steel with a small quantity of a strong aque- 
ous solution of soda, rinse in water, warm, and 
brush over with a solution of y^ of an oz. 
chloride of iron, dissolved in 5 oz. of water, and 
let it dry; then apply in the same manner a solu- 
tion of 1-5 of an oz. pyrogallic acid in 1 oz. water, 
dry, and brush. Does not wear well without lac- 
quering. The blue oxide is sometimes imitated 



Boiler. 



Boilers. 



by using a thin alcoholic shellac varnish, colored 
with aniline blue or Prussian blue. 

2. The articles to be blued should have their 
surfaces cleaned and polished. They may be 
then heated in fine clean -wood ashes to a tem- 
perature of from 500° to 6U0°, according- to the 
depth of the color required. It is not necessary 
to watch the temperature, but simply to exam- 
ine the articles from time to time to see that 
when cooled in the air they assume the proper 
color. They should then be immediately re- 
moved, and the operation is then completed. 

3. To blue steel without heat, mix finely pow- 
dered Prussian blue with rather thin shellac ; 
gently heat the steel and apply the varnish. 

4. Iron and Steel to Blue without Heat. So- 
lution of potassium ferricyahide and water, 
1:200 ; solution of ferric chloride, 1:200. Mix the 
two solutions and dip. 

5. Antimony trichloride, 25 parts; nitric acid, 
fuming, 25 parts; and hydrochloric acid, 50 
parts. Apply with a rag and rub until the 
proper color is obtained with a piece of green 
oak. 

Bobierre's Metal. See Alloys. 

Boiler Covering.— The following table 
gives the results of a series of experiments by 
Mr. C. E. Emery, for the New York Steam Com- 
pany : 

Material - conductivity. 

Hair felt 100^ 

Mineral wool No. 2 ..... 83*2$ 

Mineral wool No. 2 and tar 71$ 

Sawdust ... 68$ 

Mineral wool No. 1 67*6$ 

Charcoal 63*2$ 

Pinewood, across grain 55*3$ 

■ Loam 55$ 

Gasworks lime, slaked 48$ 

Asbestos 36*3$ 

Coal ashes 34'5$ 

Fuelcoke 27'7$ 

Air space, 2 in. deep 13*6$ 

Non-conducting Coverings for Steam Pipes.— 
We give following tests of Mr. G. B. Dumford, 
of Hamilton, Ont. These may be found superior 
in some cases to tests of Mr. C. E. Emery, 
in the Scientific American: 
Combination of asbestos, hair felt, air 

space and wood 100$ 

Asbestos and hair felt and chopped straw, 

the straw mixed with lime putty 87$ 

A plastic cement manufactured by parties 
at Troy, N. Y., with % in. hair felt out- 
side 8Q-Q% 

Paper pulp mixed with lime putty, 1 in. 

covered with sheeting of wood pulp 85$ 

Mineral wool cased with wood 81$ 

" cased with sheet iron 79$ 

Charcoal 60$ 

Sawdust 41$ 

Loam and chopped straw sealed with 

wood 32$ 

Asbestos 29$ 

Coal ashes 24$ 

Air space 20$ 

Fire brick 15$ 

Ked brick 12$ 

Sand 9*3$ 

Boiler Incrustations. See Incrusta- 
tions. 

Boilers, Paint for. See Paints. 

Boilers, to Preserve, when not in 

Use.— To lay up a portable boiler out of use. 
blow out or otherwise empty the water from 
the boiler thoroughly while the iron is warm, so 
it will dry off inside. Take off a hand-hole 
plate, and (if no man-hole plate) take out the 
safety valve, so as to permit a circulation of air 
through the interior. Take out the grate bars, 
and thoroughly clean off the ashes and soot 
from all parts of the furnace walls and the in- 
terior of the tubes. Store the boiler in a dry 
shed or barn, with the chimney stack standing, 



or in a dry place with an umbrella hood over 
the top of the stack, so that dry air will draw 
through the furnace and tubes. 

Boilers, Steam, Rules for Manage- 
ment of.— Engineers and users of steam power 
will be benefited by keeping in constant mind 
the following rules which the Hartford Steam 
Boiler Insurance Company keep posted in the 
boiler rooms where they have assured risks : 

1. Condition of the Water.— The first duty of 
an engineer when he enters his boiler room in 
the morning is to ascertain how rnany gauges 
of water there are in his boilers. Never un- 
bank nor replenish the fire until this is done. 
Accidents have occurred and many boilers have 
been entirely ruined from neglect of this pre- 
caution. 

2. Low Water. — In case of low water, imme- 
diately cover the fire with ashes; or, if no ashes 
are at hand, use fresh coal. Do not turn on the 
feed under any circumstances, nor tamper with 
nor open the safety valve. Let the steam out- 
lets remain as they are. 

3. In Case of Foaming.— Close the throttle, 
and keep closed long enough to show true level 
of water. If that level is sufficiently high, feed- 
ing and blowing will usually suffice to correct 
the evil. In case of violent foamings, caused by 
dirty water, or change from salt to fresh, or 
vice versa, in addition to the action above stated, 
check draught and cover fires with fresh coal. 

4. Leaks.— When leaks are discovered, they 
should be repaired as soon as possible. 

5. Blowing Off.— Blow down, under a pressure 
not exceeding 20 lb., at least once in two weeks; 
every Saturday night would be better. In case 
the feed becomes muddy, blow out 6 or 8 in. 
every day. Where surface blow cocks are used, 
they should be often opened for a few moments 
at a time. 

6. Filling up the Boiler.— After blowing down, 
allow the boiler to become cool, before filling 
up again. Cold water pumped into hot boilers 
is very injurious, from sudden contraction. 

7. Exterior of Boiler.— Care should be taken 
that no water comes in contact with the exte- 
rior of the boiler, either from leaky joints or 
other causes. 

8. Removing Deposit and Sediment.— In tub- 
ular boilers the hand holes should be often 
opened, and all collections removed from over 
the fire. Also, when boilers are fed in front, 
and blown off through the same pipe, the collec- 
tion of mud or sediment in the rear end should 
be often removed. 

9. Safety Valves. — Raise the safety valves 
cautiously and frequently, as they are liable to 
become fast in their seats and useless for the 
purpose intended. 

10. Safety Valve and Pressure Gauge.— Should 
the gauge at any time indicate the limit of 
pressure allowed by this company, see that the 
safety valves are blowing off. In case of differ- 
ence, notify the company's inspector. 

11. Gauge Cocks, Glass Gauges.— Keep gauge 
cocks clear and in constant use. Glass gauges 
should not be relied on altogether. 

12. Blisters.— When a blister appears, there 
must be no delay in having it carefully exam- 
ined and trimmed, or patched, as the case may 
require. 

13. Clean Sheets.— Particular care should be 
taken to keep sheets and parts of boilers exposed 
to the fire perfectly clean ; also, all tubes, flues 
and connections well swept. This is particularly 
necessary where wood or soft coal is used as 
fuel. 

14. General Care of Boilers and Connections.— 
Under all circumstances keep the gauges, cocks, 
etc., clean and in good order, and things gener- 
ally in and about the engine and boiler room in 
a neat condition. 

Boilers, Rules for Strength of.— To find the safe 
pressure a cylindrical boiler will bear in pounds 
per square "inch : Divide the thickness of the 
plate in inches by the diameter of the boiler in 
inches, and multiply the quotient by 5,000 for a 



Boiling. 



Bottles. 



copper boiler with single riveted shell ; by 6,400 
for a copper boiler with double riveted shell ; 
by 7,600 for a wrought iron boiler Avith single 
riveted shell ; by 9,000 for a wrought iron boiler 
double riveted; by 10,000 for a steel boiler single 
riveted; by 13,000 for a steel boiler double 
riveted. 

Boiling Points. See Temperature, 
Effects of. 

Boils.— 1. If the inflammation is very great, 
poultices may be applied for a few hours. At 
the same time internal medicines are plainly 
indicated. Indolent boils may be covered once 
daily with glycerine, 1 drm.; extract of conium, 
1 drm.; extract of belladonna, 1 drm.; made 
into an ointment with 1 oz. of ceratum resinae. 
A druggist should prepare this. In very chronic 
cases the boil may be painted with iodine tinc- 
ture once daily. 

2. The exciting cause should receive attention. 
Boils are often due to general debility or an 
impoverished state of the blood. Iron, quinine, 
and the potassium salts have been found in such 
cases, used either alone or combined, most ad- 
vantageous. For local application, strong car- 
bolic acid will arrest the pain and relieve all 
irritability. Naphthol ointment, balsam of 
Peru, or a strong solution of the mercurial 
corrosive chloride can be used with great bene- 
fit to the parts.— Phila. Bulletin. 

Bole.— The name of several argillaceous 
minerals, varying in color from white to yel- 
low, red, and brown, which they owe chiefly to 
iron. 

Bone, to Polish. See Polishing. 

Bones, to Clean and Prepare. See 
Cleansing. 

Bones, to Utilize.— The following plan has 
been suggested for utilizing bones : Place them 
in a large kettle filled with ashes, with about 
1 peck of lime to 1 barrel of bones. Cover with 
water and boil. After twenty-four hours 
nearly all the bones will be soft enough to be 
pulverized by hand. The rest may have to be 
boiled ten or twelve hours longer. When pul- 
verized they will be in the form of paste, and 
suitable to mix with other manure. 

Bookbinders' Lacquer. See Lac- 
quers. 

Bookbinders' Varnish, See 'Var- 
nishes. 

Book Edges, to Polish. See Polish- 
ing. 

Books, to Clean. See Cleansing. 

Books, to Giid. See Gilding. 

Books, to Bepair.— The first thing is to 
secure the loose leaves. Odd leaves can be fixed 
in with paste or thin glue. If a whole section is 
loose, first sew it with stout thread, leaving 
long ends at the back, and then tie these ends 
to the part that goes before and the part that 
follows. A sheet of paper glued on the back 
will fix it in its place, letting a little glue go in 
before and after the sewed section. If ''the 
book has slipped out of the cover, leaving the 
cover intact, the best way is to strip all the 
paper off the back (not sides) of the cover, leav- 
ing the cloth (or leather, as the case may be) 
bare ; then glue the back of the quires, and 
stick them on the cloth. This, with or without 
new end papers, will complete the job. This 
makes what is called a tight back ; but it will 
open fairly well if all the padding is taken out, 
as directed above, and will make a strong bind- 
ing. If only one cover is torn off, it can be 
fastened on thus: Raise the leather of the 
cover from the millboard with a penknife to trie 
depth of Yz in. (or less if book is small). Get a 
piece of cloth, about 1 in. wide, and glue this 
into the opening made ; do the same with the 
back of the book, and put in the remaining Yz 
in. of cloth with glue, and the job is done. They 
are not handsome, but are always strong. 



Books, Sizes of.— The associated librarians 
of Great Britain recently fixed upon the follow- 
ing scale of measurements for the sizes of books. 
The inferior limit of each size being the superior 
limit of the size below it : 

Large folio la. f o over 18 in. 

Folio fo below 18 in. 

Small folio sm.fo " 13 in. 

Large octavo. . . . la. 8o " 11 in. 

Octavo 8o " 9 in. 

Small octavo sm. 8o 

Duodecimo 12o " 8 in. 

Decimo octavo . . . 18o is 6 in. 

Minimo mo below 6 in. 

Large quarto la. 4o " 15 in. 

Quarto 4o " 11 in. 

Small quarto sm. 4o " 8 in. 

To designate unusual sizes the additional 
terms square, sq., narrow, nar., and oblong, ob.» 
are to be used. 

Boots, Blacking for. See Blacking. 
Also Shoes. 

Boot Powders. See Powders. 

Boots, Squeaky.— A journal suggests their 
cure by the injection of powdered French chalk 
through a perforation in the inner sole, and 
adds that the free use of the same substance be- 
tween soles when boots are being made will 
effectually prevent any trouble of this nature. 

Boot-top Iiiquid.— 1. Solution of muriate 
of tin 3 drm., French chalk, or Venetian talc, in 
powder 1 oz., potassium binoxalate Yz oz., flake 
white 1 oz., burnt alum Yz oz., powdered cuttle 
fish bone 1 oz., white arsenic 1 oz., boiling water 
1 qt. Probably sulphate of barytes might be 
substituted for arsenic, the use of which it is 
desirable to discourage. 

2. Sour milk 3 pt., cream of tartar 2 oz., oxalic 
acid 1 oz., and alum 1 oz. 

3. Wash the tops with soap and water, and 
scrape them with the back of a knife. Then 
apply the following with a hair foot brush: 
Oxalic acid 1 oz., water 1 pt,; use the back of a 
knife as before ; then polish with the following: 
Powdered gum arabic Yz oz., red spirits of lav- 
ender 2 oz., powdered turmeric Yz oz.; pencil 
this over the top, let it half dry, then polish by 
rubbing it, one way only, with a flannel till it 
shines. 

4. Sour milk 3 pt., butter of antimony 2 oz., 
cream of tartar 2 oz., citric acid, alum, burnt 
alum, of each 1 oz. 

5. White top : 1 oz. each of magnesia, alum, 
cream of tartar and oxalic acid, 34 oz. potassium 
binoxalate, and J4 oz. sugar of lead ; dissolve in 
1 qt. of water, and apply with a sponge. 

6. Brown top : Oxalic acid, alum, annatto, of 
each 1 oz., isinglass Yz oz., sugar of lead Yz oz., 
salt of sorrel J4 oz.; boil together in 1 qt. of 
water for ten minutes. Apply with a sponge. 

Boots, Varnish for. See Varnishes. 

Borax, Substitute for.— Copperas 2 oz., 
saltpeter 1 oz., common salt 6 oz., black oxide 
manganese 1 oz., prussiate of potash 1 oz., all 
pulverized and mixed with 3 lb. nice welding 
sand. Use the same as you would sand. High 
tempered steel can be welded with this at a 
lower heat than is required for borax. 

Bottle Caps, Varnish for. See Var- 
nishes. 

Bottle Cements. See Cements. 

Bottle Wax. See Waxes. 

Bottles, to Cleanse., See Cleansing. 

Bottles, to I<abel.— 1. By etching: Barium 
sulphate, 3 oz.; ammonium fluoride, 1 oz.; to 
which add sufficient sulphiuic acid to decom- 
pose the ammonium fluoride and make the mix- 
ture semi-fluid. The ink must be prepared in 
a leaden dish and kept in a lead or gutta 
percha bottle. It is applied to the glass with a 
camel's hair brush or quiil pen, and when suffi- 
ciently etched the granulated letters should be 
filled in with some white or black pigment. 



Bottles. 



49 



Brass. 



2. The sand blast and other mechanical 
engraving- methods are altogether out of the 
question for any but professional glass cutters. 
Nor can the letters be cut very satisfactorily 
and legibly 'with a diamond. We have, then, 
nothing left but paper labels, and, as an adhe- 
sive preparation for such, experiment has 
shown the following formula to be about the 
best: Gum arabic, 1 oz.; gum tragacanth (pulv.), 

1 oz.; acetic acid, 40 min.; glycerine, 1 oz.; 
water, 2 oz. Dissolve the gums in the water, 
hot; then add the %cid and glycerine. The 
next difficulty as regards paper labels is the 
fugitive qualities of ordinary writing ink. A 
bottle labeled nitric acid, with a good bold 
black ink, may, in a few hours, bear nothing 
but a label with a few yellow stains upon it to 
denote its contents. 

3. The f ohowing, then, will be found to be a 
good non-corrosive ink and as near indestruct- 
ible as writing fluids can be made : Oil of laven- 
der, loz.; powdered copal, 1 drm.; lampblack, 6 
gr.; indigo, 2 gr. Dissolve the copal in the oil by 
gently heating, then add the lampblack and in- 
digo. Coat both label and upon the glass sur- 
rounding it two or three times with the follow- 
ing varnish, by means of a camel's hair brush, 
first sizing the label with a solution of isinglass 
in water: Canada balsam, 1 oz.; spirits of turpen- 
tine, 2 oz. 

4. Affix a common paper label and let it dry ; 
then heat the label (by a Bunsen burner or very 
small flame) till it will just melt paraffine rubbed 
on it. The label is absolutely protected, and looks 
as if it were enameled on the glass. If the neck 
and lip of the bottle and the stopper are simi- 
larly treated, a perfect air-tight joint is secured 
and the stopper never sets, while liquids can be 
poured out without running down the sides. 

Bottles, Glass, to Cut. See Glass. 

Bottles, Show. See Show Bottles. 

Bouquet. See Perfumes. 

Bows, Violin, to Clean. See Cleans- 
ing. 

Bows, Violin, Resin for.— 1. For violin 
resin boil down Venice turpentine with a little 
water until a drop cooled on a piece of glass is 
of proper consistency. During the boiling 
cold water must be added from time to time. 
When sufficiently thick pour into cold water, 
knead well, and when cold break into pieces. 
Expose to sun until dry and transparent. 

2. Select the best clear brown resin, melt it in 
a clean basin, to nearly a boil, which will clear 
it of turpentine or other volatile oils. Pour in 
paper moulds. 

Branding Ink. See Inks. 

Brandy. See Liquors. 

Brandy Smash.— 1. 1 tablespoon water, 
% tablespoon of white sugar, 1 wine glass bran- 
dy. Fill the tumbler § full shaved ice, put in 

2 sprigs of mint. Put 2 small pieces of orange 
on top. 

2. A small lump of sugar, 1 tablespoonful of 
cold water, and 1 wine glass of brandy. Fill § 
full shaved ice, use 2 sprigs ot mint. Lay 2 small 
pieces of orange on top, and ornament with 
berries in season. 

Brass Compositions. See Alloys. 

Brass, to Black. See Blacking Met- 
als. 

Brass, to Blue. See Bluing. 

Brass, to Bronze. See Bronzing. 

Brass, to Clean. See Cleansing. 

Brass, Coloring and Finishing of. 
See also Bronzing. 

Bronze, Barbklienne, on Brass.— Freshly pre- 
cipitated arsenious sulphide is dissolved in am- 
monia, and an timonious sulphide is added until a 
dark yellow color is produced. Heat the solu- 
tion carefully to about 95° F. Leave the arti- 
cles in the bath until they have acquired a 



dark brown color, and develop the color by 
scratch brushing. 

Steel Blue on Brass.— Dissolve 3 drm. of anti- 
mony sulphide and 4 oz. calcined soda in 1^£ pt. 
of water. To this add 5J^ drm. of kermes. Fil- 
ter, and mix this solution with 5^j drm. of 
tartar, 11 drm. of sodium hyposulphite, and 1)4 
pt. water. If polished sheet brass is placed in 
the warm mixture, it will assume a beautiful 
steel blue color. 

Steel-gray Coating on Brass.— Antimonic sul- 
phide and fine iron filings, 1 part of each; 
hydrochloric acid, 3 parts; and water 3 or 4 
parts. 

Green Color on Brass.— The repeated applica- 
tions, to copper or brass, of alternate washes 
of dilute acetic acid and exposure to the fumes 
of ammonia will give a very antique-looking 
green bronze ; but a quick mode of producing 
a similar appearance is often desirable. To this 
end the articles may be immersed in a solution 
of 1 part perchloride of iron in 2 parts water. 
The tone assumed darkens with the length of 
immersion. Or the articles may be boiled in a 
strong solution of nitrate of copper. Or, lastly, 
they may be immersed in a solution of 2 oz. 
nitrate of iron and 2 oz. hyposulphite of soda 
in 1 pt. water. Washing, drying and burnishing 
complete the process. 

Brass, Miscellaneous Colors oh.— 1. An orange 
tint inclining to gold is produced by first pol- 
ishing the brass and then plunging it for a few 
seconds in a warm neutral solution of crystal- 
lized copper acetate. Dipping 1 into a bath of 
copper, the resulting tint is a grayish green. 

2. A beautiful violet is obtained by immers- 
ing the metal for an instant in a solution of 
chloride of antimony and rubbing it with a stick 
covered with cotton. During this operation the 
brass should be heated to a degree just tolerable 
to the touch. 

3. A moire appearance, vastly superior to that 
usually seen, is produced by boiling the object 
in a solution of sulphate of copper. There are 
two methods of procuring a black lacquer on 
the surface of brass. The first, which is usually 
employed by instrument makers, consists in 
polishing the object with tripoli and washing it 
with a mixture composed of nitrate of tin 1 part, 
chloride of gold 2 parts. Allow this wash to 
remain for fifteen minutes, then wipe it off with 
a linen cloth. An excess of acid increases the 
intensity of the tint. In the second method, 
copper turnings, are dissolved in nitric acid until 
the latter is saturated; the objects are immersed 
in the solution, cleaned and subsequently heated 
moderately over a charcoal tire. This process 
must be repeated in order to produce a black 
color, as the first trial only gives a dark green. 
Finally, polish with olive oil. 

4. The following is one of the compositions 
that turn out a rich color : 

Lake copper lib. 

Tin loz. 

Zinc J^oz. 

Lead y% oz. 

Time, seven to twenty minutes, according to 
thickness of castings. 

5. The fifth method is done with chloride of 
platinum. For this purpose they are first heated 
to redness, and then dipped in a weak solution 
of sulphuric acid. Afterward they are im- 
mersed in dilute nitric acid, thoroughly washed 
in water and dried in sawdust. To effect a uni- 
formity in the color, they are plunged in a bath 
consisting of 2 parts nitric acid and 1 part rain 
water, where they are suffered to remain for 
several minutes. Should the color not be free 
from spots and patches, the operations must be 
repeated until the desired effect is produced.— 
Eng. Median. 

6. Copper or brass may be bronzed in various 
modes. The l-epeated applications of alternate 
washes of dilute acetic acid and exposure to the 
fumes of ammonia will give a very antique- 
looking green bronze; but a quick mode of pro- 
ducing a simdar appearance is oiten desirable. 



Brass. 



50 



Brass. 



To this end the articles may be immersed in a 
solution of 1 part perehloride of iron in 2 parts 
of water. The tone assumed darkens with the 
length of immersion. 

7. The articles may be boiled in a strong- solu- 
tion of nitrate of copper. 

8. Lastly, they may be immersed in a solution 
of 2 oz. nitrate of iron and 2 oz. hyposulphite of 
soda in a pt. of water. Washing, drying, and 
brushing complete the process. 

9. The best means for producing a black sur- 
face on brass, pinchbeck, or silver is said to be 
platinum chloride, which is allowed to liquefy 
by exposure to the air. It is rubbed in with the 
finger, or, best, with the ball of the thumb. After 
blacking, the object is washed and polished with 
oil and leather. Platinum chloride is dear, but 
a little of it will do a great deal of work. 

10. Ordinary gas fittings are pickled; but if 
you want to get a good bronze, you can use 
either a solution of nitrate of silver or bichloride 
of platinum. The articles will require black- 
leading after being bronzed, and should be 
warmed before being dipped into the bronzing 
solution. 

11. A solution of nitro-muriate of platinum 
will blacken brass quicker than anything else ; 
but possibly 2 oz. corrosive sublimate dissolved 
in 1 qt. of vinegar will act quickly enough. This 
solution is brushed over the brass, allowed to 
remain till the latter is black; it is then wiped 
off, and the brass cleaned and blackleaded. 

12. A very good black varnish may be made 
by mixing a small quantity of pure lampblack 
with rather thick brass lacquer, using as little 
lampblack as possible. Another varnish may be 
made by fusing 3 lb. asphaltum, and when 
melted add J^ lb. shellac and 1 gal. oil of turpen- 
tine. 

13. If merely wanted to black it, brush on a 
mixture of best vegetable black and French 
polish. This will give a nice dead black, or mod- 
ify the deadness by the addition of polish. 

14. Make a strong solution of nitrate of silver 
in one dish and of nitrate of copper in another. 
Mix the two together, and plunge the brass into 
the mixture. Remove and heat the brass evenly 
until the required degree of dead blackness is 
obtained. 

15. Finely powder a small quantity of sal 
ammoniac and moisten with soft water. Heat 
the article to be colored over a charcoal fire and 
rub over with this mixture; then dry with bran 
and whiting. 

16. Wash the brasswork with roach alum dis- 
solved by boiling in strong lye in the proportion 
of 1 oz. alum to 1 pt. lye, and when dry rub with 
fine tripoli. Either of these processes will give 
to brass the appearance and brilliancy of gold. 
Many receipts for coloring brass will be found 
under Bronzing. 

Brass, Polished, Colors for. — Mr. E. Eber- 
meyer has just published in the Zeitschrift 
fur der Chemie Indust. formulas for a number 
of baths, designed to give polished brass vari- 
ous colors. The brass objects are put into 
boiling solutions composed of different salts, 
and the intensity of the shade obtained is »de- 
pendent upon the duration of the immersion. 

1. With a solution composed of sulphate of 
copper 120 grn., hydrochlorate of ammonia 30 
grn., water 1 qt., greenish shades are obtained. 

2. With the following solution all the shades 
of brown from orange brown to cinnamon are 
obtained : Chlorate of potash 150 grn., sulphate 
of copper 150 grn., water 1 qt. 

3. The following solution gives the brass first 
a rosy tint and then colors it violet and blue : 
Sulphate of copper 435 grn., hyposulphite of 
soda 300 grn., cream of tartar 150 grn., water 
lpt. 

4. Upon adding to the last solution ammoni- 
acal sulph. of iron 300 grn., hyposulphite of soda 
300 grn., there are obtained, according to the 
duration of the immersion, yellowish, oi-ange, 
rosy, then bluish shades. Upon polarizing the 
ebullition, the blue tint gives way to yellow, 



and finally to a pretty gray. Silver, under the 
same circumstances, becomes very beautifully 
colored. 

5. After a long ebullition in the following 
solution we obtain a yellow brown shade, and 
then a remarkable fire red : Chlorate of potash 
75 grn., carbonate of nickel 30 grn., salt of 
nickel 75 grn., water 10 oz. 

6. The following solution gives a beautiful 
dark brown color: Chlorate of potash 75 grn., 
salt of nickel 150 grn., water 10 oz. 

7. The following gives,* in the first place, a 
red, which passes to blue, then to pale lilac, 
and finally to white: Orpiment 75 grn., crys- 
tallized sal soda 150 grn., water 10 oz. 

8. The following gives a yellow brown : Salt 
of nickel 75 grn., sulphate of copper 75 grn., 
chlorate of potash 75 grn., water 10 oz. 

9. On mixing the following solutions, sulphur 
separates and the brass becomes covered with 
iridescent crystallizations: I.— Cream of tartar 
75 grn., sulphate of copper 75 grn., water 10 oz. 
II.— Hyposulphite of soda 225 grn., water 5 oz. 

10. Upon leaving the brass objects immersed 
in the following mixture, contained in corked 
vessels, they at length acquire a very beautiful 
blue color : Hepar of sulphur 15 grn., ammonia 
75 grn., water 4 oz. 

11. Brass, to Cover with Beautiful Luster Col- 
ors.— Mr. Puscher communicates a process by 
which this much desired end may be easily at- 
tained. 1 oz. of cream of tartar is dissolved in 
1 qt. hot water, to which is added ^ oz. tin salt 
(protochloride of tin) dissolved in 4 oz. cold 
water. The whole is then heated to boiling, the 
clear solution decanted from a trifling precipi- 
tate, and poured under continual stirring into 
a solution of 3 oz. hyposulphite of soda in J^pt. 
water, whereupon it is again heated to boiling, 
and filtered from the separated sulphur. This 
solution produces on brass the various luster 
colors, depending on the length ©f time which 
the articles are allowed to remain in it. The 
colors at first will be light to dark gold yellow, 
passing through all the tints of red to an irides- 
cent brown. A similar series of colors is pro- 
duced by sulphide of copper and lead, which, 
however, are not remarkable for their stability ; 
whether this defect will be obviated by the use 
of the tin solution, experience and time alone 
can show. 

12. Brass, Dip for.— A good "dip "for cast 
brass is sulphuric acid, 1 qt.; nitric acid, 1 qt.; 
water, 1 Qt. Gold lacquer for undipped brass is 
alcohol, 4 gal.; turmeric, 3 lb.; gamboge, 3 oz.; 
sandarac, 7 lb.; shellac, 1% lb.; turpentine var- 
nish, 1 pt. Green bronze dip is wine vinegar, 2 
qt.; verditer green, 2 oz.; sal ammoniac, 1 oz.; 
salt, 2 oz.: alum, ^ oz.; French berries, 8 oz.; 
boil together. 

Curling.— This fine finish is often seen on fine 
optical brass work. Remove all scratches and 
give a high polish by using files, emery paper,. 
Ayr stone, and at last fine rotten stone. Keep 
wet with water and produce the curling with 
the aid of a pointed stick of charcoal. The 
motion should be circular. 

Dipping and Pickliug Brass.— It is preferable 
to employ at first a weak liquid containing salts 
of copper and zinc from previous operations, 
and termed pickle, which slowly removes the 
surface coating and leaves the metal smooth. 
Dilute sulphuric acid is also used as a pickle for 
sheet copper, being slower and more uniform in 
its action in proportion to the degree of dilution. 
Nitric acid, which is the chief constituent of 
aquafortis, exerts a more powerfully solvent 
action on zinc than on copper, so that the sur- 
face of dipped brass assumes a warmer tone, 
shading more or less into. a reddish yellow. 
To some extent the color may be varied by 
using aquafortis of different strengths, pro- 
bably depending on the component metals 
being dissolved in different ratios by acids 
of varying densities. Nitric acid, contain- 
ing a certain quantity of nitrous acid, is 
capable of producing different shades of color. 



Brass. 



51 



Brass. 



To obtain such a mixture small quantities of 
organic substances are used lor the purpose of 
generating nitrous fumes, by the action of con- 
centrated nitric acid upon them. Thus saw- 
dust added to strong nitric acid imparts an 
orange yellow color, due to the partial decom- 
position of the acid and the formation of 
nitrous acid. Dead dipping is the name applied 
to the process of producing a dead yellow sur- 
face on brass work by dipping in suitable 
liquids. The work is first pickled in dilute or 
spent acid until the scale can be removed by 
rubbing. It is then well swilled and placed in 
stronger acid, which acts much more promptly, 
giving rise to a Irothy appearance. This is re- 
moved by rinsing the work in water, alter 
which it is dipped in strong nitric acid for a few 
seconds, washed in water, and then washed in 
water containing dissolved d/rgol, finally being- 
dried in hot sawdust. The argol solution is 
said to prevent a brownish discoloration, or 
mottling of the surface, which would otherwise 
occur. In this last dipping it is important that 
each article should be dipped separately, and 
not a number strung together on wire, as is 
often the case in the former dippings.— Hioms. 

1. Brass, Gold Dip for.— Soak in the following 
before dipping: Caustic potash dissolved in ten 
times its weight of water. 

2. The gold bath is composed of distilled 
water, 17 pt.; pyrophosphate of soda, 28 oz.; 
hydrocyanic acid of Y& prussic acid, y% of an oz. ; 
crystallized perchloride of gold, y s oz. The py- 
rophosphate is dissolved in 16 pts. of water, 
heated, filtered, and cooled. The filtered solu- 
tion of the gold chloride is added, and then the 
hydrocyanic acid, when the whole is raised 
nearly to the boiling point for use. Before 
entering the bath the articles should be passed 
through a solution of water 2£ gals.; nitrate 
of binoxide of mercury, % oz.; sulphuric acid, 
%oz. 

Brass, to Dull.— Take 1 part by weight of iron 
rust, 1 part white arseuic, and 12 parts hydro- 
chloric acid, mix. Clean the brass thoroughly, 
and apply with a brush until the color desired 
is obtained; then oil well, dry, and lacquer. 

Bras< Finishing by Mottling.— The brass is first 
polished to the required degree, and, if it is a 
fine surface, the mottled appearance is imparted 
by rubbing overifwith a gyratory motion a 
Scotch gray stone moistened with water. If the 
work is not very tine, a piece of tine emery 
paper may be used in the same way. If it is 
coarse, a dead smooth file may be used. An- 
other method is to secure emery cloth or paper 
to the end of a small round stick, placing the 
stick in the universal chuck of a lathe, holding 
the work against it with a light pressure, and 
moving it along while the lathe revolves. 

Brass Finishing.— If the work to be finished is 
greasy, it should be cleaned by heating and dip- 
ping in acidulated water— vinegar and water, or 
washing soda in water— and then in Clearwater. 
The finishing bath may be either nitric acid 2 
parts, water 1 part; or 1 part sal ammoniac, 1 
part sulphuric acid, 1 part nitric acid, 1 part 
water; all by measure, and the sal ammoniac to 
be dissolved in water until a satm-ated solution 
is obtained. The articles should not be allowed 
to remain in the acid more than ten seconds, 
then taken out, plunged into clear cold water, 
thence into hot soapy water, and dried in hot 
sawdust. 

Frosting Brasswork.— If old work it should be 
washed or boiled in potash to remove the 
lacquer; then pickled in water to which a little 
nitrous acid has been added. It is now dipped 
in strong nitrous acid (mind your fingers), 
washed quickly in hot water, and dried in saw- 
dust. The bright parts should now be bur- 
nished. To finish: Heat the work on a stove 
till it is as hot as you can hold it, and then 
lacquer. This must be done as soon as pos- 
sible, or it will tarnish. 

Olive Green on Brass.— Copper sulphate, 8 
parts; sal ammoniac, 2 parts; water, 1U0 parts. 



Boil and leave the articles suspended in it until 
the proper color is reached. 

Patina.— This beautiful color was originally 
produced by articles being exposed for a long 
time to the action of the atmosphere. The 
green color is largely imitated by any of the fol- 
lowing methods: 1. Copper carbonate is tritu- 
rated with sandarac varnish. This affords the 
cheapest and poorest imitation and is largely 
used in painting the little iron castings which 
are so lai'gely sold in Rome for souvenirs. 

2. 1 part of copper is dissolved in 2 parts of 
nitric acid, 15 parts of vinegar and ^ part of 
ammonium chloride are added. The articles for 
which brass should be used should be allowed to 
stand for several days and afterward wiped 
with linseed oil which is old and gummy. 

3. Use a solution* of cupric nitrate in which 10 
% of salt has been added and when the article is 
thoroughly dry apply a solution of 20 fl. oz. of 
vinegar, 1 oz. of ammonium chloride and 2 drm. 
of oxalic acid. Repeat if necessary, and in the 
course of a few days the article will be finely 
colored. 

Protecting Brass from Tarnish.— To keep brass 
from tarnishing, after thoroughly cleaning and 
removing the last traces of grease by the use of 
potash and water, the cage or other brass work 
must be carefully rinsed with water and dried, 
but in doing it care must be taken not to 
handle any portion with the bare hand, nor 
anything else that is greasy. The preservative 
varnish may be shellac, much diluted with 
alcohol, or it may be hard oil finish. In either 
case, the brass should be made pretty warm, 
and the varnish or shellac put on with a brush 
in as thin a coat as possible. The proportion of 
shellac to alcohol is about two ounces of the for- 
mer to nine ounces of the latter. Sometimes 
gamboge is used for a coloring matter to make 
the varnish more yellow, and sometimes dra- 
gon's blood. 

To Produce a Silver White Coating on Brass.— 
Cream of tartar, 23 parts; tartar emetic, 2 
parts; dissolve in 500 parts hot water; add to 
this hydrochloric acid, 25 parts; powdered or 
fine granulated tin, 62^ parts ; powdered anti- 
mony, 15 parts. Heat to boiling, dip in the 
articles to be coated. Boil for ^jhour, the brass 
will have a hard, durable silver white coating. 

Violet Color on Brass.— 1 lb. 2 oz. of hyposul- 
phite of soda is dissolved in 1 gal. of water. In 
another gal. of water dissolve 6 oz. of lead 
acetate (crystallized). Mix the two solutions 
together and heat from 170° to 180°. Clean the 
articles thoroughly and leave them in the solu- 
tion until the proper color is reached. 

Brass, to Whiten.— In 2 gal. of water dissolve 
3 lb. cream of tartar, and 4 lb. of very finely 
divided tin are added. This bath can also be 
used for copper. 

Brass Movements, Polish for.— Spanish whiting 
is mixed with clear rain water in the proportion 
of 2 lb. to the gal. Stir and let stand for a few 
minutes to allow the gritty portion to settle ; 
decant off the water into another vessel and 
again allow it to stand. The settlings in the 
second vessel are mixed with jeweler's rouge 
and used for polishing. 

To Roughen Sheet Brass, for Painting with Oil 
Paint.— Make a pickle of concentrated hydro- 
chloric acid, 1% parts ; concentrated sulphuric 
acid, 12 parts ; water, 12 parts. Place the brass in 
this pickle and allow it to remain for 12 hours. 
This gives the brass a moire-like appearance. 
Remove and wash with water. If it is desired 
to hasten the process, use a mixture of potas- 
sium bichromate and hydrochloric acid or a 
galvanic battery. 

Brass, Etcliing on. See Etching. 

Brass, Fluxes for. See Fluxes. 

Brass, to Gild. See Gilding. 

Brass, Lacquers for. See Lacquers. 

Brass, Melting.— The operation is rarely 
at first accomplished by amateurs without con- 



Brass. 



52 



Bronze. 



siderable difficulty. It requires a good furnace, 
capable of fusing copper, and a crucible capa- 
ble of withstanding the high temperature. For 
this latter reason black lead crucibles are gen- 
erally employed. The crucible is placed in the 
newly made fire, so as to heat up gradually. 
When well heated, place in your copper in small 
pieces, and force your fire until the copper is 
just fluid ; then place in your zinc, stirring the 
fused alloy meanwhile. Do not allow- the tem- 
perature to rise too high, as in this case a great 
part of the zinc will be volatilized, and, coming 
into contact with the air, will become ignited 
and converted into a copious white vapor of 
oxide of zinc. It is advisable to keep the sur- 
face of the fused metal covered with a quantity 
of chloride of ammonium (sal ammoniac), in 
order to preserve the surface free from oxide 
and clean. 

Brass, to Silver. See Silvering-. 

Brass, Solder for. See Soldering. 

Brasses. See Alloys. 

Brasses for Bearings. See Alloys. 

Brassing Iron. — Remove all organic mat- 
ter from the surface of the iron, and plunge it 
into melted brass. The coating of brass which 
is spread over the iron may be polished or bur- 
nished. 

Brassing "by Electricity. See Electro- 
metallurgy. 

Brazil Wood.— A dye stuff furnished by 
several species of trees of the genus Ccesalpinia, 
and much used in dyeing various shades of 
red. 

B razing .—Brazing Aluminum.— Aluminum 
bronze will braze as well as any other metal by 
using }4 brass solder (copper, 50%, zinc, 50$), and 
% borax. 

Steel, to Braze.— The following solder will braze 
steel, and may be found very useful in case of 
a valve stem or other light portion breaking 
when it is important that the engine should 
continue to work for some time longer : Silver, 
19 parts; copper, 1 part; brass, 2 parts. If prac- 
ticable, charcoal dust should be strewed over 
the melted metal of the crucible. 

Bread, Aerated.— Divide 3 lb. flour into 
two portions ; mix up the first with water hold- 
ing in solution 2 oz. bicarbonate of soda ; then 
mix the second portion of flour with water to 
which 1 oz. of muriatic acid has been added ; 
knead each mass of the dough thoroughly. 
When this is done, mix both portions together 
as rapidly and perfectly as possible, form the 
mass into loaves, and bake immediately. This 
bread contains no yeast, and is very wholesome. 
You can, if you prefer, use a baking powder 
such as the following : 

Powdered cream tartar 30 oz. 

Bicarbonate of soda 15 " 

Flour... 6 " 

All well dried ; mix thoroughly and keep dry. 

Breath, Offensive.— Causes : The primary 
are constitutional, the proximate are an un- 
healthy state of the mucous membrane of the 
mouth, gullet and stomach. It is weak and in- 
active, and its cells are not properly cast off 
and renewed, the external layers being slowly 
disintegrated. Another proximate cause is the 
retention of undigested food in the stomach. 
Treatment: This, in the main, must be consti- 
tutional. The odor may be corrected by wash- 
ing out the mouth with Condy's fluid, and by 
taking the following draught twice a day : 

Chlorate of notash 15 grn. 

Water. ........ 1 oz. 

Smoker's Breath, etc.— Do not smoke bad to- 
bacco, which leaves an abominable odor about 
the person and contaminates the breath almost 
beyond immediate i-emedying. The same may 
be said of bad cigars. The following is an old 
formula for removing the odor of tobacco 



from the mouth after smoking ; it is to be used 
as a wash : 

Calcium chloride 2 drm. 

Water 1 oz. 

Agitate for half an hour and filter. Then add 

Rectified spirit 1 oz. 

Rose water y % oz. 

For sore tongue, the simplest remedy is to 
wash out the mouth with 

Glycerine 1 part. 

Powdered chalk 1 part. 

Water ....8 parts. 

This will of course require to be shaken up be- 
fore using. 

Brewer's Cement. See Cements. 

Brick, New Kind of.— Messrs. Bleininger 
& Hasselmann, two German chemists, have, it 
is said, recently patented a method for obtain- 
ing products that will be more resisting to 
humidity, etc., than ordinary bricks and tiles. 
After drying and grinding the clay, they make 
a mixture as follows : 

Clay -. .91^ parts. 

Iron filings 3 " 

Table salt 2 

Potash V/ % " 

Elder or willow wood ashes. . . 2 " 
The whole is heated to a temperature varying 
from 1,850° to 2,000° C. (3,362° to 3,632° F.) At 
the end of from four to five hours the argillace- 
ous mixture is run into moulds, then rebaked 
in the ovens (always protected from the air) at 
a temperature of 842° to 932° F. The product 
may be variously colored by adding to the 
above 100 parts : 2 parts of manganese for a 
violet brown, 1 part of manganese for violet, 1 
part of copper ashes for green, 1 part arseniate 
of cobalt for blue, 2 parts of antimony for yel- 
low, and 1% parts of arsenic and 1 part of oxide 
of tin for white. These products resist the 
action of acids, and are well adapted for sewers, 
etc. 

Bricks, to Stain. See Staining. 
Brilliantine. See The Hair. 
Bristles, to Bleach. See Bleaching. 
Bristles, to Bye. See-jDyeing. 

Bristles, to Stiffen.— Immerse the bristles 
for a short time in cold alum water. 

Britannia, to Clean. See Cleansing. 

Britannia Metal. See Alloys. 

Britannia Metal, Solder for; See Sol- 
dering. 

Broadcloth, to Clean. See Cleansing. 

Bronze. See Alloys. 

Bronze Casting.— Bronze is generally supposed 
to be a mixture of copper and tin, but various 
things are used ; from 3 to 4 parts of copper- to 
1 part of tin, or 6, 7 or 8 parts of copper to 1 
part of zinc ; these are dark red bronze. Lighter 
gold bronzed with less copper. As for the 
moulding of the articles, that will depend upon 
what it is, a bust or a ball; and it would take 
up a great deal of our space to describe. If you 
wish to make a bronze casting off a plaster bust, 
first make a plaster mould of the exterior, then 
make a hollow wax model as the hollow plaster 
casts are made; take out and trim up, and imbed 
in some tine sand tempered with salt and water, 
and place in a warm place to become dry. You 
can afterward subject it to a greater heat and 
run the wax out, or let the mould absorb it, and 
while your mould is hot you may pour the metal 
in. Do not put it by to 'absorb the moisture 
again before using it. Fletcher's furnaces will, 
I have not the least doubt, answer your pur- 
pose in a small way. To color after dressing 
up: Cover with wet blacklead, and brush up to 
a polish, for black or dark green; and for red, 
with Venetian red; and for the green dust, 
suspend it over the fumes of vinegar or acetic 
acid. 

Bronze, to Clean. See Cleansing. 



Bronze. 



53 



Bronzing. 



Bronze, to Color.— As to the coloring- which 
may be given to bronze, and which is obtained 
by various methods of oxidation, the following 
are some of the methods in vogue : 

1. The dull color of medal bronze is obtained 
by rubbing with a mixture of red ocher and 
blacklead applied by a brush. 

2. The antique green is obtained by washing 
the metal in a liquid made of 10 gr. marine 
salt, the same quantity of cream of tartar and 
acetate of copper, the whole dissolved in 200 
gr. vinegar and 30 gr. carbonate of soda. 

3. The Florentine is obtained by means of 
green vitriol (sulphate of iron), and then rub- 
bing with wax. 

4. The citron tint is obtained by means of red 
ocher mixed with lampblack and oil. 

5. The old green bronze is obtained by several 
dippings in acid, and subsequently with wax. 

6. Verdigris is obtained by means of sal 
ammoniac, and wax afterward. 

7. The smoke tint is produced by annealing 
the object in a wisp of hay or straw, which is 
set on fire, and the article is burnished so that 
the oxide formed may penetrate the metal. 
The smoke of turf may be used instead, waxing 
afterward, and removing the grease by turpen- 
tine, so as to carry off the uneven first layer. 

8. Dark or Berlin Bronze.— Cleanse the metal 
by dipping it first momentarily in nitric acid, 
then rinsing quickly in running water, and rub- 
bing with sawdust. The bronzing- dip may be 
prepared by dissolving in 1 gal. hot water J4 lb. 
each perchloride of iron and perchloride of 
copper. The metal should not be allowed to 
remain in this dip any longer than is necessary 
to produce the desired color. Rinse well, dry, 
and polish in warm sawdust or with a rag buff. 

9. In preparing bronze medals for the Mel- 
"bourne exhibition, a rich chocolate color was 
obtained by the addition of a little copper 
acetate, mixed with an alkaline sulphide, to the 
ordinary colcothar bronzing powder, by which 
a film of mixed copper sulphide and oxide, 
somewhat resembling Chinese bronze, was pro- 
duced. 

Bronze, Coloring of. See also Brass. 

Bronze Monuments, to Preserve.— 

Brush over at intervals with a mixture of 1 
part of acetic acid and 5 parts of neatsf oot oil. 

Bronze Paints. See Paints. 

Japanese Pickles for bronze and Copper.— 
They are used boiling. 



Verdigris 

Sulphate of copper. 

Niter 

Common salt 

Sulphur 

Water 

Vinegar 




That most widely employed is No. I. When 
^oiled in No. III. solution, pure copper will 
turn a brownish red, and shaku-do, which, you 
will remember, contains a little gold, becomes 
purple. And now you will be able to appreciate 
the effect of small quantities of metallic im- 
purity as affecting the color resulting from the 
action of the pickle. 

Bronzing. See also Brass, Coloring of. 

Bronzing is now performed according to the 
color desired; for, although the word means a 
brown color, being taken from the Italian 
hronzino, signifying burnt brown, yet in com- 
mercial language it includes all colors. Success 
in the art of bronzing greatly depends on cir- 
cumstances, such as the temperature of the 
alloy or of the solution, the proportions of the 
metals used in forming the alloy, and the qual- 
ity of the materials. The moment at which to 
withdraw the goods, the drying of them, and a 
hundred little items of care and manipulation, 
require attention which experience alone can 
impart.— Eng. Mechan. 



Alabaster or Plaster, to Bronze.— I. Prepare 
the surface by sizing it over once or twice, and 
when dry touch the prominent parts of the 
figure with the bronze No. 1, and the remainder 
with No. 2. Then soften down the lines of mix- 
ture of the two paints with a badger's hair 
tool. 

No. 1. Grind equal parts of Dutch metal and 
the following paint together, and thin the mix- 
ture with a little oil or turpentine. 

No. 2. Grind Prussian blue, verdigris and 
ocher separately with oil, then mix them to- 
gether in such proportions as will produce a 
bronze green color. 

II. Touch over the prominent parts of the 
figure with Bessemer's gold paint, or instead 
thereof use gold or Dutch leaf, then cover the 
remainder of the figure as before with the 
paint No. 2. 

Aniline Bronzing Fluid.— Take 10 parts of 
aniline red and 5 parts of aniline purple and 
dissolve in 100 parts of alcohol at 95°, taking 
care to help the solution by placing the vessel 
in a sand or water batb. As soon as the solution 
is effected, 5 parts of benzoic acid are added, 
and the whole is boiled from five to ten minutes 
until the greenish color of the mixture is trans- 
formed into a fine light colored bronze. This 
bronze is stated to be very brilliant, and to be 
applicable to all metals, as well as to other sub- 
stances. It is easily laid on with a brush, and 
dries promptly. 

Bronzing Fluids.— 1. Red aniline 50 gr., vio- 
let aniline 50 gr., alcohol 2 oz., benzoic acid 50 
gr. Dissolve the aniline in the alcohol, in a 
bottle, by the. aid of water bath, add the ben- 
zoic acid, boil in the water bath five or ten 
minutes, until the greenish color of the liquid 
has changed to a light brownish bronze. This 
is applied to leather, metal, wood or other sur- 
faces.— Western Druggist. 

2. Brown Bronze Dip.— Iron scales, 34 lb.; mu- 
riatic acid, }<£ lb.; arsenic, y 2 oz.; zinc (solid), 14 
oz. Keep the zinc in only while it is in use. 

3. Green Bronze Dip.— Verditer green, 4 oz.; 
salt, 4 oz.; wine vinegar, 4 qt.; sal ammoniac, 2 
oz.; alum, 1 oz.; French berries, 16 oz. The in- 
gredients should be boiled together. 

4. Olive Bronze Dip for Brass.— Muriatic acid, 
1 oz.; nitric acid, V/% oz.; add palladium or tita- 
nium. Dissolve the metal and add 1 gal. pure 
soft water to each pint of the solution. 

5. Black Bronze for Brass.— Dip the article 
bright in aquafortis; rinse the acid off with 
clean water, and place it in the following mix- 
ture until it turns black: Hydrochloric acid, 
12 lb.; sulphate of iron, 1 lb.; and pure white 
arsenic, 1 lb. It is then taken out, rinsed in 
clean water, dried in sawdust, polished with 
blacklead, and then lacquered with green lac- 
quer. 

6. Take 1 pt. strong vinegar, 1 oz. sal ammo- 
niac, y^ oz. alum, J4 oz - arsenic ; dissolve them 
in the vinegar, and the compound is fit for use. 
We know brass founders who have been in the 
habit of using this for several years, and, where 
the metal is good, it is seldom found to fail. 

7. For a dipping brown, use to 1 pt. of water 
5 drm. perchloride of iron. The articles must 
be made perfectly clean and dipped in the hot 
solution until the required color is obtained ; 
then dipped in clean hot water, dried, and lac- 
quered. If only a varnish is required, use clear 
shellac varnish colored with dragon's blood, 
gum, and burnt umber. 

8. Fuchsin, 10 parts; aniline purple, 5 parts ; 
methylated spirit, 100 parts. Apply heat, and 
when solution has taken place, add benzoic 
acid, 5 parts. Then boil the whole for about 
five or ten minutes until the greenish color of 
the mixture has changed to bronze brown.— 
Chemicus. 

9. Stroschein, of Berlin, makes this by treat- 
ing dammar resin with about V6 of its weight 
of carbonate of potassium, stirring for about 
three days, and then finely powdering the resin- 
ous mass. Next it is scattered in thin layers 



Bronzing. 



54 



Bronzing. 



on hurdles exposed to a temperature of about 
60° C, and left for several months. The resin 
is then dissolved in benzine or another distil- 
late of naphtha under a boiling- point of 150° 
C, after dry ammonia gas has been led through 
the solvent. The bronze powder remains sus- 
pended in this varnish. Articles bronzed with 
it are said to retain for years together the 
original fresh metallic luster. 

10. Ormolu Dipping Acid for Sheet Brass.— 
Niter, 6 lb.; sulphuric acid, 1 gal.; nitric acid, 
yfz pt.; muriatic acid, y% pt. Putin the muriatic 
acid last, a little at a time. Stir with a stick. 

11. Parisian Bronze Dip. — Sal ammoniac, 1 oz.; 
common salt, 1 oz.; ammonia, 2 oz.; dissolved 
in 2 qt. vinegar. Clean the metal, rub with the 
solution, dry by friction with a brush. 

12. Pale Deep Olive Green Bronze.— Perchlo- 
ride of iron, 1% parts; water, 3 parts. Mix, 
and immerse the brass. 

13. Bronzing Small Brass Articles.— 1 part 
oxide of iron, 1 part white arsenic, 12 parts 
hydrochloric acid. Clean the brass well to get 
rid of lacquer or grease, and apply with a brush 
until the desired color is obtained. Stop the 
process by oiling well, when it may be varnished 
or clear lacquered. 



14. Bronze Gold.— 2}4 parts burnish gold, 2 
oxide of copper, 1 quicksilver, J4 gold flux. 
Having dissolved the copper in aquafortis, it is 
again separated from its solvent and falls to the 
bottom of the vessel by the addition of iron; 
the precipitate of copper may be increased or 
diminished at discretion, which makes the 
bronze richer or poorer in color, according 
to the proportion of burnish gold contained in 
the mixture. It is chiefly used for ornamenting 
the handles and heads of jars, vases, and so 
on, and occasionally intermixed with burnish 
gold. 

15. Green Bronze.— Dissolve 2 oz. of nitrate of 
iron and 2 oz. of hyposulphite of soda in 1 pt. 
of water. Immerse the articles in the bronze 
till of the required tint, as almost any shade 
from brown to red can be obtained ; then well 
wash with water, dry, and brush. One part of 
perchloride of iron and 2 parts of water mixed 
together, and the brass immersed in the liquid, 
gives a pale or deep olive gi'een, according to 
the time of immersion. If nitric acid is satu- 
rated with copper, and the brass dipped in the 
liquid and then heated, it assumes a dark green. 
If well brushed, it may be lacquered with pale 
gold lacquer, or else polished with oil. 



16. 



Bronzing Brass by Simple Immersion. 

By Messrs Bnwen & Co., brass founders, etc., London. 



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heat of the liquid must not be under 180°. No. 6 is alow in action. 
The action of the others is for the most part immediate.— [English pint, 20 oz.— Ed.] 



17. 



Bronzing Fluids for Copper by Simple Immersion. 





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Bronzing. 



55 



Bronzing. 



18. Bronze Green Dip.— Wine vinegar, 2 qts.; 
verditer green, 2 oz.; sal ammoniac, 2 oz.; alum, 
1 oz.; salt, 2 oz.; alum, 3^ oz.; French berries, 8 oz.; 
boil the ingredients together. 

19. To Bronze Castings (by Dipping).— Pickle 
the castings in sulphuric acid and water (1 to 10), 
scour with sand; then dip for an instant in 
solution of copper sulphate, 3 oz.; sulphuric 
acid, 5 oz.; 1 gal. of water. Kinse in cold water 
and dry in sawdust. 

Bronze on Feathers.— Fashion has introduced 
gilded and silvered feathers. It is chiefly goose 
feathers and wings of pigeons which appear 
covered with gold and silver. The process is 
very simple. The feather is dipped in bronze 
powder and rubbed with a piece of wash 
leather. In course of wearing, however, the 
bronze is very easily detached. To prevent 
this, the feather, before being dipped in the 
bronze powder, is taken through gum water, 
pressed nearly dry between cloths, and in its 
slightly adhesive state is treated with bronze 
powder. Partially bronzed feathers and wings 
are produced by covering those parts which are 
to remain plain with pasteboard, and the bronze 
powder is rubbed upon the rest with a feather. 
Of course varied effects may be produced by 
dyeing the feathers with aniline colors, etc., 
prior to the application of the bronze.— Faerber 
Zeitung. 

1. Bronzing Liquids for Gun Barrels. — Aqua- 
fortis, }4 oz -; sweet spirits of niter, }/% oz.; spirit 
•of wine, 1 oz.; sulphate of copper, 2 oz.; water, 
30 oz.; tincture of muriate of iron, 1 oz.; mix. 

2. Sulphate of copper, 1 oz.; sweet spirits of 
niter, 1 oz.; water, 1 pt.; mix. In a few days it 
will be fit for use. 

3. Sweet spirits of niter, 3 oz.; gum benzoin, 
1% oz.; tincture of muriate of iron, % oz.; sul- 
phate of copper, 2 drms.; spirit of wine, ^ oz.; 
mix, and add 2 lb. of soft water. 

4. Tincture of muriate of iron, \& oz.; spirit 
of nitric ether, y% oz.; sulphate of copper, 2 
scruples; rain water, y% pt. 

The above are applied with a sponge, after 
cleaning the barrel with lime and water. When 
dry, they are polished with a stiff brush or iron 
scratch brush. 

Bronzing Inlaid Work.— A method used for 
decorating inlaid work is the vise of a bronzing 
liquid, which consists of a fluid bronze com- 
position formed by combining metallic powder 
of gilding and bronze powder with collodion, 
which composition is capable of being applied 
as a bronze liquid to surfaces of wood, iron, or 
any solid material, for the purpose of coating 
the same for decoration or preservation. 

To Bronze Steam Pipes Used for Steam Heat- 
ing. — Use ordinary chrome yellow for painting 
the pipes; when this is nearly dry, rub on gold 
bronze powder with a piece of fur. Varnish 
with thin copal varnish or mastic varnish, when 
thoroughly dry. 

Iron, to Bronze.— The following is a method 
of giving cast iron the appearance of bronze 
without coating it with any metal or alloy : 
The article to be so treated is first cleaned, and 
then coated with a uniform film of some 
vege table oil; this done, it is exposed in a 
furnace to the action of a high temperature, 
which, however, must not be strong enough to 
carbonize the oil. In this way the cast iron 
absorbs oxygen at the moment the oil is de- 
composed, and there is formed at the surface a 
thin coat of brown oxide, which adheres very 
strongly to the metal, and will admit of a high 
polish, giving it quite the appearance of fine 
bronze. 

Size for Bronze Powder for Iron.— To \ pt. 
of methylated finish add 4- oz. of gum shellac 
and y% oz. gum benzoin. Put the bottle in a 
warm place and agitate it occasionally. When 
the gums are dissolved, let it stand in a cool 
place two or three days to settle; pour off the 
clear portion and reserve for finest work, using 
the sediment, which by addition of more alcohol 
may be made workable, when strained for first 



coat or coarser work. Add the bronze (q. s.) to 
this, and apply to the clean, smooth, warm iron, 
using a soft brush. Repeat, after drying, if 
necessary. Thin with alcohol, if necessary, to 
avoid wrinkles and brush marks. Varnish over 
all. 

To Bronze Iron Castings.— The castings must 
first be thoroughly cleansed. Immerse in a solu- 
tion of sulphate of copper, when the castings 
will acquire a coat of the copper. AY ash in 
water. 

Bronzing Articles Made of Iron Wire.— The fol- 
lowing is commended as the best and cheapest 
process: Clean the wire perfectly, and then 
immerse it in a solution of sulphate of copper 
(blue vitriol) until covered with a coating of 
metallic copper. Then wash and immerse the 
articles in the following solution ; Verdigris, 2 
oz.; sal ammoniac, 1 oz.; vinegar, 1 pt.; diluted 
with water until it tastes only slightly metallic, 
then boiled for a few minutes and filtered. The 
articles are steeped in this liquor at the boiling 
point, until the desired effect is produced ; but 
do not keep them in too long. When taken out, 
wash carefully in hot water and dry. 

Bronzing for Leather.— A small amount of so- 
called insoluble aniline violet is dissolved in a 
little water, and the solution is brushed over 
the articles; it will dry quickly, and perhaps 
may have to be repeated. Shoes that are treated 
in this way present a beautiful bronze color. 

Bronzing Metals and Ornaments of Copper, 
Electrotypes, etc.—l. Having thoroughly cleaned 
and polished the surface of the specimen, with 
a brush apply the common crocus powder, pre- 
viously made into a paste with water. When 
dry, place it in an iron ladle, or on a common 
fire shovel, over a clear fire for about one min- 
ute, and when sufficiently cool polish with a 
plate brush. By this process a bronze similar to 
that on tea urns is produced; the shade depend- 
ing upon the duration of the exposure to the 
fire. 

2. By substituting finely powdered plumbago 
for crocus powder in the above process, a beau- 
tiful deep and permanent bronze appearance is 
produced. 

3. Rub the metal with a solution or potassium 
sulphide (liver of sulphur, old name), then dry. 
This produces the appearance of antique bronze 
very exactly. 

4. Dissolve 2 oz. of verdigris and 1 oz. sal 
ammoniac in 1 pt. of vinegar, and dilute the 
mixture with water until it tastes but slightly 
metallic, when it must be boiled for a few min- 
utes and filtered for use. Copper medals, etc., 
previously thoroughly cleaned from grease and 
dirt, are to be steeped in the liquor at the boil- 
ing point, until the desired effect is produced. 
Care must be taken not to keep them in the 
solution too long. When taken out, they should 
be carefully washed in hot water and well dried. 
Gives an antique appearance. 

5. Chinese Method.— Make a paste with 2 oz. 
each of verdigris and vermilion, 5 oz. of alum 
and sal ammoniac, all in fine powder, and vine- 
gar, q. s.; then spread it over the surface of the 
copper, previously well cleaned and brightened 
uniformly, warm the article by the fire, and 
afterward well wash and dry it, when, if the 
tint be not deep enough, the process may be re- 
peated. The addition of a little blue -vitriol 
inclines the color to a chestnut brown and a 
little borax to a yellowish brown. Much em- 
ployed by the Chinese for copper tea urns. 

6. Dissolve 1 oz. of sal ammoniac, 3 oz. cream 
of tartar, and 6 oz. of common salt in 1 pt. of 
hot water; then add 2 oz. of nitrate of copper, 
dissolved in ]4 pt. of water; mix well, and apply 
it repeatedly to the article, placed in a damp 
situation, by means of a brush moistened there- 
with. Effect very antique. 

7. Potassium binoxalate J4 oz.; sal ammoniac, 
loz.; distilled vinegar, 2^ pt.; dissolve. As last. 

Mildew, Bronze Imitation of.— Dissolve equal 
weights of nitrate of iron and hyposulphite 
of soda in 8 parts of water; immerse the 






Bronzing. 



56 



Bronzing:. 



articles in this until of the right tint, then well 
Wash with water, dry, and brush; 1 part chloride 
of iron and 2 parts water imparts to brass a fine 
antique green. Brush well and lacquer with 
pale gold or lacquer, polish with oil. 

Paper, to Bronze.— Gum is substituted for 
drying oil in bronzing paper. When it is dry, 
the paper is submitted to the action of the 
burnisher, which imparts great brilliancy to 
it. 

Bronzing Plaster Cast.— I. Coat the figure with 
isinglass size until the surface continues in a 
moist state, and will absorb no more ; then 
touch it over lightly and sparingly with gold 
size, and put it away in a clean dry place for 
forty-eight hours. Touch the figure all over 
with bronze powder, and after the lapse of 
twenty-four hours, brush off all the loose 
powder, and particularly from the projecting 
parts cf the figure. 

2. The following is given as a process used in 
France for this purpose. Linseed oil soap is 
made by saponifying the oil with caustic soda 
and precipitating the soap with salt. It is 
separated, dissolved in rain water, and a mix- 
ture in solution of 4 parts blue vitriol and 1 
part copperas is added as long as a precipitate 
forms. This is filtered out, washed and dried, 
and 8M oz. are applied with 1 lb. quick-drying 
varnish and 5J4 oz. white wax. This is applied 
to the surface previously heated, and is baked 
in if necessary. The high parts are touched up 
with a bronze powder. As a simpler process, 
shellac the bust and then gild it with bronze 
powder and varnish. The varnish is sold with 
the powder. See also No. 23 below. 

Bronze Powder and Bronzing.— Bronze pow- 
der is finely pulverized metal or powder hav- 
ing a metallic base, applied to the surface of 
vai-ious articles for the purpose of imparting a 
metallic color or luster. 

1. Gold powder for bronzing is made by 
grinding leaf gold with honey, dissolving the 
mixture to obtain the gold by deposition, the 
honey water being decanted. German gold is 
a yellow alloy leaf similarly treated. Silver 
bronze can be made in the same way, using 
silver leaf, or dissolve silver in nitric acid 
and precipitate by means of polished copper, 
sheet or wire. 

2. Mosaic gold is prepared by incorporating 
and grinding : tin, 16 ; flower of sulphur, 
7 ; mercury, 8 ; and sal ammoniac, 8 ; then sub- 
liming the amalgam. A flaky gold colored 
powder remains in the matrass. 

3. Copper powder is obtained by saturating 
nitrous acid with coppei\ and then precipitat- 
ing the copper by exposing iron 'bars in the 
solution. 

4. Bisulphide of tin has a golden luster, flaky 
texture, and is used for ornamental work, such 
as paper hangings, and as a substitute for gold 
leaf. 

5. Dutch foil, reduced to a powder by grind- 
ing, is also used, and powdered plumbago gives 
an iron-colored shade. 

6. Another kind is made from verdigris, 8 ; 
putty powder, 4 ; borax, 2 ; niter, 2 ; bichloride 
of mercury, J4 ; grind into a paste with oil and 
fuse them together. 

7. Another (red): sulph. copper, 100; carb. 
soda, 60 ; mix and incorporate by heat; cool, 
powder, and add copper filings, 15 ; mix ; keep 
at a white heat for twenty minutes ; cool, 
powder, wash, and dry. 

8. Bronzing is the process of giving a bronze- 
like or antique metallic appearance to the sur- 
face of metals. The processes vary : they may 
be classed as coating with a metal alloy, coat- 
ing with a metal in paste, solution, or vapor, 
corrosion, coating with a gum, applying bronze 
powder, and painting. The modes vary with 
the material. The methods as to copper (some 
of them applicable to brass) are as follows : The 
surface is cleaned, polished, and a paste of cro- 
cus powder and water applied to it. Apply 
heat to develop the color required. 



9. Plumbago applied in the same manner. 
By applying mixtures of plumbago and cro- 
cus different shades are obtained. 

10. The copper is exposed at a high heat to 
the fumes of zinc. 

11. The copper vessel is filled with water 
acidulated with hydrochloric acid, an amal- 
gam of zinc and cream of tartar being added. 
Boil for a while. The two latter processes are 
more properly brassing. 

12. Corrosion processes are as follows: Wash 
the cleaned copper with a dilute solution of 
sulphuret of potassium, or hydrosulphuret of 
ammonia is applied with a brush. 

13. Apply a solution of verdigris, 2 ; sal am- 
moniac 1 ; vinegar, 16. 

14. Or, verdigris, 2 ; vermilion, 2 ; alum, 5 ; 
sal ammoniac, 5 ; vinegar sufficient to form a 
thick paste. Blue vitriol inclines to dark 
brown, borax to yellow brown. 

15. Or, sal ammoniac, 1; cream tartar, 3; 
common salt, 3; hot water, 16; dissolve, and 
add nitrate of copper, 3 ; dissolved in water, 8 ; 
apply repeatedly with a brush. 

16. Or, potassium binoxalate, 1 ; sal ammon- 
iac, 3 ; distilled vinegar, 32 ; apply as above. 

17. For iron : Clean the metal, and wash it or 
immerse it in a solution of sulphate of copper, 
or verdigris, when it will acquire a coating of 
copper. 

18. The polished metal— a gun barrel, for in- 
stance—may be dipped in a solution of chloride 
of antimony and sulphate of copper. This is 
browning. 

19. The iron is cleaned,polished, and lacquered. 
The lacquer consists of shellac in alcohol, with 
or without the addition of saffron, annatto, 
aloes, or other coloring substances. 

20. The iron is cleaned, polished, coated with 
linseed oil, and heated to develop the tint re- 
quired, 

21. Brown bronze dip, for coating hat hooks 
and similar small hardware articles, is made of 
iron scales, 1 lb.; arsenic, 1 oz.; muriatic acid, 
1 lb.; zinc, solid, 10 oz. The zinc should be kept 
in only when the bath is used. The castings 
must be perfectly free from sand and grase. 

22. For tin: Clean the castings, and wash them 
with a mixture of 1 part each of sulphate of 
copper and sulphate of iron in 20 parts of water; 
dry and wash again with a solution of verdi- 
gris, 5 parts; in distilled vinegar, 11 parts. 
When dry, polish with colcothar. 

Plaster of Paris statuettes, models, etc., are 
bronzed in the following manner : 

23. Prepare a soap from linseed oil boiled with 
caustic soda lye, to which add a solution of 
common salt, and concentrate it by boiling till 
it becomes somewhat granular upon the surface; 
it is then strained through a linen cloth, and 
what passes through is diluted with boiling 
water, and again filtered. Dissolve 4 parts blue 
vitriol and 1 part copperas separately in hot 
water, and add this solution to the solution of 
soap as long- as it occasions any precipitate. 
This flocculent precipitate is a combination of 
the oxides of copper and iron with the margaric 
acid of the soap, the former giving a green and 
the latter a reddish brown color, the combi- 
nation of the two resembling that greenish rust 
which is characteristic of ancient bronzes. 
When the precipitate is completely separated, a 
fresh portion of the vitriol solution is to be 
poured upon it in a copper pan, and boiled in 
order to wash it. After some time the liquid is 
poured off and the soap washed with warm and 
afterward with cold water, pressed in a linen 
bag, drained, and dried, when it is ready for use 
in the following manner : 3 lb. of pure linseed 
oil are boiled with 12 lb. of finely powdered 
litharge, and the mixture is strained through a 
canvas cloth and permitted to stand in a warm 
place until it becomes clear. 15 oz. of this, 12 
oz. of the above described soap, and 5 oz. of fine 
white wax are melted together at a gentle heat 
in a porcelain basin by means of a water bath. 
The mixture must be kept some time in a 



Broiizinj 



57 



Bronzing. 



molten state, to expel any moisture which it 
may contain. It is then applied by means of a 
paint brush to the surface of the gypsum, which 
is heated to the temperature of about 200° F. 
After exposure to air for a few days, the sur- 
face is rubbed with cotton wool or a flne rag, 
and variegated with a few streaks of metal 
powder or shell gold. Small objects may be 
dipped in the melted mixture and then exposed 
to the heat of the fire until thoroughly pene- 
trated and evenly coated with it. 

24. Silver Bronze Powder.— Melt together 1 
oz. each of bismuth and tin, then add 1 oz. 
quicksilver, cool and powder. 

25. Gold Bronze Powder.— 1. Pure gold bronze 
powder may be made as follows : G rind leaf 
gold with pure honey until the leaves are 
broken up and minutely divided. Remove this 
mixture from the stone by a spatula and stir 
up in a basin of water; the water will melt the 
honey and set the gold free. Leave the basin 
undisturbed until the gold subsides. Pour off 
the water and add fresh instead, until the 
honey is entirely washed away, after which col- 
lect the gold on filtering pans and dry for use. 
2. A cheaper sort may be made thus : Melt 1 lb. 
of tin in a crucible and pour it #i y% lb. of 
pure mercury ; when this is solid grind it into 
powder with 7 oz. of flowers of sulphur and 
14 lb. of sal ammoniac. 

26. Bronze Powders.— Bright yellow, copper 
83 parts, zinc 17 parts; orange, copper 90 to 95 
parts, zinc 5 to 10 parts; copper red, copper 97 to 
99 parts, zinc 1 to 3 parts. 

27. Bronze, Method of Applying the.— Go over 
the part you intend to bronze with gold size 
or varnish. "When it is sufficiently dry— that is, 
when it does not adhere to the finger, but feels 
clammy— dip a piece of cotton, rolled into a 
hard ball, in your bronze powder, and dab it on 
the place to be bronzed. 

28. Bronze powder may be mixed into a paint 
by using japan drier with a small percentage 
of boiled linseed oil. Both should be fresh. 

To Bronze Rifles.— Take the breeches out, and 
stop orifices at each end; rub "barrels over with 
hot lime to take off all grease, then clean them 
carefully; do not touch the barrels with your 
hands. Get from a chemist 60 drops sweet 
spirit of niter, 60 drops tincture of iron, 16 grns. 
sublimate of mercury, 16 grns. green copper- 
as, 16 grns. blue vitriol, add 4 teaspoonfuls 
water, then with a pad of cotton wool wet the 
barrels and leave them until well rusted, then 
polish with steel brush— to be obtained from a 
gunmaker ; repeat ten times, then wash with 
boiling water, and oil. Be careful with stain, as 
it is a deadly poison. 

To Bronze Polished Steel.— Methylated spirits, 
l^pt.; gum shellac, 6 oz.; gum benzoin, % oz. 
Set the bottle in a warm place, shake occasion- 



ally. "When dissolved decant the clear liquid for 
fine work, strain the dregs through muslin. 
Mix with the varnish in quantities to suit 6 oz, 
powdered bronze green, varying - the color with 
yellow ocher and lampblack as desired. Apply 
the varnish to the articles after cleaning and 
warming them; give them two coats. 

Bronzing, Surface.— This term is applied to 
the process of imparting to the surfaces of fig- 
ures of wood, plaster of Paris, etc., a metallic 
appearance. This is done by first giving them 
a coat of oil or size varnish, and when this 
is nearly dry applying with a dabber of cotton 
or a camel hair pencil any of the metallic 
bronze powders ; or the powder may be placed 
in a little bag of muslin, and dusted over the 
surface, and afterward finished off with a wad 
of linen. The surface must be afterward var- 
nished. 

Payer is bronzed by mixing the powders up 
wvtn a little gum and water, and afterward 
burnishing. 

Iron Castings may be bronzed by thorough 
cleaning and subsequent immersion in a solu- 
tion of sulphate of copper, when they acquire 
a coat of the latter metal. They must be then 
washed in water. 

Bronzing Tin Castings.— When clean, wash 
them with a mixture of 1 part each sulphate of 
iron and sulphate of copper, in 20 parts water ; 
dry, and again wash with distilled vinegar ll 
parts, verdigris 4 parts. When dry, polish with 
colcothar. — Druggists'' Circular. 

Bed Copper Bronze on White Sheet Tin and 
Tinned Articles.— Dissolve 18 drm. copper sul- 
phate in rain water until this is saturated ; add 
80 to 160 drops sulphuric acid. Cleanse the tin 
with onion juice. Then brush with the fluid. 
When dry, rub with chalk and rinse. 

Bronzing Wood. — 1. The wood is first covered 
with a uniform coating of glue, or of drying- 
oil, and when nearly dry the bronze powder, 
contained in a small bag, is dusted over it. The 
surface of the objects is afterward rubbed with 
a piece of moist rag. Or the bronze powder 
may be previously mixed with the drying oil, 
and applied with a brush. 

2. First coat the clean wood with a mixture 
of size and lamp black ; then apply 2 coats of 
the green-colored sizing in the last recipe, and 
lastly with bronze powder, such as powdered 
Dutch foil, mosaic gold, etc., laid on with a 
brush. Finish with a thin solution of Castile 
soap ; when dry rub it with a soft woolen cloth. 

Zinc, to Bronze.— First give a coat of brass 
(see Electro-Metallurgy). Then wet with a 
cloth dipped in copper protochloride dissolved 
in hydrochloric acid. When dry, brush with a 
mixture of equal parts iron peroxide and plum- 
bago mixed up with a little essence of turpen- 
tine. Varnish with thin copal varnish. 











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Browning, 



58 



Buj>-s„ 



Browning of Metals.— Browning of Cop- 
per.— Scour brightly with fine glass paper, heat 
over a clear fire, then brush over with a solu- 
tion prepared as follows: Copper acetate (cryst.), 
5 %; ammonium chloride, 7 %; acetic acid, diluted, 
3 i ; water distilled, 85 %. Then rub with 1 part 
of wax cut in 4 parts of turpentine. 

Browning Guns. — The following' recipe for 
browning is from the IT. S. Ordnance Manual : 
Spirits of wine, V& oz.; tincture of iron, iy 2 oz.; 
corrosive sublimate, 1% oz.; sweet spirits of niter, 
lV£oz.; blue vitriol, 1 oz.; nitric acid, % oz. Mix 
and dissolve in 1 qt. of warm water and keep in 
a glass jar. Clean the barrel well with caustic 
soda water to remove grease or oil. Then clean 
the surface of all stains and marks by emery 
paper or cloth, so as to produce an even bright 
surface for the acid to act upon, and one with- 
out finger marks. Stop the bore and vent with 
wooden plugs. Then apply the mixture to 
every part with a sponge or rag, and expose to 
the air for twenty-four hours, when the loose 
rust should be rubbed off with a steel scratch 
brush. Use the mixture and the scratch brush 
twice, and more if necessary, and finally wash 
in boiling water, dry quickly, and wipe with 
linseed oil or varnish with shellac. 

Browning for Twist Gun Barrels.— Black brim- 
stone, }^oz.; tincture of steel, or the unmedi- 
cated tincture of iron, 1J4 oz.; blue vitriol 1 oz.; 
corrosive sublimate, }4 oz.; copperas, *4 oz.; 
nitric acid, 2 drm.; spirits of niter, V/% oz. Add 3 
parts of rain water, and bottle for use. This 
mixture causes the twist of the barrel to be 
visible after application. 

Browning of Gun Barrels, etc.— Wet a piece of 
rag with chloride of antimony, dip it into olive 
oil, and rub the bax^rel over. In 48 hours it will 
be covered with a fine coat of rust. Then rub 
the barrel with a fine steel scratch brush, and 
wipe with a rag dipped in boiled linseed oil. 

Iron and Steel- — 1. Dissolve in 4 parts of water, 
2 parts of crystallized iron chloride, 2 parts of 
antimony chloride, and 1 part of gallic acid, and 
apply the solution with a sponge or cloth to the 
article aud dry it in the air. Repeat this any 
number of times, according to the depth of 
color which it is desired to produce. Wasn with 
water, and dry, and finally rub the articles over 
with boiled linseed oil. The metal thus 
receives a brown tint, and resists moisture. 
The antimony chloride should be as little acid 
as possible. 

2. A process having this end in view has been 
recently patented in Germany by Mr. A. De 
Meritens. The goods to be browned form the 
anode of the bath, which consists of ordinary 
or distilled water. The cathode is formed by 
the vessel which contains the water, if it is 
made of iron; otherwise a plate of iron, cop- 
per, or carbon is placed in the bath. The water 
is kept at from 160° F. to 180° F„ and the ten- 
sion of the current must be sufficiently great 
to decompose the water. The oxygen which 
thus is given off at the anode forms in an hour 
or two a layer of the black oxide of iron (a 
combination of ferrous and ferric oxide), 
which is said to polish up very well. Steel is 
said to give the best results ; in the case of cast 
and wrought iron, the oxide of iron formed 
separates as a powder ; and it is necessary to 
use distilled water in order to obtain a layer 
which will adhere to the goods. 

Brown Pigments, See Pigments. 

Bruises. — A bruise is the discoloration 
caused by the extravasation of blood from rup- 
tured vessels, and is due either to a blow or vio- 
• lent compression. Apply ice or some cold object 
as soon as possible after the injury. Pressure 
will also be of service. This method of treat- 
ment should be continued for at least two hours. 
The appearance of a bruise may be somewhat 
disguised by first covering it with a paste com- 
pound of prepared chalk 1 part, glycerine 1 part. 
This should be gently worked into the part and 
the excess wiped off. Over it 1 layer of flexible 



collodion should be spread by means of a brush,, 
This will make the part of a white color. 
Bruises in Furniture, to Bemove.— 

To take out bruises in furniture wet the part 
with warm water, double a piece of brown paper 
five or six times, soak it and lay it on the place ; 
apply on that a hot flatiron till the moisture is 
evaporated. If the bruise be not gone, repeat 
the process. After two or three applications, 
the dent or bruise will be raised level with the 
surface. If the bruise be small, merely soak it 
with warm water, and apply a red hot poker 
very near the surface; keep it continually wet, 
and in a few minutes the bruise will disappear. 

Brunswick Black. See Varnishes. 

Brushes, to Soften.— Steep the brushes 
for twenty-four hours in good benzole, and then 
if necessary purify by washing them with soap 
and warm water. 

Bubbles, Soap. See Soap Bubbles. 

Buff lieather.— Buff leather is made from 
the skins of various animals, as the buffalo, ox, 
etc. It is used for polishing, making belts, 
etc. 

BufF Wheels, to Make,— Turn up the 
wooden disk to form the wheel on the mandrel 
on which it is to run. Cover the periphery of 
the wheel with good glue, prepared as for glu- 
ing wood, stretch the leather around and confine 
it with shoe pegs driven in about 2 in. apart. 
"When dry turn off true with a sharp chisel. 
Give the leather a coat of glue and roll it in the 
emery, so as to make it retain it by being im- 
bedded in the glue. Let the wheel dry until the 
glue is hard and it is ready for use. 

Bugs, Use of Paris Green in Exter- 
minating. — In using Paris green to extermin- 
ate the potato bugs, the poison should be mixed 
with the cheapest grade of flour, 1 lb. of green 
to 10 lb. of flour. A good way of applying it to 
the plants is to take an old 2 qt. tin fruit can, 
melt off the top, and put in a wooden head in 
which insert a broom handle. Bore a hole in the 
head also to pour the powder in, and then punch 
the bottom full of holes about the size of No. 6 
shot. Walk alongside the rows, when the vines 
are wet with dew or rain, and make one shoot 
at each hill. 

Bugs, Bed, to Destroy.— 1. Rub the joints 
of the bedstead with equal parts spirits of tur- 
pentine and kerosene oil, and where there are 
many, the cracks in the surbase of the room. 
Filling up all the cracks with hard soap is a good 
remedy. 

2. Take everything out of the infested room, 
plug up all the windows tightly, close all chim- 
neys, and empty about 1 oz. of powdered sul- 
phur on a pan of hot coals, placed , in the mid- 
dle of the floor. Shut the doors and cover all 
cracks ; let the sulphur burn as long as it will. 
Where the room is large, it is a good plan to fas- 
ten a bit of tin tube to the bottom of the pan, 
and to this connect enough small rubber pipe 
to lead out of the nearest door. By blowing 
into the end of the pipe Avith the bellows, the 
sulphur will be caused to burn more quickly by 
the draught created, and to give a denser smoke. 
After the sulphur has burned out, paint all the 
cracks in the floor and around the mop board 
with a strong solution of corrosive sublimate, 
and treat the furniture to the same before re- 
placing it. We have seen a room frightfully 
infested completely freed by this plan. 

3. Mixtures such as equal parts of turpentine 
and kerosene oil are used^ filling up the cracks 
with hard soap is an excellent remedy. Benzine 

| and gasoline will kill bedbugs as fast as they 
! can reach them. A weak solution of zinc chlor- 
i ide is also said to be an effectual banisher of 
these pests. 

4. When they have made a lodgment in the 
wall, fill all the apertures with a mixture of 
soft soap and Scotch snuff. Take the bedstead 
to pieces, and treat that in the same way. 



Bugs. 



59 



Bun-stones. 



5. A strong decoction of red pepper applied to 
bedsteads will either kill the bugs or drive them 
away. 

6. Put the bedstead into a close room and set 
fire to the following composition, placed in an 
iron pot upon the hearth, having previously 
closed up the chimney, then shut the door ; let 
them remain a day: Sulphur, lOparts; saltpeter, 
powdered, 1 part. Mix. Be sure to open the 
door of the room five or six hours before you 
venture to go into it a second time. 

7. Rub the bedsteads well with lamp oil ; this 
alone is good, but to make it more effectual, 
get ten cents worth of quicksilver and add to 
it. Put it into all the cracks around the bed, 
and they will soon disappear. The bedsteads 
should first be scalded and wiped diy; then put 
on with a feather. 

8 Corrosive sublimate, 1 oz.; muriatic acid, 2 
oz.; water, 4 oz.; dissolve, then add turpentine, 
1 pt.; decoction of tobacco, 1 pt. Mix. For the 
decoction of tobacco boil 2 oz. of tobacco in 1 
pt. of water. The mixture must be applied 
with a paint brush. This wash is a deadly 
poison. 

9. Rub the bedsteads in the joints with equal 
parts of spirits of turpentine and kerosene oil, 
and the cracks of the surbase in rooms where 
there are many. Pilling up all the cracks with 
hard soap is an excellent remedy. March and 
April are the months when bedsteads snould be 
examined to kill all the eggs. 

10. Mix together 2 oz. of camphor, 4 oz. spirits 
of turpentine, 1 oz. corrosive sublimate, and 1 
pt. alcohol. 

11. Distilled vinegar, or diluted wood vinegar, 
1 pt.; camphor, J^oz.; dissolve. 

12. White arsenic, 2 oz.; lard, 13 oz.; corrosive 
sublimate, y± oz.; Venetian red, 34 oz. (Deadly 
poison.) 

13. Strong mercurial ointment, 1 oz.; soft 
soap, 1 oz.; oil of turpentine, 1 pt. 

14. Gasoline and coal oil are both excellent 
adjuncts, with cleanliness, in ridding a bed or 
house of these pests. 

15. Benzine or gasoline will kill these pests as 
fast as they can be reached. By using a spring 
bottom oiler the fluid can be forced into all the 
cracks and crevices. As the fluid is inflammable, 
contact with fire must be avoided. The room 
should be well aired. 

Bug Bestroyer.— Tincture of tobacco 200 
parts, boric acid 6 parts, carbolic acid 6 parts, 
salicylic acid 12 parts, oil of Indian balm 1 part. 

Bug Poison.— Corrosive sublimate and 
muriatic acid, of each 1 oz., water 4 oz. Dis- 
solve, then add turpentine and decoction of to- 
bacco, of each % of a pt.; mix. Use with 
caution. 

Bugs in Hospitals.— The best remedy for 
bugs in hospitals is a bug trap, made by boring 
a series of holes in a piece of wood with a gim- 
let, and placing this under the mattress of each 
cot. The piece of wood is to be placed period- 
ically into a basin of boiling water. This is an 
Indian hospital plan. 

Building Materials, Weieht of.— Sand 
weighs about 30 cwt. per cubic yard; gravel, the 
same; mud, 25 cwt.; marl, 26 cwt.; clay, 31 cwt.; 
sandstone, 39 cwt. ; shale, 40 cwt. ; quartz, 41 
cwt.; granite, 42 cwt. ; trap, the same; slate, 43 
cwt. 

Building Stones, Artificial. See Ce- 
ments. 

Bullet Metal. See Alloys, 

Bunions. See also Corns.— 1. For bun- 
ions and corns Cannabis indica and glycerine, 
equal parts, painted on the bunion or corn and 
bound around with Canton flannel, adding a 
few drops of the liquid to the flannel where it 
comes in contact with the affected parts, will 
soon restore to health. 

2. An inflamed bunion should be poulticed, 
and larger shoes worn. Iodine, 12 gr., lard or 



spermaceti ointment, J^ oz., make a capital 
ointment for bunions. It should be rubbed on 
gently two or three times a day. 

Burnettizing. See Wood, Preserva- 
tion of. 

Burnishing Ink. See Inks. 

Burnishing Powder, Belgian.— Fine 

chalk, J4 lb.; Pipe clay, V/% oz.; white lead, 1 oz.; 
magnesia (carbonate) % oz.; jewelers 1 rouge, % 
oz. 

Burnishing Prints. See Photogra- 
phy. 

Burns, Treatment of.— The New York 
Medical Record states that at the Roosevelt 
Hospital white lead paint has been found, after 
trying almost every plan of treatment hitherto 
proposed, to be the best and cleanest applica- 
tion. Mix as for painting, but considerably 
thicker, and apply with a brush. A very neat and 
satisfactory dressing in superficial burns con- 
sists in coating the surface with mucilage and 
then covering it with powdered lycopodium. 

2. Burns.— Service of Dr. George F. Shrady, 
at St. Francis' Hospital, New York.— A num- 
ber of cases of more or less severe burns have 
been treated very successfully by an applica- 
tion of a gum dressing which consists of a paste 
composed of gum acacia, 3 oz.; gum tragacanth, 

1 oz.; carbolized water (1-60), 1 pt.; and molasses, 

2 oz. It is applied to the burned surface with 
a broad flat camel's hair brush immediately on 
admission to the hospital, and dries in the course 
of an hour or two. The dressing is then re- 
newed at suitable intervals, until a sound 
and nnyielding scab is formed. Generally four 
applications are necessary for this purpose. 
The molasses appears to prevent the contrac- 
tion of the covering, while the carbolized water 
destroys any odor. 

3. Injuries from A cids.— Strong acids applied 
to the skin cause intense pain and destruction 
of the tissues with which the liquids come into 
contact, the extent of the injury varying, of 
course, with the amount of acid applied. When 
the injury has been caused by sulphuric, nitric, 
or hydrochloric acid, apply dilute ammonia, 
chalk, carbonate of magnesia, or the plaster 
from the ceiling stirred in water. After an 
hour or so apply carron oil (olive oil and lime 
water in equal parts) on lint. For carbolic acid : 
Apply olive oil. 

4. Injuries from Caustic Alkalies, as strong 
ammonia and potash. Apply a dilute acid, as 
vinegar; subsequently use: Olive oil, 1 part; car- 
bonate of bismuth, 2 parts; spermaceti, 1 part; 
white wax, 1 part. 

5. Simple Burns and Scalds.— If there are ves- 
icles they should be pricked with a needle. The 
part should then be covered with carron oil 
(equal parts of olive oil and lime water), and 
lint soaked in the same should be applied over 
it. Externally to the lint a thick layer of cot- 
ton wool should be placed. After two days 
the carron oil may be discontinued, and 
the following substituted : Olive oil, 1 part; 
carbonate of bismuth, 1 part; or, starch pow- 
der, 1 part ; powdered chalk, 1 part spermaceti, 2 
parts; olive oil, 1 part. If carron oil (equal parts 
of olive oil and lime water) is not at hand, then 
olive oil, with equal parts of carbonate of 
soda, or powdered chalk, or powdered starch or 
flour, will be of service. Or, again, if olive oil 
is not at hand, the carbonate of soda may be 
dissolved in tepid water, and the part should be 
freely bathed with this, and then it should be 
thickly covered with a powder of the same. 
So also if the soda is not within reach, simple 
chalk, starch, or flour may be used as a powder. 
Never apply cold to a burn or scald. 

Burnt Cork. See Rouges and Face 
Paints. 

Burrstones, to Fill Holes in.— Use 

melted alum mixed with burrstone pulverized 
to the size of grains of sand. 



Butter. 



60 



Butter. 



Butter, to Color.— 1. Use a little annatto ; 
if pure it is not injurious. 

2. The coloring- matters commonly employed 
arc annatto and turmeric, or extracts of these ; 
but there are also a number of butter-coloring 
compounds or mixtures sold for this purpose. 
For some of these it is claimed that they will 
not only impart the desired color to butter, but 
will keep it sAveet and fresh for an indefinite 
time. The following are a few of these col- 
oring compounds in use at present. Rorick's 
compound is prepared as follows : The materials 
for 1,000 lb. of butter are : Lard, butter, or olive 
oil, 6 lb.; annatto, 6 oz.; turmeric, 1 oz.; salt, 10 
oz.; niter, |oz.; bromochloralum, 3J^ oz.; water, 
q. s. The lard, butter, or oil is put into a pan 
and heated in a water bath. The annatto and 
turmeric are then stirred into a thin paste with 
water, and this is gradually added to the fatty 
or oily matters kept at a temperature of about 
110° F. The salt and niter are next stirred in, 
and the mixture heated to boiling. The heat- 
ing is continued for from twelve to twenty-four 
hours, or until the color of the mixture be- 
comes dark enough. The bromochloralum is 
then introduced, and the mass is agitated until 
cold, when it is put up in sealed cans. 

3. Bogart's preparation is prepared as follows: 
The materials employed are: Annattoine, 5 oz.; 
turmeric (pulverized), 6 oz.; saffron, 1 oz.; lard 
oil, 1 pt.; butter, 5 lb. The butter is first melted 
in a pan over the water bath and strained 
through a fine linen cloth. The saffron is made 
into a Yq pt. tincture, and, together with the 
turmeric and annattoine, is gradually stirred 
into the hot butter and oil and boiled and 
stirred for about fifteen minutes. It is then 
strained through a cloth as before and stirred 
until cool. 

4. Dake's butter coloring is prepared by heat- 
ing a quantity of fresh butter lor some time 
with annatto, by which means the coloring mat- 
ter of the butter is extracted, and straining the 
colored oil and stirring it until cold. 

Butter, to make,— Preparation of Milk, 
for Creameries.— 1. See that the cows have an 
abundant supply of good, wholesome feed. Sup- 
plement the grass with bran or grain. Corn and 
pease make firm butter. If grass be dry or 
scarce, furnish green fodder. The quality of 
the feed determines to some extent the quality 
of the fat globules in the milk. Fine butter is 
mostly composed of these. Green fodder is fed 
with better effect on the quality of the butter 
after being wilted for a day or two. 

2. See that the cows have a liberal supply of 
pure cold water. As well might a cook expect 
to make good, profitable porridge out of musty 
oatmeal and stagnant water as to get pure, 
sweet-flavored, wholesome milk out of musty 
feed and foul drink consumed by a cow. 

3. See that the cows have access to salt every 
day. They know best when to help them- 
selves. 

4. Let the cows be saved from annoyance and 
worry- Any harsh treatment that excites a 
cow lessens the quantity and injures the quality 
of her yield. 

5. Where practicable let the cows be milked 
regularly as to time and by the same person. 

6. The udders should be well brushed and then 
rubbed with a coarse towel before milking. 

7. All milk should be carefully strained im- 
mediately after the milking is completed. 

8. Thorough airing of the milk for a few min- 
utes by dipping, pouring or stirring will im- 
prove the flavor of the butter. 

9. When set for the rising of the cream, milk 
should be at a temperature above 90° Fahr. 

10. When deep setting pails are used, the 
water in the tank should be kept below or as 
near 45° Fahr. as possible. 

11. The tank should be shaded from the sun. 

12. When a flowing spring is not available, the 
cooling power of the fresh water may be used 
more economically if it be carried to the bottom 
of the tank and the warm water be caused to 



run off from the top . If water be scarce, the 
overflow may be carried into a watering trough 
for the stock of the farm. 

13. Milk cans should be washed in cold or 
tepid water first, and then rinsed in boiling 
water before they are exposed to be aired. The 
addition of a little soda and borax to the hot 
water will increase its cleansing properties. 

14. Qualities of Cream.— Since managers of 
creameries have adopted the plan of paying for 
cream according to its butter-making qualities, 
some dissatisfaction has been caused among the 

Eatrons by the differences which comparisons 
ave made evident. In most cases the trouble 
arises from an erroneous idea that the richest 
cream is the best for butter making and the 
most profitable to the patron. It is not the 
patron who supplies the cream which yields 
the greatest number of ounces of butter per 
inch who always obtains the largest returns 
from the milk which has been set. Milk which 
has been set in deep pails at a high tempera- 
ture, and has not been cooled below 60° F., will 
yield a cream very rich in butter-making qua- 
lity; but there will be a smaller quantity of 
cream obtained from the milk, and a less quan- 
tity of butter, than where the milk is cooled as 
low as 45° F. The longer the time cream stands 
on milk after practically all of it has come to 
top, the less space will it occupy. As it shrinks 
in bulk it becomes richer per inch, but the total 
quantity of cream from the milk will not yield 
any more butter than it would have made be- 
fore it became compact by long standing. (A 
creamery inch of cream is equal to 113 cubic 
inches or to 1 inch in depth of a cylindrical 
vessel 12 inches in diameter.) When the milk is 
skimmed every twelve hours the cream will not 
yield as many ounces of butter per inch as when 
it has been set for twenty-four hours or longer, 
but the extra quantity of cream that maybe 
obtained by twelve hours setting in ice water 
will permit as much butter to be made from 
the milk as by setting it for a longer period. 

15. Skimming should not be delayed longer 
than twenty-four hours after the milk is set. 
Cream should be removed from the milk before 
it is sour. Its value to a creamery for butter 
making depends not alone upon its richness in 
butter fat ; purity, sweetness, and fine flavor 
are qualities it should possess. 

16. Tlie Oil Test Churn— The oil test churn is 
used to determine the quantity of churnable 
fat in each supply of every patron's cream. 
The requirements for its successful use are : 

a. Careful sampling of the cream, which 
should be poured at least twice from one vessel 
to another before the sample is taken for the 
test tube. 

b. Accurate measuring. 

c. Souring of the cream (to insure a uniform 
degree of acidity in all the samples of cream, 
they should be warmed to 70° F. and kept at 
that temperature for twenty-four hours be- 
fore they are churned). 

d. Heating of the samples to a temperature 
of 135° F. after they have been churned. 

e. Subsequent cooling at 65° or 70° F. 
/. Churning, reheating and cooling. 

17. In a case where the butter oil on any sam- 
ple does not separate to show a clear line or 
demarkation between itself and the other con- 
stituents of the cream, the cooling to 70°, the 
churning and reheating should be repeated. 

Butter Making in Dairies and Creameries.— 
18. When shallow open pans are used for set- 
ting, the surrounding air should be pure; a 
damp, musty cellar is no fit place for milk. 

19. The cream for each churning should all 
be gathered into one vessel and kept -cool and 
sweet. A good practice for fall and winter is 
to mix 25$£ of pure water with the cream before 
it has become sour. 

20. The whole of it should be well stirred 
every time fresh cream is added, and half a 
dozen times besides. 



Butter. 



61 



Butter. 



21. Two days before the churning is to be 
done about 1 qt. of cream for every 4 pailf uls 
to be churned— or a quantity equal to 2%— 
should be set apart and kept as warm as 70° 
Fah. 

22. One day before the churning-, that small 
quantity of cream called a fermentation start- 
er, which will then be sour, should be added to 
the quantity which is intended for churning 
and be mixed therewith. 

23. It should afterward be kept at a tem- 
perature of 60° Fah. 

2.4. During- summer the best churning tem- 
perature is 57° or 58°; during late fall and 
winter 62° to 64° are found to be preferable. 

25 The agitation of churning should be kept 
up till the butter comes into particles larger 
than clover seed. 

26. The buttermilk should then be drawn off 
and pure water at 55° added in its place. 

27. By churning this lor a minute or two the 
butter will be washed free from milk while it 
is still in a granular state. 

28. The milky water may then be drawn off 
and replaced by a weak brine at the same tem- 
perature. 

29. After a minute's churning the butter 
may be left to drain in the churn for half an 
hour before it is removed to be pressed and 
salted. 

30. Pure salt of medium fineness and with a 
body velvety to the touch should be used. 

31. % oz. to 1 lb. will be the right quantity for 
most markets for immediate consumption, and 
1 oz. to 1 lb. for packed butter. 

32. The butter should be kept cool during 
the working and also during the few hours 
while it may be left for the salt to dissolve. 

33 As soon as the salt is dissolved, the butter 
may be worked the second time to correct any 
streakiness which the first mixing of salt may 
have caused. 

34. It should then be put up neatly and taste- 
fully, with as little crimping and beautifying 
as feminine fondness for these will permit. 

Roll Butter.— 1. Butter is susceptible to 
odors or flavors in the surrounding air ; it 
should be kept in a place where the air is 
pure. 

2. If it is to be forwarded to the consumers' 
market in rolls, it should be handled as little as 
possible. Every handling adds "mussiness" 
to the appearance and consequently depre- 
ciates its value. 

3. Each roll should be wrapped in a clean but- 
ter cloth, which has been soaked in a strong 
brine made up from 16 parts of salt and 1 part 
each of white sugar, saltpeter and borax, dis- 
solved in water. 

4. Packing Butter.— Butter which is being 
collected for packing may be kept in fair con- 
dition in a clean box ; a better plan is to have 
it immersed in pure, strong brine. 

5. In assorting it, more regard should be paid 
to similarity of body and flavor than to like- 
ness in the shade of color. 

6. The mixing table or butter worker needs 
to be kept particularly clean ; after it has been 
thoroughly washed with borax water, it should 
be scalded and then cooled with cold water. 

7. The butter should be worked at a tempera- 
ture which will prevent it from becoming 
greasy. The temperature at which it is worked 
or mixed has more effect on the grain and body 
of the butter than the movements to which it 
is subjected can have. The cool atmosphere of 
early morning, and a supply of cold water in 
which to float the butter, will meet the needs 
of the case. 

8. Only such packages as have a clean, neat 
appearance should be used. 

9. The top of the butter should be covered 
with a clean butter cloth, prepared in the same 
way as that for the wrapping of roll butter. 

10. A covering plaster made of wet salt 
should be put over the cloth to a thickness of 
Y% in. or more. 



11. Butter in tubs and kegs should be brined 
frequently ; the salt covering should not be 
allowed to become quite dry ; a brine similar 
to that which has been mentioned for use on 
butter cloths may be used freely with good 
results.— From the Bulletin of the Canadian 
Dairy Commissioner, Experimental Farm, Ot- 
tawa. 

Butter, to Preserve.— -The best method to pre- 
serve butter from the air is to fill the pot to 
within an inch of the top, and to lay on it com- 
mon coarse-grained salt, to the depth of y% an 
in. or % of an inch., then to cover the pot up 
with any flat article that may be convenient. 
The salt by long keeping will run to brine, and 
form a layer on the top of the butter, which 
will effectually keep out the air and may at any 
time be very easily removed by turning the pot 
on one side. Fresh butter, 16 lb.; salt, 1 lb.; 
fresh butter, 18 lb.; salt, 1 lb.; saltpeter 1)4, oz.; 
honey or fine brown sugar, 2 oz. 

To Convert Rancid Butter.— 100 lb. of butter 
is mixed with about 30 gal. of hot water, con- 
taining % lh. of bicarbonate of soda and 15 lb. 
of fine granular animal charcoal free from dust, 
and the mixture is churned together for half 
an hour or so. The butter is then separated ; 
after standing, warmed and strained through 
a linen cloth, then resalted, colored and worked 
up with one half its weight of fresh butter. 

To Sweeten Rancid Butter.— Rancid butter 
may be restored, or at all events greatly im- 
proved, by melting it with some freshly burnt 
and coarsely powdered animal charcoal (which 
has been thoroughly freed from dust by sift- 
ing)' in a water bath, and then straining it 
through clean flannel. A better and less 
troublesome method is to well wash the butter 
with some good new milk, and next with cold 
spring water. Butyric acid, on the presence of 
which rancidity depends, is freely soluble in 
fresh milk. 

To Test Butter with the Microscope.— When 
pure butter is examined under the microscope, 
the Avhole field is filled with extremely fine 
globules, which are entirely destitute of any 
approach to crystalline form. If the butter is 
artificial or a mixture of both, the field presents 
numerous angular or acicular particles be- 
tween the globules. For the chemical exami- 
nation try the following : The butter to be 
examined (if in the form of butter) must be 
first melted and rendered pretty free from 
water and salt, by filtration if necessary; 10 
grn. are then to be put into a test tube, and 
liquefied by placing the tube in hot water at 
about 150° F.; remove the tube when ready, and 
add 30 minims of carbolic acid (Calvert's No. 2 
acid, in crystals, 1 lb.; distilled water, 2 fl. oz.) 
Shake the mixture, and again place it in the 
water bath until it is transparent. Set the tube 
aside for a time. If the sample thus treated be 
pure butter, a perfect solution will be the re- 
sult ; if beef, mutton or pork fat, the mixture 
will resolve itself into two solutions of different 
densities with a clear line of demarkation ; the 
denser of the two solutions, if beef fat, will 
occupy about 49*7$, lard 49 - 6$, mutton 44$ 
of the entire volume; when sufficiently cool- 
ed, more or less deposit will be observed in 
the uppermost solution. If olive oil be thus 
tested, the substratum will occupy about 50$; 
with castor oil there is no separation. With 
some solid fats (not likely to be used fraud- 
ulently) no separation whatever takes place; 
the addition of a minute portion of alkanet 
root will render the reading of the scale ex- 
tremely distinct by artificial light. The author 
states that the above method (although not in- 
tended to surpass other processes) is capable of 
wide application; the saving of a large amount 
of time and the reliability of its results will at 
once recommend it as a "first step " in butter 
analysis. 

To Test Butter.— The Scientific American re- 
commends this simple test for oleomargarine : 
Stir a little— half a teaspoonf ul or less— of the 



Button. 



62 



Camphor, 



suspected butter in enough sulphuric ether to 
dissolve it. By the time the grease is dissolved 
the ether will have been evaporated, and the 
residuum will show, to smell or taste, whether 
it is butter, lard, or tallow. Five cents' worth 
of ether will suffice for several tests. 
Button Metal. See Alloys. 

Cabbage Worms.— Ice cold water sprin- 
kled upon cabbage plants infested by the im- 
ported cabbage worm is claimed to be sure 
death to that insect. The water should be 
sprinkled upon the cabbages during the heat of 
the day, when the worms will roll off and die. 
The discovery of the remedy is credited to Mr. 
Charles H. Erwin, of Painted Post, N, Y„ and 
is communicated by Prof. C. V. Riley. 

Cacao, Butter of— This is obtained from 
the nut by bruising it and boiling it in water. 
On the latter cooling, the oil floats and is 
skimmed off. Use, etc. As commonly met 
with it has the consistence of butter; hence its 
name. It is much used in perfumery and for 
burning in lamps. When mixed with a little 
caoutchoucine, or distilled spirit of India rub- 
ber, it loses its concrete form and assumes the 
limpidity of common oil, at the same time that 
its illuminating power is vastly increased. 

Cacao Oil. See Oils. 

Caclious, or Mouth Pastils.— They are 
largely used by smokers and persons with im- 
pure breath. The gilding or silvering is effect- 
ed in the way usually adopted for pills, viz.: A 
leaf or two of gold or silver is placed in a galli- 
pot; on this an appropriate number of pills or 
pastils, and then another leaf of the metal. 
The mouth of the gallipot is next covered with 
a piece of smooth writing paper, and on this 
the palm of the hand is placed, when a sudden 
and rapid circular motion is given to the whole 
for a second or two. Another method is to 
shake them, in a similar manner, with a little 
gold dust or silver dust. When pills are gilded 
or silvered immediately after being prepared, 
they are usually sufficiently moist or sticky to 
cause the leaf or dust to adhere ; but should 
they be otherwise, they should be previously 
breathed on, or placed in damp air for a few 
minutes, or rubbed between the fingers or the 
palms of the hands, very slighly moistened 
with thin mucilage, so as to render them some- 
what sticky, but not wet. Mouth pastils are 
preferably not coated until they are dry and 
hard, and hence generally require one or other 
of these modes of treatment. The products of 
the following formulae are among those most 
highly esteemed : 

1. Take of soft extract of licorice, 3 oz. ; 
catechu, in fine powder, 1 oz.; white sugar, 1 
oz.; gum tragacanth, }/% oz.; oil of cloves, 1 fl. 
drm.; oil of cassia, }& fl. drm.; oil of nutmeg, 
essence of ambergris (royale), of each 12 drops: 
mix as before explained ; beat the mixture to 
a firm uniform mass with eau de rose, or eau 
de fleurs d'oranges, q. s., and form it into 1 grn. 
or 2 grn. pills. Lastly, when dry, silver them. 
The stock of them should be kept in bottles or 
tin canisters, and only a sufficient number of 
boxes for present sale filled at once. 

2. M. Chevallier.— Take of fresh roasted cof- 
fee in fine powder, V/% oz.; chocolate, do., 
V/% oz.; white sugar, do., 1]4 oz.; vanilla, do., 
1 oz.; -harcoal (recent), do., 1 oz.; mucilage of 
tragacanth, to mix, q. s. The preceding, sucked 
ad libitum, are used to sweeten and perfume 
the breath ; the last also acts by chemically de- 
odorizing it. They are great favorites in the 
fashionable world among smokers. 

3. Take of chloride of lime, good dry, 1 drm.; 
•white sugar p wdered, 3 oz.; gum tragacanth, 
do., 1 oz.; mix ; add of oil of cloves or pepper- 
ment, 14 fl. drm.; mix thoroughly and beat up 
the mass with rose water. This acts chemic- 
ally as a disinfectant, deodorizer and bleacher, 
but should be only occasionally and sparingly 
used, as the chloride in them attacks the en- 



amel of the teeth. One at a time is sufficient. 
The saliva should not be swallowed, and the 
mouth should be rinsed with water soon after- 
ward. 

4. Extract of licorice, 1 oz.; oil of cloves, J4 
drm.; oil of cinnamon, 5 drops ; moisten 1 grn. 
pills with this solution and silver. 

5. Ground coffee, % oz.; finely powdered 
charcoal, \i oz.; sugar, y z ounce.; vanilla, V 2 oz.; 
mucilage, q. s. Make into lozenges. 

Calcination.— The operation of burning 
or roasting any solid body to expel its more 
volatile parts, as the conversion of chalk into 
lime by the expulsion of carbonic anhydride. 
The roasting of the ores in the first stage of the 
Welsh process of copper smelting, and in the 
Silesian mode of extracting zinc, is technically 
termed calcination. 

Calisaya Cordial for Soda Foun- 
tains.— 1. Elixir of calisaya, 1 oz.; orange 
sirup, 3 oz. 

2. Quinine sulphate, 72 grn. ; cinchonine 
sulphate, 24 grn.; quinidine sulphate. 20 
grn.; cinchonidine sulphate, 12 grn.; elixir 
orange, 128 fl. oz.; caramel sufficient to color. 
Triturate the mixed sulphates with one pint of 
the elixir of orange, pour the mixture into a 
glass flask, and heat on a water bath till solu- 
tion is effected. When still hot, add remainder 
of elixir and caramel. Filter when cold. 

Calisaya Tonic, Inexpensive.— Cali- 
saya bark, 11 oz.; gentian root, 3 oz.; orange 
peel, 12 oz.; cochineal, 4 drm.; caraway seed, 2 
drm.; dilute alcohol, enough to make 4 pt. To 
the filtered percolate add quinine sulphate. 30 
grn.; oil of rose, 3 drops; sirup, enough to 
make 4 gal. In dispensing as a carbonated 
beverage it is best to draw kk flat," that is with- 
out foam. 

Cainphine.— Name given to rectified oil 
of turpentine. Made by passing the vapor 
through solution of caustic potash or through 
sulphuric acid. Dangerous to burn in lamps. 

Camphor,- A concrete essential oil obtain- 
ed from distillation from the camphor laurel 
of China. It is crystalline in form, though it is 
also obtained in a liquid form from Borneo. 

Camphor, Factitious.— Pass dry hydro- 
chloric acid gas through pure oil of turpentine, 
cooled by a freezing mixture. A white crys- 
talline mass is soon formed, which is dried be- 
tween blotters, and purified by solution in 
alcohol. 

Camphor Ice.— 1. Oil- of sweet almonds, 2 
oz.; spermaceti, 4 oz.; white wax, 2 oz.; cam- 
phor, \i oz.; melt them over a water bath, run 
in moulds of proper size and form. 

2. Expressed oil of almonds and rose water,, 
each, 1 lb. White Avax and spermaceti, each, 1 
oz. Camphor, 2 oz. Oil of rosemary, 1 drm. 
Melt together. Glycerine may be substituted 
in part for the oil and rose water. 

Camphor, Naphthaline. — Melt on a 
steam bath 100 parts of camphor and 300 parts 
of naphthaline and pour into moulds. If a 
perfumed preparation is desired, add 0*2 part 
coumarin, - 2 part neroline, and 1 part uitro- 
benzol.— Pharm. Era. 

Camphor, Fovvderlng.— According to 
Tlie Pharmacist, the most efficient substance to 
keep camphor in a finely divided condition is 
glycerine: Camphor, 6 oz.; alcohol, 5 fl. drm.; 
glycerine, 1 fl. drm. Mix the glycerine with 
the alcohol, and triturate "it with the camphor 
until reduced to a fine powder. 

Camphor, Tincture of.— Take of cam- 
phor, 1 oz.; rectified spirit, 9 fl. oz.; dissolve. 
This is the formula of the new British Phar- 
macopoeia. That of the London Ph. is 1 oz. of 
camphor to 8 fl. oz. of spirit. The tinctura cam- 
phorce of the Edin. Ph. has only 1 oz. to 16 fl. 
oz. Used as an application to chilblains, and in 
mouth rinses, and as camphor drops, etc. It is 



Canceling. 



63 



Candles. 



commonly sold as concentrated essence of 
camphor. The spirit of wine and camphor, 
and camphorated spirit, of the shops is a much 
weaker preparation. 

Canceling Ink. See Inks. 

Candles.— A damantine Candles— 100 lb. of 
mutton tallow ; 2% lb. of camphor ; beeswax, 
4 lb. ; alum, 2 lb. 

Aromatic Candles.— For perfuming apart- 
ments.— Melt balsam of Peru and camphor with 
the material of which the candles are to be 
made; or the wicks may be steeped in some 
aromatic tincture and dried. 

Cable, Twisted or Spiral Candles.— These are 
moulded in the ordinary way, and then turned 
by means of a special lathe ; or they may be 
cast in rifled moulds, from which, on cooling-, 
they are wound out. 

Cerophane Candles.— Melt over a water bath 
50 parts of stearic acid and 5 to b% parts of 
bleached beeswax. Let it remain over the 
water bath for one-half hour, but do not stir 
or agitate. Then allow the fluid to cool, until 
there is a slight film on the surface. Pour the 
mass into moulds, which have been heated to 
the same temperature, but avoid stirring. 

To Coat Tallow Candles with a Hard Substance 
which will not Crack.— Dip the candles succes- 
sively into the following three mixtures : 1. 4 
parts white resin; 88 parts good tallow; 6 parts 
camphor; 20 parts stearic acid; 2 parts dam- 
mar resin. Melt. 

2. 48 parts tallow ; 6 parts camhpor ; 20 parts 
stearic acid ; 4 parts white pitch ; 10 parts dam- 
mar resin. Melt together. 

3. 20 parts stearic acid ; 4 parts white wax ; 
10 parts tallow ; 6 parts camphor. Melt. 

Colored, Candles.— Among the coloring mat- 
ters used for candles are the following : 

Blue: Prussian blue, indigo, ultramarine, 
copper sulphate, aniline blue. Red : Carmine, 
Brazil wood, alkanet root, minium, vermilion 
aniline i*eds. Yellow : Gamboge, chrome yel- 
low, naphthaline yellow. Green : Mixture of 
blue and yellow colors. Purple or violet : Mix- 
ture of blue and red colors. Neutral Tints : 
Oxides of iron, yellow ocher, Frankfort black. 
Black: Fruit of Anacardium occidentale, aniline 
blacks. In order to dye paraffin candles with 
an aniline base, such as magenta, the dye is 
first dissolved in stearin, and a little of the re- 
sulting stearate is added to the paraffin. 

There are two ways in which candles may be 
colored black : 1. Anacardium Method —Par- 
affin, or whatever material is desired for the 
candles, is , heated from 200° to 210° C. with 25% 
of its weight of the chopped fruit of Anacar- 
dium occidentale. Candles prepared in this way 
are equally black throughout, and yield no 
irritating vapors when burnt. 

2. Aniline Method.— The material to be dyed 
is heated a few degrees above its melting point 
with 1 to 2% of nigrosine fat color (prepared by 
Destree, Wiescher & Co., of Brussels). Paraffin 
and spermaceti require 1 % ; stearin aud wax 
require from 1% to 2%. The candles thus pre- 
pared are said to be of a somber hue through- 
out, and of a jet black appearance. 

Diaphane Candles.— Melt together in a steam 
jacket 5 lb. vegetable wax, 3 lb. pressed mutton 
tallow and 11 lb. stearic acid. The stearic acid 
and the vegetable wax are the hardening in- 
gredients. 

Home Made Candles. —Many of our readers in 
the rural districts will find that candles can be 
made economically by mixing a little melted 
beeswax with the tallow to give durability to 
the candle, and to prevent its running. The 
light from a tallow candle can be improved in 
clearness and brilliancy by using small wicks 
which have bpeu dipped in spirit of turpentine 
and thoroughly dried. 

Hygienic Candies.— Watson and Fulton pre- 
pare these by incorporating iodine and a small 
quantity of sulphur with the candle material, 
and they consider that during the combustion 



the iodine and sulphur are both eliminated in 
the free state, according to the equation : 

4 HI X S0 2 = I 4 + S -f 2H a O 

Lard Candles. — 1. Dissolve 1 lb. alum and 1 lb* 
saltpeter in 2 qt. water over a slow fire ; 12 lb. 
lard are added. The stirring must be kept up 
continually until all the lard is dissolved. Do 
not leave on the fire too long, as the lard is 
liable to be discolored. It is said that these 
candles are superior to tallow. 

2. Solid Candles from Lard.— Cut 16 lb. lard in 
small pieces, put in a pot with ^ lb. alum and 
y% lb. saltpeter (previously dissolved in 1 pt. 
water, over a slow fire). Stir constantly over 
a slow fire until all the lard is dissolved. Allow 
to simmer until the steam ceases to rise, then 
remove from the fire. These candles are harder 
than those made from tallow. 

Mutton Suet Candles in Imitation of Wax.— 
Throw quicklime in melted mutton suet; the 
lime will fall to the bottom, and carry along 
with it all the dirt of the suet, so as to leave it 
as pure and as fine as the wax itself. Now, if 
to 1 part of the suet you mix 3 parts of real 
wax, you will have a very fine, and, to appear- 
ance, a real wax candle ; at least the mixture 
could never be discovered, nor even in the 
moulding of wax ornaments. 

Mercurial Candles.— Red sulphide or gray ox- 
ide of mercury mixed with wax, and a wick of 
cotton inserted therein. Recommended by 
Mr. Collis for partial mercurial fumigation. 
They are burnt under a glass funnel with a 
curved neck,the upper orifice of which is di- 
rected to the diseased part. 

Candles, Roman. See Pyrotechny, 

Candles, Scented or Aromatic— These are 
prepared by introducing a very small quantity 
of any appropriate aromatic into the material 
(fat, wax or wick) of which they are made, 
while it is in the liquid state. Camphor, gum 
benzoin, balsam of Peru, cascarilla, essential 
oils, etc., are generally the substances selected. 
Care must be taken not to overdo it, as then 
the candles will burn smoky and give little 
light. 

Candles with Snuffless Wicks.— The great ob- 
jection to tallow candles is the frequent neces- 
sity for removing the snuff, or charred wick, 
which rises into the body of the flame and ob- 
scures the light. If the wick can be exposed to 
the air, it will be entirely consumed. 1. This is 
done in composite candles by plaiting the cot- 
ton into a flat wick, which as it burns curves 
over. Sometimes a very fine wire is included 
in the wick, which is usually dipped in a solu- 
tion of borax. 2. Twist the wick with one 
strand shorter than the others, which will bend 
the wick slightly when the fat melts. 

Spermaceti Candles.— Spermaceti, either alone 
or combined with hard white tallow, forms 
very good candles, but they will not bear car- 
rying about in the hand without spilling the 
melted portion. 

Stearine Candles.— These are made of the 
stearine of stearic acid obtained from tallow, 
in the same way as other monld candles. They 
furnish a superior light and burn a long time ; 
three or four years ago it was a general prac- 
tice for the manufacturer, to add a little arse- 
nious acid (white arsenic) to the stearine, to 
prevent it crystallizing, and thus spoiling the 
appearance of the candle; but owing to the 
spirited way in which this rascality was expos- 
ed by the press, it has been discontinued by all 
the respectable houses. 

Tallow Candles.— To make hard tallow can- 
dles, use a mixture of mntton tallow, 10 oz.; 
camphor, y 2 oz.; beeswax, 4 oz.; and alum, 2 
oz. 

Tallow Candles, to Harden.— ifip first in the 
following : Stearic acid, 50 parts ; tallow, 44 
parts ; camphor, 3 parts ; white resin, 2 parts ; 
gum dammar, 1 part. When hard dip in 
other solution, which consists of 70 parts stea- 
ric acid ; tallow, 24 parts ; camphor, 3 parts ; 



Candles. 

white wax, 2 parts ; gum dammar, 1 part. For 
a final coating dip in 90 parts stearic acid ; 5 
parts of tallow ; camphor, 3 parts ; white wax, 
2 parts. 

Tallow Candles, to Make.— The ingredients are 
about 3^ beef and % mutton suet. The use of 
1 lb. of alum with each 5 lb. of tallow is rec- 
ommended. Dissolve the alum in water, then 
put in the taliow, and stir until both are melt- 
ed together, then run in moulds. This part of 
the operation is conducted as follows: The 
wicks are secured in the center of each mould 
by nassing over the sticks, one of which is laid 
over the top of the mould (corresponding to 
the bottom of the candle) and the other 
against the bottom points of the moulds. The 
end of the twisted wick is fastened to the stick 
on the top of the mould, and is drawn by a 
piece of hooked wire through each mould in 
succession, leaving a loop outside the bottom 
points of the mould; the loops are secured 
there by the bottom stick passing through 
them ; the wicks are to be drawn tight, and the 
last end tied to the upper stick. The melted 
tallow is then poured into the moulds and 
allowed to stand about six hours in a cool 
place, after which the bottom stick must be 
taken out of the loops and the candles with- 
drawn from the moulds. The tallow should 
not be heated much more than is necessary to 
melt it. 

Wax Candles. — These are made either by 
pouring melted wax over the wick or by ap- 
plying the wax in a soft state with the hands, 
and afterward rolling it smooth with a roller 
of polished boxwood, upon a table formed of 
polished walnut wood. They aro then cut and 
trimmed. The first part of this process is usu- 
ally conducted over cisterns of melted wax, 
and the wicks are strung upon an iron hoop 
suspended from the ceiling*. 

Imitation Wax Candles. — To tallow, purified 
by throwing powdered quicklime in it when 
melted, add 1 part of wax to ^ part tallow. 
This makes a beautiful candle resembling wax. 
Put 1 oz. saltpeter and y± lb. of lime in 2 qt. of 
water. Dip the wicks in this. This prevents 
the tallow from running, and also improves 
the light. 

Candle Wicks, Preparing*^-To improve the 
light, and prevent the tallow from running, 
use the following preparation; 1. Steep the 
wicks in a solution of lime water to which 
saltpeter has been added in the proportion of 
V4 gal. water, 3 oz. saltpeter, % lb. lime. Dry 
the wicks before using. 

2. Borax 3 oz , calcium chloride, saltpeter 
and chloride ammonium, each l^oz.; dissolve 
in 4^ qt. water, and filter. Soak the wicks in 
this solution, then dry. 

Cans, Tin.— Size of sheet for from 1 to 100 
gal.: 
For 



1 gal 


1x20 in. 


For 25 gal. 


30x56 in 


m ik 


10x28 " 


" 40 " 


36x63 " 


5 " 


12x40 " 


" 50 " 


40x70 tk 


6 '• 


14x40 " 


it 75 ii 


40x84 " 


10 " 


20x42 " 


41 100 *■ 


40x98 " 


15 " 


30x42 " 




» 



This includes all the laps, seams, etc. Is suffi- 
ciently correct for all practical purposes. 
Canvas, to Prepare for Painting.— 1. 

Nail the canvas on the stretcher, then give it a 
coat of thm glue size. Allow this to dry, then 
apply paint of the desired tint with a palette 
knife. The paint should have about the con- 
sistency of that sold in artists' tubes. 

2. 1 part white lead, 2 parts whiting ; a small 
portion of litharge and sulphate of zinc for 
driers; mix with equal parts of boiled lin- 
seed oil and raw linseed, tinted with either 
brown umber or lamp black, for a neutral 
ground. The canvas is tacked upon a stretch- 
ing frame, and sized with weak glue size, to 
which a small portion of zinc sulphate is 
added. When dry it is stippled over with some 
driers and raw linseed oil, as thin as possible, 



64 Carbon. 

not saturated. When very near dry the white 
lead, whiting, etc., is mixed up very smooth, 
and put upon it very thin and smooth with a 
large palette knife, and hatched over with a 
large sash tool, drawing it across one way and 
then at right angles until the face presents a 
face like a piece of fine linen or cartridge 
paper, when it is left to dry. 

Cantliaritl.es, Tincture of. See Tinc- 
tures. 

Canvas, to Protect from and Re- 
move Mildew. See Cleansing. 
Canvas, to Renovate. See Cleansing. 

Canvas, to Waterproof. See Water- 
proofing. 

Caoutchoue Cement. See Cements. 

Caoutchoue, Metallized.— Finely pow- 
dered metals may be mixed with the pure gum 
before vulcanization. See also Rubber. 



Capacity, Measures of. 
dix. 



See Appen- 



Capsules.— These articles are usually pre- 
pared by dipping the bulbous extremity of a 
metallic rod into a strong solution of gelatine. 
When the rod is withdrawn it is rotated in 
order to diffuse the fluid jelly equally over its 
surface. As soon as the gelatinous film has 
hardened it is removed from the mould and 
placed on pins, furnished with suitable heads, 
and fixed on a cork table. When dry, the cap- 
sules are placed upright in little cefls, made in 
the table to receive them, and the liquid with 
which they are to be filled is then introduced 
by means of a small glass tube. They are next 
closed by dropping some of the solution of 
gelatine on the orifices. 

Gelatine Capsules.— Dissolve in a water bath 
10 parts of gelatine; 2^ parts of sugar; 1*4 
parts of gum arabicin 10 parts of water. Take 
iron pins, the lower ends of which are pear 
shaped and slightly oiled, d:p in this solution 
when it is lukewarm. When the gelatine films 
are congealed, detach them, and place in holes 
of the same size in wooden forms, to dry. The 
capsules are filled with the desired medicine 
and closed with a drop of the same solution. 

Caramel.— A dark brown substance obtain- 
ed by heating sugar. It is formed during the 
roasting of all materials containing sugar, such 
as coffee and malt. It is much used for color- 
ing soups, wines, spirits and other liquids. 

Carbolic Acid, Perfumed^ — Carbolic 
acid, 4 oz.; rectified spirit, 6 oz.; oil of berga- 
mot, 28 min.; oil of citronella, 10 min.; water, 
to make 1 pt. Dissolve the oils and acid in the 
spirit, and add the water, shaking well. 

Carbonade or Rlack Diamond.— An 

uncrystallized variety of carbon, found in 
Brazil. It is as hard as the diamond, but free 
from its liability to split. It is used lor turn- 
ing down and truing emery wheels. 

Carbon, to Cut.— Gas carbon can be cut 
with an old saw and a larga expenditure of 
labor and patience. Fix the carbon in a vise, 
keep it moist with water, and saw away. You 
may use a strip of sheet iron, or of iron hoop 
held in a frame like a hack saw, or a revolving 
disk of the same metal, instead of a saw, and in 
this case employ wet sand in the cut as an 
auxiliary. 

Carbon Ink. See Inks. 

Carbon Paper. See Paper. 

Carbon, Plastic, for Filters.— (Kletz- 
insky.) 1. 60 parts coke ; 20 parts animal char- 
coal; 10 parts wood charcoal: 10 parts pipe 
clay. 

2. 10 parts coke ; 30 parts animal charcoal ; 20 
parts wood charcoal: 40 parts short asbestos. 
The ingredients, except the last, are pulverized, 
sifted, and mixed dry, when kneaded with an 
equal weight of molasses to a plastic mass, 



Carbon. 



65 



Casehardening. 



baked in a muffle, soaked in dilute muriatic 
acid, washed, dried and baked again.— Scientific 
Record, 1874. 

Carbon Plates, to Make.— Select bright, 
clean coke, pulverize it finely. Mix with it a 
small proportion of finely ground bituminous 
coal and pour into a mould. Put the mould 
into an iron box and heat to redness in a muffle 
for several hours. When cool soak in thin 
molasses and bake as before. 

Carbon and Porous Cups, Care of. — 

After long use the porous cells and the carbons 
should be soaked in warm water. 

Cardboard, Snowflake Appearance 
on. — Mix with a very concentrated aqueous 
solution of good clean table salt enough of a 
warm aqueous solution of dextrine to make a 
very thin mucilage. Apply this with a wide 
soft brush to the cardboard— the thinnest pos- 
sible coating is all that is required. Sulphate 
of magnesia, acetate of soda, and stannous 
sulphate are employed in a similar manner. 

Carmine. See Pigments. 

Carpets, to Clean. See Cleansing. 

Carpets, Substitute for. See Papier 
jJIaclie. 

Carriages, to Preserve. See Cleans- 
ing. 

Carton Pierre Ornaments.— The fol- 
lowing is a formula for such a composition : 
Glue, previously dissolved in water, 13 parts 5 
pulverized litharge, 4 parts; white lead, 8 parts; 
plaster of Paris, 1 part; very fine sawdust, 
10 parts. Oil the moulds in which it is cast to 
prevent adhesion. 

Casehardening Iron.— 1. Iron may be 
casehardened, that is, the surface converted 
into steel and hardened, as follows : First, by 
the common prussiate of potash process, which 
is as follows : Crush the potash to a powder, 
being careful that there are no lumps left in it, 
then heat the iron as hot as possible without 
causing it to scale; and with a piece of rod 
iron, spoon shaped at the end, apply the prussi- 
ate of potash to the surface of the iron, rub it 
with the spoon end of the rod until it fuses 
and runs all over the article, which must then 
be placed in the fire again and slightly reheat- 
ed, and then plunged into water, observing the 
rules given for immersing steel so as not to 
warp the article. Another method is to place 
the pieces to be hardened in an iron box made 
airtight by having all its seems covered well 
with fire clay, filling the box in with bone dust 
closely packed around the articles, or (what is 
better) with leather and hoofs cut into pieces 
about an inch in size, adding thin layers of salt 
in the proportion of about 4 lb. salt to 20 lb. of 
leather and 15 lb. of hoofs. In packing the 
articles in the box, be careful to so place them 
that when the hoofs, leather, etc., are burned 
away, and the pieces of iron in the box receive 
the weight of those above them, they will not 
be likely to bend from the pressure. When the 
articles are packed and the box ready to be 
closed with the lid, pour into it 1 gal. of urine 
to the auove quantities of leather, etc.; then 
fasten down the lid and seal the seams outside 
well with clay. The box is then placed in a 
furnace and allowed to remain there for about 
twelve hours, when the articles are taken out 
and quickly immersed in water, care being 
taken to put them in the water endways to 
avoid warping them. Articles to be case- 
hardened in the above manner should have 
pieces of sheet iron fitted in them in all parts 
where they are required to fit well and are 
difhcult to bend when cold. Suppose, for in- 
stance, it is a quadrant for a link motion : fit 
into tbe slot where the die works a piece of 
sheet iron (say y± in. thick) at each end of the 
slot, and two other pieces at equidistant places 
in the slot, leaving on the pieces a projection 



to prevent them from falling through the slot. 
In packing the quadrant in the box, place it so 
that the sheet iron pieces will have their pro- 
jections uppermost; then in taking the quad- 
rant out of the box, handle it carefully, and 
the pieces of iron will remain where they were 
placed and prevent the quadrant from warp- 
ing in cooling or while in the box, from the 
pressure of the pieces of work placed above it. 
It is obvious from what has been already said 
that the heavier pieces of work should be 
placed in the bottom of the box. 

2. Casehardening Small Articles.— Take a 
length of gas pipe of from 6 to 12 in. and of 
suitable diameter, screw on thimble caps, and 
pack the screws in them with bone dust, or 
with equal parts of charcoal dust and unslaked 
lime ; heat to a red for two hours, then chill in 
cold water. A charcoal or a coke fire is best ; 
anthracite will do, but bituminous coal is ob- 
jectionable. 

3. Pack the articles to be casehardened in an 
iron box filled with bonedust, or animal char- 
coal made of burnt leather. For small articles 
short pieces of gas pipe will do instead of an 
iron box. The ends must be stopped and luted 
with clay. The leather may be burnt in a pan 
or in stove, and it must be reduced to powder 
before being packed around the work. Heat 
the receptacle and the contained work red hot, 
in a furnace, for a le'ngth of time*proportionate 
to the size and thickness of the articles. Thin 
articles will reduire to be kept at a red heat 
only a few minutes, while heavy articles may 
require half an hour or more. When sufficiently 
heated, quench the work as soon as possible in 
cold water. 

4. Common Prussiate of Potash Process.— 
Crush the potash to a powder, being careful 
that there are no lumps left in it, then heat the 
iron as hot as possible without causing it to 
scale ; with a piece of rod iron, spoon shaped at 
the end, apply the prussiate of potash to the 
surface of the iron, rub it with the spoon end 
of the rod until it fuses and runs all over the 
article, which must then be placed in the fire 
again and slightly reheated, and then plunged 
into water, observing the rules given for im- 
mersing steel so as not to warp the article. 

5. Casehardening to be quickly performed is 
done by the use of prussiate of potash. This 
is powdered and spread upon the surface of the 
piece of iron to be hardened, after the iron is 
heated to a bright red. It almost instantly 
fluxes or flows over the surface, and when the 
iron is cooled ^,c a dull red it is plunged into 
cold water. Dae prefer a mixture of prus- 
siate of potash 3 parts, sal ammoniac 1 part ; or 
prussiate 1 part, sal ammoniac 2 parts, and 
finely powdered bone dust (unburned) 2 parts. 
The application is the same in each case. Pro- 
per casehardening, when a deep coating of steel 
is desired, is done by packing the article to be 
hardened in an iron box with horn, hoof, bone 
dust, shreds of leather or raw hide, or either of 
these, and heated to a red heat, for from one 
to three hours, then plunged in water. 

6. Casehardening Compound.— Sal soda, 27 
parts; lampblack, 24 parts; sodium chloride, 
6 parts; black oxide. manganese, 1)4 parts. 

7. Prussiate of potash, 20 parts; saltpeter, 20 
parts; sal ammoniac, 20 parts; pulverize, and 
mix thoroughly. Heat the case iron to a 
cherry heat and roll it in the above composi- 
tion, taking care to touch every part of the 
surface. Plunge while hot in a baJi containing 
3 oz. prussiate of potash and 6 oz. sal ammoniac 
to each V/% gal. of cold water. 

8. Take some good charcoal (from oak the 
best); also some marble (carbonate of lime). 
Mix together, the marble having been broken 
small. Then lay the tool or other piece to be 
casehardened in this compound, in a covered 
box, and subject it to good and continuous 
heat. Result : a deep penetration of the car- 
bon into the iron, and therefore a coating of 
steel. In other words, the outer cuticle has 



Casein. 



66 



Catarrh. 



been converted into steel by the process of ce- 
mentation. 

9. To economize in the more expensive mate- 
rials for casehardening cast, wrought, or mal- 
leable iron, and to harden only portions of the 
article in the different degrees, if required, Gra- 
de Roberts, of Brooklyn, makes use of an im- 
proved method. After polishing the surface, 
he glues to the portion to be casehardened a 
coating of yellow prussiate of potash. A num- 
ber of coats are given, according to the degree 
of casehardening required. A cheaper mate- 
rial, or simply boneblack, is used where a slight 
effect only is required. When the glue is set 
hard, the article is packed in powdered char- 
coal, heated to redness in a quick fire, and main- 
tained at that heat for half an hour. Then it 
is hardened and tempered in the usual manner. 

10. Casehardening Powders.— I. Prussiate of 
potash dried and powdered. II. Prussiate of 
potash, 3 parts; sal ammoniac, 1 part; mix. 
II T. Sal ammoniac and bone dust, of each 2 
parts; prussiate of potash, 1 part ; mix. 

11. Casehardening Compound (King). — A 
mixture said to be very efficacious for casehar- 
dening iron consists of 16 parts of lampblack, 
18 parts sal soda, 4 parts muriate of soda, 1 part 
black oxide of manganese. 

12. Axle Arms.— lustead of using 1 large pan 
and plunging y% doz. arms into it, have a round 
conical box for each arm, made of old boiler 
plate, % in. thick, about 2 in. or 3 in. longer, 
and about 2}4 in- larger in diameter inside than 
the arm. Into the box place sufficient animal 
charcoal to raise the collar of the axle arm 
nearly flush with the top of the box, then sur- 
round the arm with the charcoal as far up as 
the collar, ramming it firmly down as you pro- 
ceed, and finally cover the top of the charcoal 
with fire clay, taking care to plaster well the 
clay round the axle and the edge of the box. 
The furnace is a small reverberatory one, capa- 
ble of holding 8 to 12 of these boxes at the same 
time. The boxes are allowed to remain in the 
f nrnace one to two hours, according to the size 
of the axles, etc. 

13. Thin Steel Plates.— Cool them off between 
two flat gratings of cast iron, having small sur- 
faces of contact. 

Casein. — This substance constitutes the 
chief nitrogenized substance in milk. It is used 
occasionall y in the arts, as for the manuf ac- 
tureof case in cements. 

Casein Cement. See Cements. 

Casein Glue. See Glues. 

Casein Mucilage. See Mucilages. 

Casks, Musty.— Have the casks well scrub- 
bed with boiling hquor, in which a little soda 
ash has been dissolved. If they are not wanted 
for immediate use, let them stand exposed to 

Castings, Weight of. — 



in 


10 


in 


12 


in 


12 


in 


12 


in 


12 


in 


12 



the air, one head out, for a month. There is 
no greater purifier than the atmosphere; then 
head up, slightly steam, blow off, and send to 
cellar to be filled. If wanted for use, scrub, 
then gently fire until well hot through, steam, 
etc., as before. They should all be tested for 
sweetness, by chipping and smelling, before 
being headed up. If not wanted for use, when 
finished put about a pint of bisulphite of lime 
and water, 1 to 4 of water, and they will keep 
good in a cellar for twelve months. See also 
Barrels. 

Castings, Cement for. See Cements. 

Castings, Composition for Filling. 
See Compositions. 

Castings, Contraction of. — By Messrs. 

Bowen & Co., brass founders, London. 

Inch Inches of 
Incn - length. 
In thin brass castings, ^ in 9 

In thick " " y 8 

In zinc castings, ^ 

In lead, according to purity, T 3 5 to T f 5 
In copper, " " & to X 

In tin, " " 3V to ^ 

In silver, " " y a 

In cast iron, according to purity, 

small castings, T V 

In cast steel, according to purity, 

pipes, y s 

The above values fluctuate with the form of 
pattern, amount of ramming, and temperature 
of metal when poured. Green sand castings 
contract less than loam or dry sand castings. 

Castings, Shrinkage of.— Shrinkage of 
castings in locomotive cylinders, T V in. in a foot; 
in pipes, % in. in a foot; girders, beams, etc., y a 
in. in 15 in.; engine beams, connecting rods, 
etc., % in. in 16; thin brass, y& in. in 9; thick 
brass, % in. in 10; in zinc, T 5 g in. in a foot; in lead, 
same; in copper, T 3 g in. in a foot; in bismuth, 3% 
in. in a foot; in tin, 34 in. in a foot. 

Catalysis.— This term is applied to sub- 
stances which effect a chemical change by their 
mere presence ; thus in the manufacture of 
oxygen, manganese dioxide is used, but it is all 
recovered unchanged. 

Catarrh Remedy, Dr. Sage's. — Dr. 

Sage's catarrh remedy, says Schadler, contains 
0*5 grm. of carbolic acid, 0*5 grm. camphor, and 
10 grm. common salt, which are to be dissolved 
in f liter of water and injected into the nos- 
trils. It appears very probable that the wide 
reputation of this remedy is a deserved one, 
and the publication of its constituents will 
rather increase than retard its sale. 

Catarrh Cure, Hall's.— A correspondent 
of the Druggists' 1 Circular gives the composi- 
tion : Take of potassium iodide, 1 drm.; conip. 



in 12 
in 12 



Table giving Proportionate Weight of Casting to Weight of Wood Pattern. 

By Messrs. Bowen & Co. 5 Brass Founders, London. 



A pattern weighing one 
(less weight of core 


pound made of 
prints) 


c 

u 

t— 1 

to 
oS 

O 


VI 

a 
n 


P. 

c 



© 

R 
a 
%- 

PQ 


"el 
1 


6 




lb. 
14 

9 

9-7 
13 4 
102 
10-6 
12-8 
11-7 

0-84 


lb. 

15-8 

io- 1 

10-9 
151 
115 
119 
143 
132 
095 


lb. 
167 
10-4 
114 
16-7 
119 
12-3 
14'9 
13 7 

099 


lb. 

16-3 

,103 

11-8 

155 
11-8 
12 2 
14-7 
13-5 
0-98 


lb. 
17-1 
10-9 
11-9 
163 
12 4 
129 
155 
14-2 

1-0 


lb. 
135 


Oak " " 


8 6 




91 


T/inden " " -- 


12" 9 


Pear " " 




9-8 
102 
122 
112 




081 



Catechu. 



67 



Cements. 



tinct. cardamom, 4 fl. oz.; comp. tinct. gentian, 
12 fl. oz.; caramel, enough. 

Catecliu.— Cutch, gambir (formerly called 
terra japonica). These dye wares are the juices 
of certain trees evaporated down to dryness. 
The trees from which they are mainly obtained 
are the Acacia catechu of the Malabar coast 
and the Uncaria gambir of Peru. A certain 
quantity is also manufactured from the nuts of 
Areca catechu. This is the finest kind. 

Caterpillars, to Destroy.— There are no 
fewer than nineteen insect enemies of the 
grape, and of these, seven or eight assume the 
caterpillar form at some stage of their develop- 
ment. If the fruit has not been formed, they 
may as a general thing be destroyed by sprink- 
ling the vines with a solution of Paris green or 
London purple with water, say a heaping 
tablespoonf ul of the former to two gallons of 
the latter. The vines may be dusted with a 
mixture of the poisons and plaster or flour, in 
the proportion of 1 to 100. After the fruit has 
formed, a kerosene soap emulsion sprinkled on 
the vines would be destructive to the pests 
without endangering human life. Take about 
4 lb. of common yellow bar soap, 1 gal. of kero- 
sene and 1 gal. of water ; heat the mass over the 
stove, stirring it till it forms a homogeneous 
thick yellowish liquid, then remove the mix- 
ture from the stove and continue the stirring 
until it becomes cool. This should be largely 
diluted with warm soft water, and it will be 
pei'manent. Pyrethrum powder mixed with 
plaster is also used to good effect, sprinkled on 
the vines. 

Catgut.— Catgut is the name applied to 
strings, made chiefly from the intestines of 
sheep, used for harp, violin, guitar and bow 
strings, hatters' strings, etc. It is said that the 
best strings are made in Naples, because the 
Italian sheep, from their leanness, afford the 
best raw material— the membranes of lean 
animals being tougher than those of animals in 
high condition. The same name is also given 
to a species of linen or canvas with wide inter- 
stices. 

Cathartics. — Syn. Purgatives. These have 
been divided into 5 orders or classes, according 
to their particular actions. The following are 
the principal of each class: I. (Laxatives, 
lenitives, or mild cathartics.) Manna, cassia 
pulp, tamarinds, prunes, honey, and phosphate 
of soda; castor, almond and olive oils; ripe 
fruit. II. (Saline, or cooling laxatives.) 
Epsom salts, Glauber salts, phosphate of soda 
(tasteless salts), seidlitz powders, etc. III. 
(Active cathartics, occasionally acrid, fre- 
quently tonic and stomachic.) Rhubai'b, senna, 
aloes, etc. 

Catsup, Mushroom. -Sprinkle the trimmed 
tops with salt, stir them occasionally for two 
or three days, then slightly press out the juice; 
add to each gal. of this \i oz. each of bruised 
mustard seed and cloves and 1 oz. each bruised 
allspice, black pepper, and gently simmer for 
an hour in a porcelain -lined iron vessel; cool, 
strain, and bottle. 

Catsup, "Walnut.— Walnut shell juice, 3 
gal.; salt, 7 lb.; ginger, 8 oz.; shallots, 8 oz.; 
garlic, 8 oz.; horseradish, 8 oz.; essence of an- 
chovies, 1 qt.; mix. 

Cattle Food, Spiced.— Locust bean meal, 
6 cwt.; Indian meal, 10 cwt.; linseed cake meal, 
3 cwt.; sulphur, 1 qr. 12 lb.; saltpeter, 1 qr. 12 
lb.; common salt, 1 qr. 2 lb.; fenugreek, 2U lb.; 
gentian. 10 lb.; sulphate of iron, 5 lb.; anise 
seed, 4 lb.; ginger (ground), 3 lb.; total, 20 cwt. 
1 qr. 12 lb. 

Cauline.— A color obtained from red cab- 
oage, red beets, and some other vegetables. 

Caustics.— Substances which destroy or cor- 
rode the skin. Nitrate of silver (lunar caustic), 
-caustic potash, nitric and acetic acids, quick- 



lime, are all caustics, and should be used with 
caution. 

Ceilings.— Ceilings that look very rough 
and manifest a tendency to peel should be gone 
over with a solution of 1 oz. alum to 1 qt. water. 
This will remove the superfluous lime and 
render the ceiling white. 

Ceilings, Cracked, Filling for.— Whit- 
ing mixed with glue water or calcined plaster 
and water makes a good putty f or'filling cracks 
in plastered ceilings. 

Celeri, Creme de. See Liquor*, 

Celluloid, Cement for. See Cements. 

Celluloid, to Clean. See Cleansing. 

Celluloid, Polishing. See Polishing. 

Celluloid, Printing upon.— Dissolve 
the coloring substances in vinegar essence, 
acetic ether, or acetic acid. This prevents the 
color from running. This may not prove suf- 
ficient with all kinds of celluloid. In such case 
moisten with oil of turpentine or melted tur- 
pentine wax. 

Celluloid, to Work.- In general celluloid 
is worked the same as horn or ivory. In turn- 
ing the tool should be kept cool with water. 
In case the work tears, heat the celluloid in 
water until 90° to 100° F. are reached. 

Celluloid, Cement for.— 25 parts of shellac are 
dissolved in 25 parts of spirit of camphor and 
100 parts 90% alcohol are added. 2. Fine celluloid 
shavings are dissolved in 90$ alcohol. The cel- 
luloid companies sell an excellent cement for 
celluloid. 

Cementation.— When metallic matter is 
heated without melting in contact with an 
oxidizing reagent, so that certain impurities 
are oxidized by the gas slowly penetrating the 
mass, little by little, the process is an " oxidiz- 
ing cementation," as in the production of mal- 
leable cast iron. When wrought iron is strongly 
heated in contact with carbon or carbon- 
aceous matter, it gradually unites with a por- 
tion of the carbon, converting the iron into 
steel. This is a " carburizing cementation." 
Cementation, then, is the reaction which takes 
place between two bodies without fusion. 

Cements.— The importance of cements both 
in the workshop and in the household is uni- 
versally acknowledged ; but the frequency of 
failures in the use of them shows that no mat- 
ter how good the receipt, or how carefully 
compounded, if the cement is carelessly applied 
or allowed an insufficient time for setting, 
bad results are sure to follow. By observing 
the following simple rules much time and 
money can be saved : 

1. See that the surfaces are clean. Dirt and 
grease are sure to breed trouble. Wash the 
article with lye (caustic potash), or if from 
the nature of the substance lye cannot be 
used, with carbon bisulphide. The hands are 
very liable to be greasy, and the edges to be 
joined should not be touched by them. If the 
substances to be united have been joined be- 
fore, all traces of the former cement must be 
removed. 

2. Bring the cement into intimate contact 
with the surfaces to be united. 1 his is best 
done by heating the pieces to be joined in those 
cases where the cement is melted by heat, as in 
using resin, shellac, marine glue, etc. This 
heating is of great importance and is usually 
neglected, to the detriment of the strength of 
the joint. This fact is understood by cement 
peddlers, and some of the really marvelous 
feats performed by them are entirely owing to 
this cause. AVhere solutions are used, the 
cement'inust be well rubbed into the surfaces, 
either with a soft brush (as in the case of por- 
celain or glass), or by rubbing the two sur- 
faces together (as in making a glue joint be- 
tween two pieces of wood). 

3. As little cement as possible should be 
allowed to remain between the united surfaces. 



Cements. 



68 



Cements, 



To secure this the cement should be as liquid 
as possible (thoroughly melted if used with 
heat), and the surfaces should be pressed closely 
into contact (by screws, weights, wedges, or 
cords) until the cement has hardened. These 
mechanical aids also help to displace the thin 
film of air which sticks closely to the substance. 
The ordinary carpenter's hand screw is recom- 
mended for use with cements. It is in use by 
all cabinet makers and carpenters for gluing. 
A string tightly bound about the object answers 
the same purpose and is good if tight. All 
excess should be removed from the edges while 
the cement is still liquid. Plenty of time 
should be allowed for the cement to dry or 
harden, and this is particularly the case in oil 
cements, such as copal varnish, boiled oil, white 
lead, etc. When two surfaces, each half an 
inch across, are joined by means of a layer of 
white lead placed between them, six months 
may elapse before the cement in the middle of 
the joint has become hard. In such cases a few 
days or weeks are of no account ; at the end of 
a month the joint will be weak and easily 
separated, while at the end of two or three 
years it may be so firm that the material will 
part anywhere else than at the joint. Hence 
when the article is to be used immediately, the 
only safe cements are those which are liquefied 
by heat and which become hard when cold. A 
joint made with marine glue is firm an hour 
after it has been made. Next to cements that 
are liquefied by heat are those which consist of 
substances dissolved in water or alcohol. A 
glue joint sets firmly in twenty-four hours ; a 
joint made with shellac varnish becomes dry in 
two or three days. Oil cements, which do not 
dry by evaporation, but harden by oxidation 
(boiled oil, white lead, red lead, etc.), are the 
slowest of all. 

4. Coloring matters may be introduced into 
cements with gcod effect. But care should be 
used not to mix anything with the cement 
which will set up any chemical action and so 
weaken the joint. 

5. Select the right recipe from the following 
very full list of cements, which contains all 
which are of value and many which are pub- 
lished for the first time. The arrangement is 
such that they can be readily found either by 
their name or by their use. A good rubber 
cement, shellac varnish and a good gutta 
percha cement as the following should be on 
every amateur's work table. 

A Strong and Handy Cement.— One of the 
strongest cements, and very readily made, is 
obtained when equal quantities of gutta per- 
cha and shellac are melted together and well 
stirred. This is best done in an iron capsule 
placed on a sand bath, and heated either over 
a gas furnace or on the top of a stove. It is a 
combination possessing both hardness and 
toughness— qualities that make it particularly 
desirable in mending crockery. When this 
cement is used, the articles to be mended 
should be warmed to about the melting point 
of the mixture, and then retained in proper 
position until cool, when they are ready for 
use. *■ 

For mending broken glass, china, wood and 
earthenware, the preparations generally used 
are the cements as follows : Armenian, Botany 
Bay, Cheese, Chinese, Curd, Egg, Extempora- 
neous, Glass, Glue, Hensler's, Hoenles', Mahog- 
any and Parabolic. For spar, marble, and 
similar materials, the Alabaster cement is 
specially adapted; the Egg and Parabolic 
cements will, however, answer the same pur- 
pose. For cloth, leather, paper, card and light 
fancy work, the most suitable cements are the 
Elastic, Chinese, Flour, French and Japanese. 
The cements adapted for chemical and elec- 
trical apparatus, and for sealing bottles, are 
also termed Bottle, Cap, Chemical, Electrical, 
Laboratory, Maissiat's, and Varley's. The 
building and hydraulic cements are described 
under the heads Architectural. Beale's, Bru- 



yere's, Fireproof, Gad's, Gibb's, Hamelin's,, 
Hydraulic, Keene's, Oxychloride, Parker's,, 
Pen's, Portland, Roman, Water, and Water- 
proof. The cements used for metal work, etc., 
in different trades are noticed under the heads 
Coppersmiths', Cutlers', Engineers', Grinders', 
Iron, Letter Fixing, Opticians', Plumbers', 
Seal Engravers', Steam Boilers, and Turners'. 
See Glue, Lute, Mortar, Teeth, Cement, 
etc. 

Abolithe Cement.— A new cement, stated to 
possess excellent hardening qualities, is made 
by calcining magnesite (the carbonate of mag- 
nesia) in ovens similar to those used for gas 
making, after which it is pulverized and mixed 
with a quantity of fine silica. The cement is 
declared to possess great hardness and durabil- 
ity. It may be moulded like plaster ; it may be 
used to ref ace the dilapidated stones of a build- 
ing, and adheres with so much tenacity to wood 
that its application as a preserver of timbers, 
railway sleepers, etc., by painting it upon the 
surface, has been tried with success. 

Acid-proof Cements.— 1. Acid-proof cements 
are used for cementing troughs or other ob- 
jects intended to hold acid. 

2. For Galvanoplasty.— An oaken trough, 
close made, will last from twelve to fifteen years 
if coated with Burgundy pitch 1,500 grm., old 
gutta percha in shreds 250 grm., pounded pum- 
ice 750 grm. Melt the gutta percha, mix with 
the pumice, and add the pitch. A hot iron 
passed over the surface smooths it, and assists 
adhesion. The box resists sulphate Of copper 
baths, but not cyanides. 

3. Melt together 1 part pitch, 1 part resin and 

1 part plaster of Paris (perfectly dry). 

4. A good acid-proof cement is made by mix- 
ing a concentrated solution of silicate of soda 
with powdered glass, to form a paste. This is 
useful for luting joints in vessels exposed to 
acid fumes. 

5. A mixture of China clay and boiled linseed 
oil, in the proportions needed to produce the 
right consistence. 

6. Quicklime and linseed oil, mixed stiffly 
together, form a hard cement, resisting both 
heat and acids. 

7. A stiffly mixed paste of pipe clay and coal 
tar. 

8. A cement which, according to Dr. Wagner, 
is proof against even boiling acids, may be 
made by a composition of India rubber, tallow, 
lime and red lead. The India rubber must first 
be melted by a gentle heat, and then 6$ to 8% by 
weight of tallow is added to the mixture while 
it is kept well stirred ; next dry slaked lime is 
applied, until the fluid mass assumes a consis- 
tence similar to that of soft paste ; lastly, 20% 
of red lead is added, in order to make it harden 
and dry. 

9. Sulphur, 100 parts; tallow, 2 parts; resin, 

2 parts. Melt, add sifted ground glass. 

10. 1 part resin, 1 part sulphur, 2 parts brick 
dust ; the whole is melted after careful mixing. 
This lute is proof against the attacks of nitric 
and hydrochloric acid vapors. 

11. Melt 1 part of pure rubber in 2 parts of 
linseed oil ; add 6 parts of pipe clay. This mix- 
ture produces a plastic cement which softens 
by heat, but does not melt. 

12. Resin 3 lb., dried red ocher % lb., calcined 
plaster of Paris l A lb., linseed oil % lb. These 
must be incorporated by stirring together 
when melted. 

13. Have boxes perfectly dry; smear them 
inside with a hot mixture of 4 parts resin, 1 
part gutta percha, and a little boiled oil. The 
mixture must be thoroughly melted and stirred 
before use. A hot rod of iron may be used to 
melt it into the crevices. They can be used for 
any ordinary type of battery. 

14. Melted India rubber alone answers well 
for securing joints .gainst chlorine and som? 
acid vapors. 

Air and Water Tight Cement for Casks and 
Cisterns.— Melted glue, 10 parts ; linseed oil, 5- 



Cements. 



69 



Cements. 



parts ; boil into a varnish with litharge. Hard- 
ens in two days. 

Alabaster, to Mend (See also Marble).— 1. Add 
% pt. vinegar to ^ pt. skimmed milk. Mix the 
curd with the whites of five eggs well beaten, 
and sufficient powdered quicklime sifted in, 
with constant stirring, so as to form a paste. 

2. Plaster of Paris, resin (yellow;, beeswax, 
equal parts. 

3. Rice glue, thickened with finely powdered 
quicklime. 

4. Yellow resin, 2 parts ; melt and stir in 1 
part plaster of Paris ; resin, 8 parts ; wax, 1 
part ; melt and stir in plaster of Paris. 

A Cement Withstanding Alcohol.- Take the 
best kind of glue ; pour on an equal quantity 
of water; let it soak overnight; next morning 
melt it over a gentle heat, and add fine Paris 
white or white lead: mix well, and add a little 
acetic acid, carbolic acid, oil of cloves, or any 
other ethereal oil, to prevent putrefaction. 
This cement is also adapted for flexible objects 
like leather. It will not withstand boiling 
water well, as this softens the glue. 

Algerian Cement. See Lutes, Algerian, below. 

Amber, to Cement.— 1. Heat the surfaces and 
cement with boiled linseed oil. Shellac is also 
recommended. Clamp firmly. 

2. Melt mastic in linseed oil. Use hot. 

3. The Canadian Pharmaceutical Journal 
states that amber may be cemented by moist- 
ening the surfaces with solution of potash, and 
pressing them together. 

Ammonia and Shellac Cement.— Pinely pow- 
dered shellac, 1 part, is softened in 10 parts 
strong ammonia. This mass becomes fluid when 
dry. After applying to the rubber article the 
ammonia evaporates. Dissolves very slowly. 

Aquarium Cement. — 1. (Klein.) Mix equal 
parts of flowers of sulphur, pulverized sal 
ammoniac and iron filings with good linseed oil 
varnish, then add enough white lead to form a 
firm, easily worked mass. 

2. Whiting, 6 parts; plaster of Paris, 3 parts; 
white beach sand, 3 parts ; litharge, 3 parts ; 
powdered resin, 1 part. Mix thoroughly, and 
make into a putty with the best coach varnish. 
Leave the glass a week before disturbing. 

3. Linseed oil, 3 oz.; tar, 4 oz.; resin, 1 lb.; melt 
together over a gentle fire. If too much oil is 
used, the cement will run down the angles of 
the aquarium; to obviate this it should be 
tested before using by allowing a small quan- 
tity to cool under water ; if not found suffi- 
ciently firm, allow it to simmer longer or add 
more tar and resin. The cement should be 
poured in the corners of the aquarium while 
warm (not hot). This cement is pliable, and 
is not poisonous. 

4. Take 10 parts, by measure, litharge, 10 
parts plaster of Paris, 10 parts dry white sand, 
1 part finely powdered resin, and mix them 
when wanted for use into a pretty stiff putty 
with boiled Unseed oil. This will stick to wood, 
stone, metal or glass, and hardens under water. 
It is also good for marine aquaria, as it resists 
the action of salt water. It is better not to 
use the tank until three days after it has been 
cemented. 

5. Litharge, fine, white, dry sand, and plaster 
of Paris, each 1 gill; finely pulverized resin, % 
gill. Mix thoroughly and make into a paste 
with boiled linseed oil to which drier has been 
added, heat it well, and let it stand four or 
five hours before using it. After it has stood 
for fifteen hours, however, it loses its strength. 
Glass cemented into its frame with this cement 
is good for either salt or fresh water. It has 
been used at the Zoological Gardens, London, 
with great success. It might be useful for con- 
structing tanks for other purposes or for stop- 
ping leaks. 

Architectural Cement— 1. Strong rice water 
size and paper pulped in boiling water are 
mixed together ; enough whiting is then added 
to make it of a proper consistence. The paper 
must be perfectly pulped. 



2. Make the cement the same, only substitut- 
ing plaster of Paris for whiting. 

Armenian or Jeweler's Ceme7it. — 1. Dissolve 
5 or 6 bits of gum mastic the size of a large pea 
in as much spirits of wine as will suffice to 
render it liquid; in a separate vessel dissolve as 
much isinglass (previously softened in water, 
though none of the water must be used) in rum, 
or other spirit, as will make a two ounce phial 
of very strong glue, adding 2 small pieces of 
gum ammoniacum, which must be rubbed or 
ground till they are dissolved; then mix the 
whole with a sufficient heat. Keep it in a 
phial closely stopped, and when it is to be used 
set the phial in boiling water. The preceding 
is also effectual in uniting almost all substances, 
even glass, to polished steel. 

2. Thick isinglass glue, 1 part; thick mastic 
varnish, 1 part. Melt the glue, mix, and keep 
well corked. Heat in hot water to use. 

3. Keller's Armenian Cement. — Soak isin- 
glass, y& oz., in 4 oz. water, for twenty-four 
hours ; evaporate in a water bath to 2 oz.; add 

2 oz. alcohol and strain through linen; mix 
this while warm with a solution formed by 
dissolving J4 oz. best mastic in 2 oz. alcohol ; 
add of powdered gum ammoniac, 1 drm.; 
and triturated together until perfectly incor- 
porated, avoiding as much as possible the loss 
of spirit by evaporation. 

4. Ore's Formula.— Isinglass, 1 oz.; water, 6 
oz.; boil to 3 02., and add V/z oz. rectified alco- 
hol; boil for a minute or two, strain, and 
add while hot, first a milky emulsion of am- 
moniac, 14, oz., then 5 drm. tincture of mastic. 

5. Isinglass soaked in water, and dissolved in 
spirit, 2 oz. (thick) ; dissolve in this 10 gr. of 
very pale gum ammoniac (in tears), by rubbing 
them together; then add 6 large tears of gum 
mastic, dissolved in the least possible quantity 
of alcohol. 

6. Isinglass dissolved in proof spirit (as abo vet , 

3 oz.; bottoms of mastic varnish (thick, but 
clear), 1^ oz., mix well. 

Ash Cement. — The following is a useful ce- 
ment to fasten objects of wood to others of 
metal, glass, stone, etc. Good cabinetmakers' 
glue is warmed up with water to the consist- 
ency necessary to connect wooden objects; 
then add enough sifted ashes to bring it to 
the thickness of a varnish. The cement should 
be applied to the surfaces of the objects to be 
united when warm, and then they should be 
pressed together tightly. After cooling and 
drying, the surfaces are so strongly united 
as to require great force to separate them. 
Grinding stones fastened on wood, and handles 
to painters' stones for grinding colors, have 
been used for more than a year without exhib- 
iting any appearance of fracture. 

Badigeon. — Cement used to cover up unavoid- 
able holes or defects in workmanship. Many 
formulas. Every trade has its own. Putty, 
plaster of Paris, sawdust and glue, are exten- 
sively used for this purpose. 

Barrels and Casks, Cement for Closing.— Tal- 
low, 5 parts; wax, 4 parts; lard, 8 parts; wood 
ashes sifted, 5 parts. Apply with heat. 

BeaWs.— Chalk, 60 parts; lime and salt, 20 
parts of each; sand, 10 parts ^English books of 
receipts give Barnsey sand); iron filings or 
dust, 5 parts ; blue or red clay, 5 parts. Grind 
and calcine. Patented as a fireproof cement. 

Bell's Cement.— The composition of this ce- 
ment or varnish is unknown. It may be ob- 
tained of J. Bell & Co, 338 Oxford street, Lon- 
don. This cement is largely used by the best 
microscopists and has obtained a world-wide 
reputation. 

Leather Belting, Cement for.— Take of com- 
mon glue and American isinglass, equal parts ; 
place them in a boiler, and add water sufficient 
to just cover the whole, Let it soak ten hours, 
then bring the whole to a boiling heat, and 
add pure tannin untiil the whole becomes 
ropy or appears like the white of eggs. Applv 
it warm. Buff the grain off the leather where 



Cements. 



TO 



Cements. 



it is to be cemented; rub the joint surfaces 
solidly together, let it dry a few hours, and it 
is ready for practical use ; and if properly put 
together, it will not need riveting, as the ce- 
ment is nearly of the same nature as the 
leather itself. 

Belting. See also Flexible and Rubber Ce- 
ments. 

Benzine and Petroleum, Cement to Resist. — 
It has quite recently been discovered that gela- 
tine mixed with glycerine yields a compound 
liquid when hot, but which solidifies on cooling, 
and forms a tough, elastic substance, having 
much the appearance and characteristics of 
India rubber. The two substances united form 
a mixture entirely and absolutely insoluble in 
petroleum or benzine, and the great problem 
of making casks impervious to these fluids is 
at once solved by brushing or painting them 
on the inside with the compound. This is also 
used for printers' rollers and for buffers of 
stamps, as benzine or petroleum will clean 
them when dirty in the most perfect manner 
and in an incredibly short space of time. 
Watqf must not be used with this compound. 

Bicycle Tires, etc., Cement for Cuts in— In 10 
oz. carbon bisulphide dissolve 20 oz. caout- 
chouc ; 10 oz. gutta percha ; and 5 oz. fish glue. 
Bind the tire well with cord until set. 

Bicycle Tire Cement.— 2 parts of pitch and 1 
part of gutta percha are melted together. Use 
hot. 

. Bismuth Cement.— This cement is used in at- 
taching the tops to kerosene lamps. Lead, 24 
parts; tin, 16 parts; bismuth, 20 parts. 

Bisque, Cement for.— Burn some oyster shells, 
reduce to powder in a muller, and pass thro ugh 
a fine sieve; make this into a paste with white 
of egg. The shells should be thoroughly clean- 
ed, well burned, air slaked, and finely powdered, 
making simply a fine article of lime. The parts 
joined must be held firmly together for two 
minutes or so after the cement has been ap- 
plied. Be sure the parts are thoroughly clean 
before joining. 

Black Cement.— 1 lb. blacksmith's ashes, 1 lb. 
sharp sand, 2 lb. of resin. Combine as in the 
last recipe. 

Blood Cement.— 1. Slaked lime, 50 parts ; beat- 
en bullock's blood, 40 parts ; alum, 1 part ; mix. 
2. Slaked lime, 50 parts ; fine ashes, 25 parts ; 
bullock's blood, 8 to 10 parts. Used as a point- 
ing for bricks. 

Chinese Blood Cement. — This cement is in 
general use in China for making wooden and 
pasteboard vessels, willow ware, etc., water- 
proof. Slaked lime, 50 parts ; beaten bullock's 
blood, 373^ parts; alum, 1 part. Mix together. 
Boiler Joints, Cement for.—l. To make a 
cement for boiler joints, take 10 parts of white 
lead ground in oil, 3 parts of black oxide of 
manganese, and 1 part of litharge. Reduce to 
a proper consistency and apply where needed. 
See also iron and fireproof cements. 

2. Dried clay in powder, 6 lb. ; iron filings, 1 
lb. Make into a paste with boiled linseed oil. 
Other receipts given also in steam boiler 
cements below. * 

Bone Cement.— 1. Take of isinglass, 1 oz.; dis- 
tilled water, 6 oz ; boil to 3 oz., and add recti- 
fied spirit, 1]4 oz.; boil for a minute or two, 
strain, and add while hot, first, a milky emul- 
sion of gum ammoniac, y% ounce, and then 
tincture of mastic, 5 drm. 

2. White Cement for Bone.— If only to fill up 
cracks, try lime and white of egg made into a 
paste, or ground rice flour mixed with water. 

Botany Bay.— Yellow gum and brick dust 
equal parts, melted together. Used to cement 
coarse earthenware, etc. 

Bottger's Cement. — Bottger's cement, made 
with fine precipitated chalk, stirred into solu- 
tion of sodium silicate at 33° B., to which pig- 
ments may be added, if desired, the mixture 
hardening in six or eight hours. 

Bottle Cements— A number of these cements 
will be found under Wax, Bottle, where they 



are properly placed. See also Massiat's, Chem- 
ical, and Glycerine Cements. 1. Copal varnish 
made thick with red lead or other pigment af- 
fords an excellent bottle cement. 

2. Bottles, Cement for the Top of.— Mix gela- 
tine and glycerine, apply warm by dipping the 
neck of the bottle in the mixture. Repeat if 
necessary. 

3. Bottle Cement for Acid Bottles, etc.— Melt 
over a water bath 2 parts tallow, and gradually 
add until all is dissolved 30 parts pure rubber. 
When thoroughly melted add 2 parts of slaked 
lime. 

Brass, to Glass.— 1. Knead resin soap with J4 
the quantity of plaster of Paris. 

2. Substitute zinc white for the plaster of 
Paris, or slaked lime, which causes it to harden 
much slower. 

3. For Cementing Brass Letters to Glass Win- 
dows.— 16 parts copal varnish; 5 parts drying 
oil; 3 parts turpentine; 3 parts oil of ditto; 
5 parts liquid glue ; 10 parts stucco. 

Brass Joints, Cement for.— Caoutchouc, 2 
parts; guttapercha, 1 part; brass filings, 10 
parts. Melt by the aid of heat. 

Brewers' 1 Cement.— The following compound 
is recommended as a good and cheap substitute 
for brewers' pitch: (;oat twice the inside of a 
barrel with a solution of % lb. of resin, % 
oz. of shellac, 2 lb. turpentine, and \k an 
oz. of yellow wax, in 1 qt. of strong alcohol. 
After the complete drying of the second coat,, 
give a last coat by applying a solution of 1 lb. 
sheiiac in 1 qt. of strong alcohol. This 
varnish will perfectly cover up the pores, and 
does not crack off or impart a foreign taste 
to the beer. 

Brick Dust Cement.— A new cement, for se- 
curing iron to stone, is described in some of 
the foreign papers. The cement is made by 
melting resin and stirring- in brick dust, which 
must be finely ground and sifted, until a sort 
of putty is formed, which, however, runs easily 
while hot. In using, the iron is set into the 
hole in the stone prepared to receive it, and the 
melted putty poured in, until the space is filled ; 
then, if desired, bits of brick, previously warm- 
ed, may be pushed into the mass, and a little of 
the cement thereby saved. As soon as the whole 
is cool, the iron will be firmly held to the stone, 
and the cement is quite durable and uninjured 
by the weather, while, unlike lead and sulphur, 
it has no injurious effect on the iron. 

Brimstone. See Sulphur Cement. 

Brown Cement.— Pure gum rubber, 20 grn.;. 
carbon disulphide, a sufficient quantity; shel- 
lac, 2 oz.; alcohol, 8 oz. Dissolve the rubber in 
the smallest possible amount of the carbon 
disulphide ; add this slowly to alcohol, avoiding 
clots ; add powdered shellac and place the bot- 
tle in boiling water until the shellac is dissolved 
and no more smell of carbon disulphide is given 
off. 

Brunswick Black and Gold Size (Eulenstein, 
Beale).— Equal parts of Brunswick black and 
gold size with a very little Canada balsam. 

Bruyere's Water.— Prep. Mix 3 gal. of clay 
with 1 gal. of slaked lime, and expose them 
to a full red heat for 3 hours. 

BucklanxVs Cement for Labels.— Gumarabic, 2 
oz.; starch, \Yz to 2 oz.; sugar, y% oz. All mate- 
rials should be pulverized. It can be kept dry 
and mixed up as used. 

Building Stone, Cheap.— Plaster of Paris, 20 
parts; 2 parts hydraulic lime; 1 part liquid glue; 
100 parts water; pour into moulds when hard : 
dry in the air for 2 weeks. 

Building Cement. — To 1 heaped bushel of mor- 
tar, made in the ordinary way, add 3^ qt. (dry 
measure) of iron scale and 1^ qt. of molasses. 
Use the same day. 

Canada Balsam.— Canada Balsam, to Thin. 
Can be thinned with turpentine or benzol. Do 
not use benzole unless the balsam is quite hard. 
A gentle heat is desirable in order to mani- 
pulate pronerlv. See also Lenses, below. 






Cements. 



71 



Cements. 



Cap Cements.— These are so named because 
they are used to fix on parts of electrical or 
other apparatus to glass. They are very use- 
ful for many purposes and should find a place 
jn every laboratory and amateur's workshop. 
See also Faraday's cement. 1. Glue, best white, 
11 oz.; white curd soap, 1 oz.; plaster of Paris, 
3*4 lb.; water, y 2 gal. The glue is put to soak 
overnight in just enough of the water to well 
cover it. In the morning (or when properly 
softened) it is dissolved together with the soap 
in the rest of the water previously heated to 
boiling. When a quantity of the cement is re- 
quired, a sufficient quantity of the plaster of 
Paris is mixed up quickly with enough of the 
warm liquid to form a smooth thin paste. 
This paste must be used at once, as it soon sets 
or hardens. When hardened, it is impervious 
to coal oil. 2. (C. G-. Williams.) Equal weights 
of red lead and white lead used for chemical 
and electrical purposes. For cementing glass 
tubes, necks of balloons, etc., into metal 
mountings. This is preferable to white lead 
alone, and may be depended on for temperature 
up to 212°. 3. Resin, 5 lb.; beeswax and dried 
Venetian red, of each 1 lb , melted together. 4. 
7 lb. black resin, 1 lb. red ocher, ^ lb. plaster of 
Paris, well dried, and added while warm; heat 
the mass to a little above 212° F. (100° C.) and 
agitate it together till all frothing ceases and 
the liquid runs smooth ; the vessel is then re- 
moved from the fire, and the contents are 
stirred till sufficiently cool for use. 5. 4 oz. 
lineseed oil added to the ingredients of tke last. 
Casein Cements.— 1. Casein cements are useful, 
and if prepared from pure casein are very per- 
manent. The cements of casein with lime are 
particularly recommended. 
. 2. Casein Cement, for Metals.— Casein is used 
for a number of cements. Pure casein is pre- 
pared in the following way : Skim the milk 
carefully until there is not a trace of cream. 
Let it stand in a warm place until it 
curdles. Then pour it through a paper filter. 
Wash the casein remaining on the filter with 
rain water until the water shows no trace of 
free acid. Tie the casein in a cloth and boil in 
water to remove all fat. Spread on blotting 
paper and dry in a moderately warm place. It 
will shrivel up in a horn-like mass. For the 
cement for metals mix washed quartz sand, 20 
parts; casein, 16 parts; slaked lime 20 parts. 

3. Casein, to Prepare.— Pure casein can be 
prepared as follows : Skim milk of every par- 
ticle of cream, then stand it in a warm place 
until it curdles; then filter and wash well with 
water, tie up in a cloth and boil in water, dry on 
blotting paper. It can then be kept a long time. 

4. A solution of casein in a concentrated 
aqueous solution of borax, made with cold 
water, makes a very tenacious cement. 

5. Casein and Soluble Glass.— Casein dissolved 
in soluble silicate of soda or potassium makes a 
very strong cement for glass or porcelain. 

6. A cement to stop cracks in glass vessels, to 
resist moisture and heat, is made by dissolving 
casein in a cold saturated solution of borax. 
With this solution, paste strips of hog's or bul- 
lock's bladder, softened in water, on the cracks 
of glass, and dry at a gentle heat. If the ves- 
sel is to be heated, coat the bladder on the out- 
side, just before it has become quite dry, with 
a paste of a rather concentrated solution of 
soda and quicklime or plaster of Paris. 

7. Cheese Cement for Mending China, etc.— 
Take skim milk cheese, cut it in slices, and boil 
it in water. Wash it in cold water and knead 
it in warm water several times. Place it warm 
on a levigating stone and knead it with quick- 
lime. It will join marble, stone, or earthen- 
ware so that the joining is scarcely to be dis- 
covered. 

8. Quartz sand, washed, 5 pt.; casein, 4 pt.; 
soaked lime, 5 pt.; mix. This cement can be 
used with metals. 

9. Casein Cements, Foreign.— The chief ce- 
ment used in the island of Sumatra is made 



from the curd of buffalo milk, prepared in the 
following way : The milk is left to stand till 
all the butter has collected at the top. The 
latter is then removed, and the thick sour mass 
left is termed the curd. This is squeezed into 
cakes and left to dry, by which it becomes as 
hard as flint. For use, some is scraped off, 
mixed with quicklime, and moistened with 
milk. It holds exceedingly well, even in a hot, 
damp climate, and, is admirably adapted for 
mending porcelain vessels. 

10. In the German cantons of Switzerland, a 
compound of cheese and slaked lime is used, 
under the name of Kaseleim, for laying floors, 
puttying joiners' work, making blocks for 
hand printing cotton and tapestry goods, and 
other like purposes. The material sets so rap- 
idly that it is necessary to mix it as the work 
goes on, which entails trouble and necessitates 
a certain knack in its use. A Swiss chemist, 
Brunnschweiler, of St. Gall, has invented a 
preparation of lime and skim milk, to which he 
gives the name of Kaseleim-pulver, whereby 
these inconveniences are avoided. Fill a bottle 
to one-fourth of its height with damp casein ; 
then fill the flask with silicate of soda (water 
glass), and shake frequently until the casein is 
dissolved. 

Castings. See Iron Cements. 

To Cement Celluloid on Wood, Leather, etc. — 
Make a solution of 2 parts shellac in 2 parts 
spirits of camphor and 6 to 8 parts of alcohol 
90$. The best cement is made by dissolving 
finely scraped celluloid in spirits or wine 90%. 

Cement for Celluloid.— Dissolve 2 parts shellac 
in 2 parts spirits of camphor, and add 7 parts 
strong alcohol. Apply warm. 

Celluloid Cement.— This preparation is practi- 
cally a trade secret. It can be obtained of the 
Celluloid Co., New York. 

Chatterton's Cement for Gutta Percha. — Resin 
2 parts, Stockholm tar 2 parts, gutta percha 4 
parts. 

Chemical Cement. See also Laboratory Cement. 
—1. A good cement for chemical and electrical 
apparatus may be prepared by mixing 5 lb. of 
resin, 1 lb. of wax, 1 lb. of red ocher and 2 oz. 
of plaster of Paris, and melting the whole 
with moderate heat.— American Chemist .and 
Druggist. 

2. Yellow wax 4 parts, common turpentine 2 
parts, Venetian red (well dried) 1 part, melted 
together. Used as a temporary stopping or 
lute for the ends or joints of tubes which are 
not exposed to much heat, as in alkalimetry. 

3. Mix equal parts of wheat flour, finely pow- 
dered Venice glass, pulverized chalk, and a 
small quantity of brick dust, finely ground ; 
these ingredients, with a little scraped lint, 
are to be mixed and ground up with the white 
of eggs. It must then be spread on pieces of 
fine linen cloth, and applied to the crack of the 
glasses, and allowed to get thoroughly dry be- 
fore the glasses are put to the fire. 

ChenoVs Iron Cement.— Iron reduced from 
the ores by hydrogen gas is kneaded with gyp- 
sum or clay. A little vinegar is sometimes 
added to facilitate its hardening. 

China, Cement for. See Porcelain, Cement for y 
below. The casein cements are very good for 
mending porcelain. 

Chinese Cement (Schio-liao).—\. To 3 parts of 
fresh beaten blood are added 4 parts of slaked 
lime and a little alum ; a thin, pasty mass is 
produced, which can be used immediately. 
Objects which are to be made specially water- 
proof are painted by the Chinese twice, or at the 
most three times. Dr. Scherzer saw in Pekin a 
wooden box which had traveled the tedious 
road via Siberia to St. Petersburg and back, 
which was found to be perfectly sound and 
waterproof. Even baskets made of straw be- 
come, by the use of this cement, perfectly 
serviceable in the transportation of oil. 

2. Pasteboard treated therewith receives the 
appearance and strength of wood. Most of the 
wooden public buildings of China are painted 



Cements. 



Cements. 



with schio-liao, which gives them an unpleasant 
reddish appearance, but adds to their durability. 
This cement was tried in the Austrian Depart- 
ment of Agriculture, and by the Vienna 
Association of Industry, and in both cases the 
statements of Dr. Scherzer were found to be 
strictly accurate. 

3. Chinese glue is made by covering- shellac 
with strong liquid ammonia and shaking f re- 
quently until dissolved. The solution takes 
some time to form, and is facilitated by stand- 
ing, placing the bottle (well stoppered) in a 
moderately warm situation, and briskly agitat- 
ing it at intervals. Bleached shellac gives a 
lighter colored cement, but it is not considered 
as strong. This cement is not particularly 
recommended. 

4. Finest pale orange shellac, broken small, 4 
oz.; rectified spirit (the strongest 58 o. p. J, 3 oz.; 
digest together in a corked bottle in a warm 
place until dissolved ; it should have the con- 
sistence of molasses. For wood, glass, ivory, 
jewelery, and all fancy works used. 

Clinch Cement, to Remove.— To remove chuck 
cement from lathe work, warm the object over 
a spirit lamp and tap lightly with a stiff brush ; 
the wax will adhere to the latter. If in a hurry, 
a few seconds'" boiling in alcohol will remove 
the remainder of the wax. 

Chuck Cement. See Turner" 1 s Cement. 

Clay Cement.— 1. Knead 100 parts of dry clay 
with 10 parts of linseed oil. 

2. Clay, 50 parts ; glass, powdered, 1 part. 

3. Same as above only substituting chalk for 
the glass and adding an equal amount of boracic 
acid. 

Clock Faces, Cement for White Enameled.— 
Dammar, 50 parts ; gum copal, 50 parts ; Venice 
turpentine, 55 parts ; zinc white, 30 parts ; 
ultramarine, 1 to 2 parts. Apply the cement 
hot, and polish when entirely cold. 

Cloth, to Cement. See also Gutta Percha and 
Pitch Cement. 

Cloth, Cement f or.— 1. Gutta percha, 16 ; ca- 
outchouc, 4 ; pitch, 2 ; shellac, 1 ; linseed oil, 2. 
— Nomen. 

2. Fastening Cloth on Iron Rolls.— There is 
nothing better for this purpose than good glue, 
to which has been added tannin until the glue 
becomes ropy. 

To Cement Cloth to Polished Metal— Cloth 
can be cemented to polished iron shafts, by first 
painting the shafts with a coat of best white 
lead paint. After the paint has dried hard, 
coat with Russian glue, dissolved in water 
acidulated with a little vinegar or acetic acid. 

Cement for Cloth or Leather.— 16 parts gutta 
percha, 4 parts India rubber, 2 parts pitch, 1 
part shellac, 2 parts linseed oil, all cut small, 
melted together and well mixed. 

Coignet Beton.—5 measures of sand, 1 measure 
of quicklime, 34 to J4 measure of hydraulic 
cement. 

Collodion Cement. — Powdered nitrate of 
potash, 1 dr.; concentrated sulphuric acid, 1J^ 
dr.; carded cotton, 5 gr. The nitrate of potash 
and the acid should be mixed in a porcelain 
capsule, gradually add the cotton, and stir for 
five minutes. Wash it thoroughly in Clear 
water, pull it apart and dry— not near the fire, 
, as it is a species of gun cotton. Dissolve in 
rectified sulphuric ether and a little alcohol. It 
will form a transparent, colorless, and strong, 
adhesive cement. 

Concrete Moors.— To make a permanent pave- 
ment, excavate to the depth of 2 feet, and lay 
in the largest stone you can procure, 1 foot 
deep. Fill in upon this bed enough small stones 
of egg size to level it very smooth, carefully 
filling all the interstices between the large 
stones. Now procure a quantity of coarse 
gravel, entirely free from loam, and fill in up to 
within 6 inches of the surface. Let this remain 
in this condition until it has undergone a 
thorough settling and packing by being sub- 
jected to a heavy rain. You will now have a solid, 
substantial bed for your concrete, which may 



be made as follows : To 3 lb. of clear sharp sand 
add 1 barrel of good cement, dry. Thoroughly 
incorporate, then sprinkle enough water upon 
the mixture to make a paste, stirring it well. 
To this paste add 2 barrels of stone chips and 2 
barrels of coarse gravel— but only as much, 
however, as the paste will take up. Mix 
thoroughly and deposit it immediately on 
the bed, letting it fall from the barrow, and 
leveling it off to its proper height. The whole 
floor should be covered with as little delay as 
possible, and when laid should be compressed 
by a rammer such as is used by street pavers. 
Finish with a thin coat of pure cement mortar, 
to bring the surface to complete evenness, and 
do not let it dry too quickly, but wet it occa- 
sionally, so that it may have all the water it will 
absorb. 

Concrete Marble.— Very finely powdered mar- 
ble or white limestone is mixed with milk of 
lime until a smooth paste is formed. Some 
powdered limestone may now be added and the 
mixture used at once. 

Concrete.— 1. Five parts coarse sand, 12 parts 
pebbles, 3 parts lime. 

2. 16 parts pebbles, 8 parts river sand, 2 parts 
lime. 

Coppersmiths' Cement.— Powdered quicklime 
mixed with bullock's blood; use at once. 

Coppersmith^ Cement for Fastening Copper to 
Sandstone.— Take 3}4 parts white lead, 3 parts 
lithai-ge, 3 parts bole, and 2 parts broken glass, 
and rub up with 2 parts linseed oil varnish. 

Corks, etc., Cement for.—l. Zinc white rubbed 
up with copal varnish to fill up the indentures; 
when dry, to be covered with the same mass, 
somewhat thinner; and lastly, with copal var- 
nish alone. Plain shellac varnish will often 
answer the purpose. 

2. Corks boiled in paraffin resist the action 
of the atmosphere, also worms and insects. 

To Mend Crockery Ware.— One of the strongest 
cements, and easiest applied for this purpose, is 
lime and the white of an egg. To use it, take 
a sufficient quantity of the egg to mend one 
article at a time, shave off a quantity of lime, 
and mix thoroughly. Apply quickly to the 
edges and place firmly together, when it will 
very soon become set and strong. Mix but a 
small quantity at once, as it hardens very soon, 
so that it cannot be used. Calcined plaster of 
Paris would answer the same purpose as lime. 

Crocus Cement.— Crocus, mixed with a little 
linseed oil, makes a hard and useful cement. 

Crucible.— 1. A mixture of powdered clay and 
brickdust, made up with water, or a solution of 
borax. Used to join crucibles which are ex- 
posed to a strong heat. When mixed up with 
borax solution the lute becomes a compact vit- 
reous mass in the fire. 

2. Form a paste with water of 2 parts borax, 
2 parts slaked lime, and 1 part of litharge. 
Can also be used for porcelain. 

Cutlers' Cement for fastening blades of dinner 
knives in ivory handles consists of resin, 4 
parts; beeswax, 1 part; plaster of Paris or brick 
dust, 1 part. Fill the hole in the handle with 
the cement, heat the tang of the blade crowd 
in and remove superfluous cement. 

2. 16 oz. rosin, 16 oz. hot whiting, 1 oz. wax. 

3. 5 parts pitch, 1 part wood ashes, 1 part hard 
tallow, melted together. 

4. 4 lb. black rosin melted with 1 lb. beeswax, 
and 1 lb. red hot whiting added. 

Dammar Cement.— Dissolve gum dammar in 
benzole, add Y d of gold size. This has the ad- 
vantage of drying very , quickly, and may be 
preferably used for a first coat when glycerine 
is used as the material for mounting. 

Davy's Cement.— Davy's universal cement is 
made by melting 4 parts of common pitch with 4 
parts of gutta percha in an iron vessel, and mix- 
ing well. It must be kept fluid, under water, 
or in a dry, hard state. 

Diamantkitt.—A. German cement, according 
to Hager. Graphite, 50 parts; litharge, 15 parts: 



Cements. 



73 



Cements. 



milk of lime, 10 parts; slaked lime, 5 parts; inti- 
mately mixed with enough Unseed oil to make 
a firm mass. 

Diamond Cement. See Armenian Cement. 

Earthenware, Glass, etc., Cement for.— Isin- 
glass, 1 part steeped in 4 parts of water, and 
dissolved in 4 parts glacial acetic acid. 

Egg Cements.— These are" useful household ce- 
ments. 1. Use white of an egg beaten up with 
an equal quantity of water, add enough slaked 
lime to make a paste; apply immediatelj' 

2. Plaster of Paris, with the addition of 34 its 
weight of lime, and a q. s. of white of egg. Re- 
duce the lime, which should be freshly slaked, 
to a fine powder. Mix quickly, apply immedi- 
ately, and allow it to remain undisturbed for at 
least three days. 

Elastic Cement. See also Rubber Cements — 
1. An elastic cement is made by mixing to- 
gether, and allowing to dissolve, the following : 
4 oz. of bisulphide of carbon, 1 oz. of fine India 
rubber, 2 drm. of isinglass, % oz. of gutta per- 
cha. This cement is used for cementing leather 
and rubber, and when to be used the leather is 
roughened and a thin coat of the cement is ap- 
plied. It is allowed to completely dry, then the 
two surfaces to be joined are warmed and then 
placed together and allowed to dry. 

2. (Lenher.) Caoutchouc, 5 parts; chloroform, 
3 parts; dissolve, and add gum mastic (pow- 
dered), 1 part. Elastic and transparent. 

3. G-utta percha, 4 oz.; pure rubber, 1 oz.; 
pitch, .1 oz.; shellac, J4 oz.; linseed oil, J^ oz.; 
melt. Apply with heat. 

Emeru, Cement to Fasten to Wood. — A cement 
for fastening emery to wood may be prepared 
as follows: Melt together equal parts of shellac, 
white resin, and carbolic acid in crystals; add 
the last after the others are melted. The effect 
of the carbolic acid is surprising. 

English Roman Cement. — Take a bushel of 
lime slaked with 3^j lb. of green copperas, 15 
gal. of water, and }4 a bushel of fine gravel 
sand. The copperas should be dissolved in hot 
water; it must be stirred with a stick, and 
kept stirring continually while in use. Care 
should be taken to mix at once as much as may 
be requisite for one entire front, as it is very 
difficult to match tr.e color again; and it ought 
to be mixed the same day it is used. 

Entomologists'' Cement.— 1. Isinglass and thick 
mastic varnish, equal parts. 

2. Dissolve gum ammoniac in alcohol, add 
the best isinglass with gentle heat. It melts at 
a gentle heat. 

Evans'' Cement.— 26 parts of cadmium and 74 
parts of mercury; dissolve this amalgam in an 
■excess of mercury, knead thoroughly, and heat 
if necessary, so that the cement is plastic as 
wax. 

Extemporaneous.— 1. Shellac melted and run 
into small sticks the size of a quill. Used to 
join glass, earthenware, etc. The edges are 
heated sufficiently hot to melt the cement, 
which is then thinly smeared over them, and 
the joint made while they are still hot. 

2. Tears of gum mastic, used in the same way. 
Commonly employed by jewelers. 

Farada^s Cap Cement.— Electrical cement. 
Resin, 5 oz.; beeswax, 1 oz.; red ocher or Vene- 
tian red in powder, 1 oz. Dry the earth thor- 
oughly on a stove at a temperature above 
212°. Melt the wax and resin together and stir 
in the powder by degrees. Stir until cold, lest 
the earthy matter settle to the bottom. Used 
for fastening brass work to glass tubes, flasks, 
etc. 

Fat Cements.— 1. Gay is dried, powdered, 
sifted, placed in an iron mortar, and incor- 
porated with drying oil, added gradually, the 
whole being well beaten up till the mass as- 
sumes the consistence of a fine paste. It should 
be preserved under a coating of oil, to prevent 
it drying up. It resists the action of corrosive 
gases, but inconveniently softens by exposure 
to heat. 2. Plaster of Paris, mixed with water, 
milk, or weak glue. Stands a dull-red heat. 



Fire Proof. See also Iron Cements.— 1. Iron 
filings, 140 parts; hydraulic lime, 20; quartz 
sand, 25 ; sal ammoniac, 3. These are formed into 
a paste with vinegar, and then applied. The 
cement is left to dry slowly before heating. 
2. Iron filings, 180 parts; lime, 45; common 
salt, 8. These are worked into a paste with 
strong vinegar. The cement must be perfectly 
dry before being heated. By heating it be- 
comesstone hard. 3. Linseed or almond meal, 
mixed to a paste with milk, lime water or 
starch paste ; resists a temperature of 500° F. 
(260° C.) 4. Clay is puddled with water, and to 
it is added the greatest possible quantity of 
sand, which has been passed through a hair 
sieve; the whole is worked up in the hands, and 
applied in coats more or less thick on vessels 
needing protection from the direct action of 
the fire. 5. 1 part of sifted manganese peroxide, 
1 pulverized zinc white, sufficient commercial 
soluble glass to form a thin paste. To be used 
immediately. Becomes very hard, and presents 
a complete resistance to red heat and boiling 
water. 6. As a coating for glass vessls, to pro- 
tect them from injury during exposure to fire, 
pipe clay and horse dung are made into a paste 
with water. This composition is applied by 
spreading it on paper ; it is used by pipe makers 
and will stand the extreme heat of their fur- 
naces for 24 hours without damage. 7. Shredded 
tow or plumbago is substituted for the horse 
dung. 8. Clay, 5 parts ; iron filings, 1 part ; and 
linseed oil varnish q. s. to mix. 9. 10 parts 
common clay dried and pulverized ; 4 parts iron 
filings; 1 part common salt; 1 part borax; 2 
parts manganese peroxide. 

Flexible Cement.— Flexible cement is com- 
posed of white pitch and gutta percha equal 
parts, mixed over a water bath. Many of the 
other gutta percha and rubber cements answer 
for flexible cements. 

Floor Cement.— I. For cellar bottoms use 5 
parts of clean, coarse, sharp sand (plasterers 
call it fine gravel) to 1 part of cement. It only 
requires to be damp enough to work well. It 
is mixed in a box, wheeled into the cellar, 
dumped and spread smooth with a shovel, hoe, 
or trowel, about 2 in. thick. Take a spade or 
shovel, flat side, and beat it down hard and 
smooth. For finishing, use 1 part of cement to 
1 part of sand ; this is thoroughly mixed, and 
then watered so it is like plastering mortar. 
Dump it on the first coat, about Yz In. thick, 
spread and smooth with a trowel. It will soon 
become as hard as stone. The cement is known 
as Portland cement, though the common hy- 
draulic cement will answer if fresh. 

2. Mix 6 parts of plaster of Paris with 1 part 
of lime; wet, slake and lay the floor. Then go 
over it after it is dry with a solution of cop- 
peras. This is repeated several times. The 
surface must be perfectly dry before each ap- 
plication. Finally, after some days' drying, 
brown with boiled linseed oil and finally varnish 
with copal varnish. The floor may have to be 
laid in sections, on account of the expansion on 
setting. The iron oxide turns brown on expo- 
sure to the air. 

Concrete for Foundations.— 5 parts gravel and 
sand to 1 part fresh -burned stone lime, ground 
to powder, without slaking, and measured dry. 
Well turn and shovel together, with sufficient 
water to slake the lime into the state of very 
thick mortar. Chips and small pieces of stone 
may be added with advantage. 

Concrete for Masonry.— 1. Screened sand, 9 
parts by measure ; slaked lime, 7 parts ; forge 
ashes, 1 part; puzzuolana, 1 part. 

2. 1 part slaked lime, 1 part sea sand, £4 part 
furnace ashes. 

Concrete for Brickivork.— Slaked lime, 7 parts 
by measure ; sand, 12 parts. 

French Cement.— Gum water thickened with 
starch; a little lemon juice is sometimes added. 

Fruit Can.— Cement for sealing fruit cans is 
made of resin 1 11)., tallow 1 oz. See wax. 



Cements. 



74 



Cements. 



Filling Cement for Holes in Wood. — Mix to- 
gether resin and turpentine 1 pt. each over a 
water bath and add 2 pt. common burnt ocher. 
Have the work dry. 

Cement for Patent Fuel.— This cement, used 
for the agglomeration of coal dust and the 
manufacture of patent fuel, consists of coal tar, 
gluten and starch. The quantities of these 
substances vary according to the quality and 
property of coal dust. About 2% of this mixture 
(say containing 2¥z parts tar, 1 part gluten, y% 
part starch) would be suitable for coal dust of 
an average quality of bituminous coal. 

Gas Bags, Cement for .—Add part of glycerine 
to very thick boiled glue. Fill the bag with 
air and apply while warm ; if too sticky strew 
it with a little powdered soapstone. For large 
rents use leather well covered with glue. 

Gas Fitters'' Cement.— Melt together 4^ parts 
resin (by weight), 1 part beeswax, then stir in 
3 parts Venetian red and pour into moulds made 
of oiled paper or iron. 

Gas Retorts, Cement for.— For cementing 
earthenware gas retorts, which have to with- 
stand very high temperatures, the following 
cement can be used : Powdered glass, 5 parts ; 
chamotte meal, 5 parts; powdered borax, 1 
part. Chamotte meal is obtained by pulver- 
izing broken pieces of gas retorts. This cement 
is a hard glass, which only melts at the highest 
temperatures, then closes the leaks in the re- 
tort. To render the iron retort cover which 
closes the retort air tight, a cement is used 
consisting of schwerspath powder, to which as 
much soluble glass has been mixed as to obtain 
a paste of sufficient strength. 

Gelatine Cement.— (Marsh's Section Cutting, 2d 
ed., p. 104.) Take }£ oz. of Nelson's opaque 
gelatine, soak well in water, melt in the usual 
way, stir in 3 drops of creosote, and put away 
in a small bottle. Use warm. (For microscop- 
ists 1 use.) 

German Cement.— An excellent cement for 
glass or earthenware is made as follows: 
2 parts gum shellac and 1 part Venice turpen- 
tine ; fuse together in an iron pot, and when 
partially cool form into sticks. When wanted 
for use, melt near a gentle heat. Care must 
be taken while fusing the material to keep the 
vessel closed, as the turpentine is very inflam- 
mable ; or, 2 parts litharge and 1 part each of 
unslaked lime and flint glass ; pulverize sep- 
arately and mix. To use it, wet with old dry- 
ing oil. 

Glass Cement.— 1. Lead, 3 parts ; tin, 2 parts ; 
bismuth, 2% parts. 

2. A good cement for glass, and one which 
completely resists the solvent action of water, 
may, according to Herr H. Schwartz, be pre- 
pared by the following process : From 5 to 10 
parts of pure, dry gelatine are dissolved in 100 
parts of water. To the solution about 10% of 
a concentrated solution of bichromate of potash 
is added, and the liquid is kept in the dark. 
When articles joined by this cement are ex- 
posed to the light, the gelatine film is acted 
upon by the chemical rays, the chromate being 
partially reduced, and the film of cement be- 
comes tough and durable. 

3. Two parts of isinglass are soaked in water 
until well swollen ; the water is then poured 
off, and the isinglass is dissolved in alcohol by 
the aid of heat. One part of mastic is then dis- 
solved in three parts alcohol and added to the 
above solution; then one part of gum am- 
moniacum. The solution is well shaken, and 
evaporated to the consistency of strong glue, 
when it solidifies on cooling. For use, the ce- 
ment and the articles themselves must be 
warmed. 

4. 5 parts pumice stone are mixed with 1 of 
turpentine and 2 of shellac. 

5. Cement for Glass and Porcelain, in Sticks.— A 
good cement for glass and porcelain can be 
made as follows: Melt together sulphur, 6 parts; 



white Burgundy pitch, 4 parts ; shellac, 1 part; 
elemi, 2 parts ; mastic, 2 parts; powdered kaolin, 
passed through a very fine sieve, 6 parts. Be- 
fore applying, the surfaces to be joined must 
be carefully heated. 

6. Lead, 3 parts; tin, 2 parts; bismuth, 2*5 parts. 

7. Best and purest gum arabic is put into a 
small quantity of water, and left till next day, 
when it is of the consistence of treacle. Calomel 
(mercurous chloride or subchloride of mercury, 
poison) is then added to make a sticky mass, 
and well mixed on a glass plate with a spatula. 
No more is to be made than that required for 
immediate use. The cement hardens in a few 
hours, but it is better to leave it for a day or 
two. 

"S 8. Transparent for Glass.— Dissolve 1 part of 
India rubber in 64 parts of chloroform; then 
add gum mastic in powder, 14 to 24 parts, and 
digest for two days with frequent shaking. 
Apply with a camel's hair brush. 

9. The Pharmacist recommends the following 
as a proved recipe : "Take 1 oz. of Bussian isin- 
glass, cut it in small pieces, and bruise well, in 
order to separate the fibers; then add 6 oz. of 
warm Avater, and leave it in a warm place that 
the isinglass may dissolve, which will require 
from 34 to 48 hours. Evaporate this to about 

3 oz. Next dissolve y% oz. mastic in 4 oz. of al- 
cohol, and when this is ready, transfer the isin- 
glass from the evaporating dish to a tin can (an 
empty ether can will be found convenient), 
heat both solutions, and add the mastic solu- 
tion to the isinglass in small quantities at a 
time, shaking the can violently after each ad- 
dition. While still hot strain the liquid through 
muslin cloth and put up in ^ oz. bottles. This 
cement is very valuable, and articles, such as 
mortars, graduates, etc., mended by it, have 
been in use for years, and, in fact, seem, to be 
stronger than they were originally." 

10. Pure casein (see Casein) is dissolved in 
sodium silicate (water glass) in the proportion 
of 1 part of casein to 6 or 7 of the silicate. 
Apply at once and dry in the air. 

11. Use bleached shellac and turpentine, vary- 
ing proportions. 

12. Elemi, 1 part; shellac, 4 parts; turpen- 
tine, 2 parts. Melt. 

13. Use Canada balsam, which can be obtained 
at any artist's colorman. This is used by op- 
ticians to cement their lenses together, and is 
perfectly transparent. 

14. Glass, Lime, Oil, Cement for.— Quicklime, 

4 parts ; litharge, 6 parts ; linseed oil varnish, 1 
part. 

15. Glass, Oil, Cement for.— Burned lime, 10 
parts; litharge, 15 parts; pipe clay, 5 parts; 
linseed oil varnish, 3 parts. 

16. Without Heat.— Boil isinglass in water,, 
to a creamy consistence, and add a little al- 
cohol. Warm before using. 

17. Melt 5 or 6 bits of gum mastic, as large as 
peas, in the smallest quantity of alcohol; mix 
with 2 oz. of a solution of isinglass (made by 
dissolving isinglass in boiling brandy to satur- 
ation), having previously mixed the isinglass 
solution with 2 or 3 bits of galbanum, or gum 
ammoniac; keep in a well corked bottle, and 
gently heat before using. 

18. With a small camel brush, rub the edges 
with a little carriage oil varnish, and, if neatly 
put together, the fracture will hardly be per- 
ceptible, and, when thoroughly dry, will stand 
both fire and water. 

19. Dissolve fine glue in strong acetic acid to 
form a thin paste. 

20. Canada balsam, or clear glue (gelatine), to 
which has been added a small quantity of bi- 
chromate of potash. The latter soon loses its 
yellow tint, and becomes unaffected by damp 
when exposed to daylight. 

21. 2 parts of common black pitch and 1 part 
gutta percha, melted and worked together till 
mixed ; or 2 parts shellac, 1 part Venice tur- 
pentine, melted together. These would want 



Cements. 



Ceinents. 



using -warm. They are both impervious to 
weather influences. 

Glass to Brass.— Boil 3 parts of resin -with 1 
part of caustic soda and 5 parts of water, thus 
making* a kind of soap, which is mixed with y z 
its weight of plaster of Paris. 

Gloss to Iron.— Soak fine white glue or gelatine 
in water overnight. Pour off the surplus water 
and add molasses equal to about 2b% of the bulk 
of glue. Heat gently and stir until the mixture 
is formed. The proportion of molasses can be 
varied to suit. Glycerine may be used instead 
of molasses. 

Glass to Metal.— 1. One of the best cements for 
uniting glass to other substances consists of a 
mixture of gum and calomel. Its adhesive 
power is something marvelous. It is prepared 
by putting the very best and purest gum arabic 
into a small quantity of water, and leaving; it 
till next day, when it should be of the consist- 
ence of treacle. Calomel (mercurous chloride 
or subchloride of mercury), is then added in 
suitable quantity, enough to make a sticky 
mass, being- well mixed on a glass plate with a 
spatula. No more is to be made than that re- 
quired for immediate use. The cement hardens 
in a few hours, but it is wiser to leave it to itself 
for a day or two. To insure success it is neces- 
sary to use only the very best gum: inferior 
sorts are absolutely useless. 

2. A cement for such purposes as fixing- metal 
letters to glass windows consists of copal var- 
nish 15 parts, drying oil 5 parts, turpentine 3 
parts, oil of turpentine 2 parts, liquefied marine 
glue 5 parts. Melt in a water bath, and add 10 
parts dry slaked lime. 

3. Brass letters may be securely fastened on 
glass windows by the following cement : Lith- 
arge, 2 parts ; white lead, 1 part ; boiled linseed 
oil, 3 parts; gum copal, 1 part. Mixed just 
before using, this forms a quick drying and 
secure cement. 

4. 1 lb. of shellac, dissolved in 1 pt. of strong 
methylated spirit, to which is to be added ^ 
part of a solution of India rubber in carbon bi- 
sulphide. 

5. Take 2 oz. of a thick solution of glue, 
and mix with 1 oz. of linseed oil varnish, or % 
oz. of Venice turpentine. Boil together, agi- 
tating until the mixture becomes as intimate 
as possible. The pieces cemented should be 
clamped together for a space of forty-eight to 
sixty hours. 

6. 60 parts starch, 100 parts finely pulverized 
chalk, are made into a mixture with equal parts 
of water and spirit, and the addition of 30 parts 
Venice turpentine, taking care to agitate the 
mass with a stick, so as to insure its homoge- 
neity. 

7. 4 parts glue melted with the least possible 
quantity of water, 1 part Venice turpentine ; 
will resist moisture. 

8. Rough the edges of the glass, and cement 
with a creamy paste of plaster of Paris and 
alum water. Make a saturated solution of 
alum, and then add the plaster until you have a 
thick creamy mass. Put this into glass, and then 
insert glass ; true, and let it remain until quite 
hard.— TV. J. Lancaster. 

9. Litharge, 2 pt.; white lead, 1 pt.; work into 
a pasty condition by using 3 pt. boiled linseed 
oil, 1 pt. copal varnish. 

Glass Letters, to Fir.— A thick solution of ma- 
rine glue in wood naphtha is a good cement for 
fixing glass letters. The glass must be chemi- 
cally clean and must be previously scrubbed 
with soda, then with whitening and water, fol- 
lowed by thorough rubbing. 

Glass Cement.— 1. Take pulverized glass, 10 
parts; powdered fluorspar, 20 parts; soluble sili- 
cate of soda, 60 parts. Both glass and fluorspar 
must be in the finest possible condition, which 
is best done by shaking each in fine powder, 
with water, allowing the coarser particles to 
deposit, and then to pour off the remainder, 
which holds the finest particles in suspension. 



The mixture must be made very rapidly, by 
quick stirring, and when thoroughly mixed 
must be at once applied. This is said to yield 
an excellent cement. 

2. Red lead and boracic acid, equal parts, 
add % part fine white sand; mix, reduce to 
very fine powder, make into a. paste with dilute 
sodium silicate. Apply as an oi'dinary cement, 
and heat high enough to fuse the water glass. 

Glassware, Cement for.—l. Delicate glass- 
ware, as Venetian glass, can be cemented with 
best fish glue applied hot and afterward tied 
well 

2. 10 parts of gelatine are mixed with 2 
parts of acid chromate of lime in solution. 
This cement is hardened by the action of light. 

GrZoss, Water , Cements. See Soluble Glass. 

Glue.— Glue is a very valuable ingredient in 
many cements. Starch and isinglass are also 
valuable, serving to decrease the brittleness of 
many cements, but unfortunately they are not 
waterproof. 

The subject of Glue has been fully treated in 
another portion of this work. See Glues. 

Glue Cement.— 1. Common glue with pulver- 
ized chalk added makes an excellent cement 
for wood and metals. 

2. Glue Cement to Resist Moisture.— 1 part 
glue, 1 part black resin, J4 part of redocher; 
mix with the least possible quantity of water ; 
or, 4 parts glue, 1 part of boiled oil by weight, 
and 1 part oxide of iron. 

3. Glue, 1 lb., melted with the least possible 
quantity of water, and then mixed with black 
resin, 1 lb., and red ocher, 4 oz. 

4. Glue, melted as above, and mixed with 
about 34 of its weight each of boiled oil and red 
ocher. 

5. Ure. — Melted glue (of the consistence used 
by carpenters), 8 parts ; linseed oil, boiled to 
varnish, with litharge, 4 parts; incorporate 
thoroughly together. 

6. Glue (melted as last), 4 parts; Venice tur- 
pentine, 1 part. 

The first three dry in about forty-eight 
hours, and are very useful to render the joints 
of wooden casks, cisterns, etc., water tight; also 
to fix stones in frames. The last serves to 
cement glass, wood, and even metal to each, 
other. A good cement for fixing wood to glass 
may be made by dissolving isinglass in acetic 
acid, in such quantities that it becomes solid 
when cold. When applied let it be heated. 
They all resist moisture well. 

Gram-Rutzoii's Cement. — Hard Canada balsam, 
50 grm.; shellac, 50 grm ; absolute alcohol, 50 
gTm.; anhydrous ether, 100 grm. The ingredi- 
ents are mixed, and when the gums are dis- 
solved, filter if necessary, and evaporate, 
away from the flame, over a water bath until 
of sirupy thickness. 

Grinders Cement.— 1. Pitch, 5 parts; wood 
ashes and hard tallow, of each 1 part, melted 
together. 

2. Black resin, 4 lb.; beeswax, 1 lb.; melt and 
add of whiting, previously heated red hot and 
still warm, 1 lb. 

3. Shellac melted and applied to the pieces 
slightly heated. Used to fix pieces of glass 
while grinding. The last is used for lenses and 
fine work. 

GrouvelWs Oil Cement.— White lead, Imparts; 
red lead, y% part; dry clay, 1 part. Mix with 
boiled linseed oill. 

Gutta Percha and Ruhher Cements.— Are val- 
uable for many purposes, especially where the 
article is required to be fireproof. 

Gutta Percha Cements. See caution under 
rubber cements. 

Guttapercha Cement.— 1. This highly recom- 
mended cement is made by melting together in. 
an iron pan 2 parts common pitch and 1 part 
gutta percha, stirring them well together until 
thoroughly incorporated, and then pouring the 
liquid into cold water. AVhen cold it is black, 
solid and elastic; but it softens with heat, and 
at 100° Fahr. is a thin fluid. It may be used as. 



Cements. 



76 



Cements. 



a soft paste, or in the liquid state, and answers 
an excellent purpose in cementing metal, glass, 
porcelain, ivory, etc. It may be used instead 
of putty for glazing windows. 

2. Fuse together equal parts of gutta percha 
and pitch. Use hot. 

3. A very adhesive cement, especially adapted 
for leather driving belts, is made by taking bi- 
sulphide of carbon 10 parts, oil of turpentine 
1 part, and dissolving in this sufficient gutta 
percha to form a paste. The manner of using 
this cement is to remove any grease that may 
be present in the leather by placing on the 
leather a piece of rag and rubbing it over with 
a hot iron. The rag thus absorbs the grease, 
and the two pieces are then roughened and the 
cement lightly spread on. The two pieces are 
then joined, and subjected till dry to a slight. 
pressure. 

4. A solution of gutta percha for shoemakers 
is made by taking pieces of waste gutta percha, 
first prepared by soaking in boiling water till 
soft. It is then cut into small pieces and placed 
in a vessel and covered with coal tar oil. It is 
then tightly corked to prevent evaporation, 
and allowed to stand for twenty-four hours. It 
is then melted by standing in hot water till 
perfectly fluid, and well stirred. Before using 
it must be warmed as before, by standing in 
hot water. 

5. An elastic gutta percha cement especially 
useful for attaching the soles of boots and 
shoes, as on account of its great elasticity it is 
not liable to break or crack when bent. To 
make it adhere tightly the surface of the leather 
is slightly roughened . It is prepared as fol- 
lows : By dissolving 10 parts of gutta percha in 
100 parts of benzine. The clear solution from 
this is then poured into another bottle con- 
taining 100 parts of linseed oil varnish, and 
well shaken together. 

6. Fuse together equal parts of pitch and 
gutta percha, and to this add about 2 parts of 
linseed oil containing 5 parts of litharge. Con- 
tiuue the heat until the ingredients are uni- 
formly commingled. Apply warm. 

7. A gutta percha cement for leather is ob- 
tained by mixing the following. It is used hot. 
Gutta percha, 100 parts; black pitch or as- 
phaltum, 100 parts; oil of turpentine, 15 parts. 

8. Gutta Percha Cement (Harting), used by 
Microscopists.— Gutta percha cut in pieces, 
1 part; turpentine, 15 parts; shellac, 1 pai't. 
Heat the gutta percha and turpentine together, 
filter, add the shellac (pulverized), and beat un- 
til a drop hardens on a cold glass plate. Used 
to attach cells; the slide must be warm when 
using the cement. 

9. Gutta Percha to Leather. Gutta percha, 
100 parts; Venice turpentine, 80 parts; shellac, 
8 parts; pure un vulcanized rubber, 2 parts; 
liquid storax, 10 parts. Heat the turpentine, 
then add the gutta percha and shellac. Heat 
over a water bath. 

Cement for Gutta Percha— Stockholm tar, 1 
part; resin, 1 part ; gutta percha, 3 parts. 

Hagar's Cement. — Graphite (elutriated), 500 
parts; whiting, 150 parts; litharge, 150 parts. 
Mix with linseed oil varnish to form a stiff 
putty. 

Hamelin' , s Mastic— Siliceous sand, 60 parts; 
Bath or Portland stone (in fine powder) 40 
parts; lime marl, 20 parts; litharge, 8 parts; 
ground together, For use, it is mixed up with 
linseed oil and used like mortar. When this 
cement is applied to the purpose of covering 
buildings, intended to resemble stone, the 
surface of the building is first washed with 
linseed oil. 

Heat and Acid Proof Cement.— Sulphur, 100 
parts; tallow, 2 parts; resin, 2 parts. Melt these 
together to a ruddy sirup, add sifted ground 
glass to form a paste, and heat when used. 

Hensler's Cement.— Litharge, 6 parts ; quick- 
lime, 4 parts; white bole, 2 parts. Grind with 
boiled linseed oil. Though tenacious, it is not 



recommended, on account of time required to 
set. 

HoenWs Cement.— This is composed of shellac 
and Venice turpentine. Shellac, 2 parts ; tur- 
pentine, 1 part. Melt and mould into sticks. 

Hoofs of Horses, Cement for. — Use gutta 
percha, 2 parts; gum ammoniac, 1 part. Heat 
the gutta percha and gradually add the gum 
ammoniac, which must be very finely pow- 
dered. Heat for use. 

Horn and Bone, Cement for.— Dissolve in 6 
parts linseed oil, 5 parts of mastic and 2 parts 
of turpentine. 

Household Cement. — Alum and plaster of 
Paris, well mixed in water and used in the 
liquid state, form a hard composition and also 
a useful cement 

Hydraidic Cement.— 1. Burnt brick, 63 parts; 
litharge, 7 parts. Use with linseed oil. Wet 
the surfaces to be cemented. 

2. Gad's.— Clay, well dried and powdered, 3 
parts ; oxide of iron, 1 part ; mixed together, 
and made into a stiff paste with boiled oil. 
Used for work required to harden under 
water. 

3. Turkish Plaster or Hydraulic Cement.— 
Fresh lime, 150 lb. (reduce to powder); linseed 
oil, 15 qt.; cotton, 1% to 3 oz. Gradually mix 
the oil and cotton into the lime until the mix- 
ture is of the consistency of bread dough. 
Mix in a wooden vessel. Dry the mixture, and 
when used form a paste by mixing with linseed 
oil. Put on in coats. Used to coat water pipes 
of clay or metal. 

Impervious Cement.— -Use zinc white, rubbed 
up with copal varnish. See also Waterproof 
Cements. 

Cement Impervious to Bisulphide of Carbon.— 
Best quality of white glue with 10$ of molasses 
added. 

Cement for Incandescent Lamp Filaments.— 
Take 100 grn. carburet of iron (Dixon's stove 
polish), grind dry to a fine powder, add 10 grn. 
lump sugar, mix well in a mortar ; then add 40 
grn. gold bronze, mix again; then add sufficient 
water to make a thick paste, and apply it to 
the junction between the carbon and the plat- 
inum wire; allow it to stand for twenty min- 
utes or so, then burn the joint to a cherry red 
heat by a fine gas flame. 

India Rubber Cements and Cement for. See 
Rubber. 

Indianite Cement.— -1. 100 parts finely chopped 
rubber, 15 resin, 10 shellac, dissolved in a suffi- 
cient quantity of bisulphide of carbon. Used 
for uniting pieces of India rubber. 

2. India rubber, 15 grn. ; chloroform, 2 oz. ; 
mastic, y% oz. The two first named to be mixed, 
and after the rubber is dissolved add the mastic 
in powder ; allow to macerate for a week. Do 
not bring near an open light. 

An Insoluble Cement.— A very valuable cement 
has been discovered by Mr. A. C. Fox, of which 
details are published mDingler'8 Polytechnisches 
Journal. It consists of a chromium preparation 
and isinglass, and forms a solid cement, which 
is not only insoluble in hot and cold water, but 
even in steam, while neither acids nor alkalies 
have any action upon it. The chromium pre- 
paration and the isinglass or gelatine do not 
come into contact until the cement is desired, 
and when applied to adhesive envelopes, for 
which the author holds it to be especially 
adapted, the one material is put on the envelope 
covered by the flap (and, therefore, not touched 
by the tongue), w-hile the isinglass, dissolved in 
acetic acid, is applied under the flap. The 
chromium preparation is made by dissolving 
crystallized chromic acid in water. Take: 
Crystallized chromic acid, 2*5 grm.; water, 15 
grm.; ammonia, 15 grm. To this solution add 
10 drops of sulphuric acid and 30 grm. of sul- 
phate of ammonia and 4 grm. of fine white 
paper. In the case of envelopes, this is applied 
to that portion lying under the flap, while a 
solution prepared by dissolving isinglass in 



Cements. 



Cements. 



dilute acetic acid (1 part acid to 7 parts water) 
is applied to the flap of the envelope. The latter 
is moistened, and then is pressed down upon 
the chromic preparation, when the two unite, 
forming a firm and insoluble cement. 

Insulating Cement.— 1. Shellac, 5 parts; resin, 2 
parts; Venice turpentine, 1 part; yellow ocher, 
3 parts. 

2. Common sealing wax and jeweler's cement 
are very convenient for many uses. The ce- 
ment sold for attaching bicycle tires to the 
wheels is useful for making tanks, cementing 
rubber, etc. 

Insulators, Cement for.— Sulphur, lead, plaster 
of Paris, with a little glue to prevent it setting 
quickly. 

Cement for Insulating Tapes.— 1. Pure gum 
rubber dissolved in turpentine, with the addi- 
tion of 5% of raw linseed oil. 

2. Yellow pitch, 8 parts; beeswax, 2 parts; tal- 
low, 1 part. 

Iron Articles in Stone, Cement for Fastening— 
Plaster of Paris, 14 parts; iron filings, 2 parts. 
Mix and stir into a paste with water. This ce- 
ment dries quickly. 

Iron Cements.— A large number of the so- 
called iron cements are given below. These 
have been selected from a large number, and 
have been chosen with special regard to their 
apparent trustworthiness. See also Bust, Stone, 
and Brick Dust Cements. 

Iron Cement for Closing the Joints of Iron 
Pipes.— 1. Take of coarsely powdered iron bor- 
ings, 5 lb.; powdered sal ammoniac, 2 oz.; sul- 
phur, 1 oz.; and water sufficient to moisten it. 
This composition hardens rapidiy; but if time 
can be allowed it sets more firmly without the 
sulphur. It must be used as soon as mixed and 
rammed tightly into the joint. 

2. Take sal ammoniac, 2 oz.; sublimed sul- 
phur, 1 oz.; cast iron filings or fine turnings, 1 
lb. Mix in a mortar and keep the powder dry. 
When it is to be used, mix it with twenty times 
its weight of clean iron turnings, or filings, and 
grind the whole in a mortar; then wet it with 
water until it becomes of convenient consist- 
ence, when it is to be applied to the joint. 
After a time it becomes as hard and strong as 
any part of the metal. 

3. For stopping holes in castings or covering 
scars a useful cement may, it is said, be made 
of equal parts of gum arabic, plaster of Paris, 
and iron filings, and if a little finely pulverized 
white glass be added to the mixture it will 
make it still harder. This mixture forms a 
very hard cement that will resist the action of 
fire and water. It should be kept in its dry 
state and mixed with a little water when wanted 
for use. 

4. Iron Cement which is Unaffected by Red 
Heat.— 4 parts iron filings, 2 parts clay, 
1 part fragment of a Hessian crucible; re- 
duce to the size of rape seed and mix together, 
working the whole into a stiff paste with a 
saturated solution of salt. A piece of fire brick 
can be used instead of the Hessian crucible. 

5. A correspondent of the English Mechanic 
says that he used the following recipe with the 
greatest success for the cementing of iron rail- 
ing tops, iron gratings to stoves, etc., and with 
such effect as to resist the blows of a sledge 
hammer: Take equal parts of sulphur and 
white lead, with about £ of borax; in- 
corporate the three so as to form one homo- 
geneous mass. When going to apply it, wet it 
with strong sulphuric acid and place a thin 
layer of it between the two pieces of iron, which 
should then be pressed together. In five days 
it wiL be perfectly dry, all traces of the cement 
having vanished, and the iron will have the ap- 
pearance of having been welded together. 

6. The following cement is recommended for 
repairing damaged places in cast iron tanks, 
cisterns, etc. : 5 parts brimstone, 2 parts black 
lead, and 2 parts cast iron filings (previously 
sifted) are melted together, taking care that 



the brimstone does not catch fire. The damaged 
place, perfectly dry, is well heated by laying a 
piece of red hot iron upon it, and is then stopped 
with the cement, previously heated in a melt- 
ing ladle till it becomes soft.— MetaU-Arbeiter. 

7. Equal parts sifted zinc white and mangan- 
ese peroxide are mixed with soluble glass, q. s., 
to form a thin paste ; use at once. 

8. Cast iron borings 10 lb., red lead 1 lb., alum 
}/i lb., lime 5 lb., sal ammoniac 2 oz. Dissolve 
the alum and sal ammoniac in a small quantity 
of hot water, and mix in the other ingredi- 
ents. 

9. Equal parts of sulphur and white lead 
with about one-sixth proportion of borax are 
the constituents of the mixture, and the three 
should be thoroughly incorporated together so 
as to form one homogeneous mass. When the 
composition is to be applied it should be wetted 
with strong sulphuxic acid, and a thin layer of 
it should be placed between the two pieces 
of iron to be connected, these being at once 
pressed together. This cement will hold so 
firmly as to resist the blows of a steam ham- 
mer, and dry so completely in a few days as to 
leave no trace of the cement, the work then 
presenting the appearance of welding. 

10. For Hot Air Pipes.— 60 parts (by measure) 
of chalk, 20 parts of limestone or lime, 20 parts 
of salt, 10 parts of bi'awsey sand, 5 parts of iron 
filings, and 5 parts of red or blue clay, properly 
mixed together, triturated and calcined. 

11. For Hot Water Cistern.— To 4 or 5 parts 
clay, dried and pulverized, add 2 parts of fine 
iron filings free from oxide, 1 part of peroxide 
of manganese, ^ part of sea salt and Yz part of 
borax. Thoroughly incorporate these in as fine 
a state as possible, reduce them to a thick 
paste with water, and use immediately. It 
should then be exposed to a heat, gradually 
increasing to almost a white heat. This cement 
resists heat and boiling water. 

12. Glycerine and litharge, stirred to a paste, 
harden rapidly, and make a tolerable cement 
for iron upon iron, for two stone surfaces, and 
especially for fastening iron in stone. This 
cement is insoluble, and is not acted upon by 
strong acids. 

13. You can cement cloth to polished iron 
shafts by first giving them a coat of best white 
lead paint; this being dried hard, coat with 
best Russian glue, dissolved in water contain- 
ing a little vinegar or acetic acid. 

14. For Iron and Glass.-Copal varnish 15 parts, 
drying oil 5 parts, turpentine 3 parts, oil of 
turpentine 2 parts, liquefied glue 5 parts ; to be 
all melted in a water bath, and add 10 parts of 
slaked lime. 

15. For Cast Iron Cisterns of Large Dimen- 
sions.— Composed of sal ammoniac, clean bor- 
ings and urine, mixed one day before required. 
The proportions are 1 lb. sal ammoniac to 100 lb. 
borings, with sufficient, urine to make a stiff 
paste— to be well driven into the joints with a 
calking tool a little narrower than the space 
between the flanges. Give at least three days 
to set before filling cistern with water. The 
cement sets as hard as the metal itself. 

16. Iron borings 12 lb., sal ammoniac 2 oz., 
sulphur 1 oz., water q. s. 

17. Iron borings 7 to 8 lb., sal ammoniac 2 oz., 
water as before. The strongest lute, perhaps, 
is (17) ; but when the work is required to dry 
rapidly, as in the case of steam joints wanted 
in a hurry, the quantity of sal ammoniac must 
be slightly increased, and a very little sulphur 
must be added. This addition causes quicker 
setting, but reduces the strength. The power 
of these lutes is dependent upon the oxidation 
and consequent expansion of the mass, there- 
fore the less foreign matters they contain, the 
better. They should be mad© up only as they 
are required, as they spoil rapidly ; when con- 
taining much sulphur they may become quite 
hot in a few hours, and combustion has been 
known to take place in them when left to- 
gether in quantity for a night. 



Cements. 



Cements. 



18. Finely sifted iron filings 60 parts, finely 
powdered sal ammoniac 2 parts, flowers of sul- 
phur 1 part. This powder is made into a paste 
with water, and immediately applied. It soon 
sets as hard as the iron it is intended to lute. 

19. For Iron Pots and Pans.— 2 parts sulphur, 
1 part of graphite ; the sulphur is held in an 
old iron pan over the fire till it begins to melt ; 
the graphite is then added, and the mass well 
stirred till thoroughly melted and combined, 
then poured out on an iron plate or smooth 
stone, and broken up when cold. Used like 
solder with a soldering iron. Holes should 
first be filled with a rivet, and then cemented 
over. 

Iron to Stone.— 1. Use plaster of Paris mixed 
with water and add iron filings, 1 of iron to (5 
of plaster. 

2. Mix into a paste with water, 3 lb. plaster 
of Paris and 1 lb. iron filings. 

Iron and Blood Cement.— 100 parts of pulver- 
ized lime, triturated with bullock's blood, 290 
parts cement, and from 5 to 10 parts iron fil- 
ings. 

Ivory, Cement for.— 1. Dissolve 1 part of isin- 
glass and 2 parts of white glue in 30 parts of 
water ; strain, and evaporate to 6 parts. Add 
one-thirtieth part of gum mastic, dissolved in 
y% part of alcohol ; add 1 part of zinc white. 
When required for use, warm and shake up. 

2. Moisten thoroughly a small quantity of 
very finely powdered quicklime with white of 
egg to form a paste. Use at once, clamp parts 
firmly together and leave for 24 hours. Use as 
little cement as possible. 

Jannin's Cement.— This is known as Jannin's 
cement, from the name of the patentee, a resi- 
dent of Paris. The cement is simply a mixture, 
in suitable proportions, of yellow oxide of lead 
(the quality known as massicot being prefer- 
able) with glycerine. Several other metallic 
oxides and matters may be mixed with the ce- 
ment, so as to suit the quality or the color of 
the cement to the nature of the work to be 
produced, but the two essential compounds are 
yellow oxide of lead and glycerine. The pro- 
portions of oxide of lead and glycerine vary 
according to the consistency of the cement it is 
desired to produce. The proportion of glycer- 
ine will of course be larger for a very soft ce- 
ment than for a stiff cement ; it is not neces- 
sary, therefore, to specify the exact proportion 
of each of the two essential compounds. This 
cement is specially adapted for moulding those 
objects which require an extreme delicacy in 
the lines of the cast, such as engraved blocks 
and plates, forms of printing type, photoglyptic 
plates, etc. Under the influence of gentle heat 
it sets in a few minutes, and then resists per- 
fectly both pressure and heat. When set, it is 
also a very good substitute for natural litho- 
graphic stones, and it can replace them for 
many practical purposes. It can also be used 
for artistic reproductions, suchasfac-similes of 
terra cotta, whose color and sonorous quality 
it possesses. Though setting to great hardness 
in a few minutes, it does not shrink. 

Japanese Cement.— -Mix the best powdered 
rice with a little cold water, then gradually add 
boiling water Until a proper consistence is ac- 
quired, being particularly careful to keep it 
well stirred all the time ; lastly, it must be 
boiled for one minute in a clean saucepan or 
earthen pipkin. This glue is beautifully white 
and almost transparent, for which reason it is 
well adapted for fancy paper work, which re- 
quires a strong and colorless cement. 

Jet, Cement for.— Shellac is the only cement 
used by jewelers for jet. The broken edges 
should be made warm before applying the shel- 
lac. Should the joint be in sight, by smoking 
the shellac before applying it, it will be ren- 
dered the same color as the jet itself. 

Jewelers' Armenian Cement.— Isinglass, dis- 
solved in alcohol, 3 oz. (thick); add to this 15 
grn. pale gum ammoniac (in tears); add 9 large 
tears gum mastic, dissolved in as little alcohol 



as possible. Keep closely stopped. This cement 
dries colorless. 

Jewelers' Turkish Cement.— 1. Isinglass, 3 oz.; 
best gum arabic, \y 2 oz. Put in a bottle, cover 
with alcohol, cork loosely. Put the bottle in 
water and boil until a thorough solution is 
made. Strain. A good cement. 

2. Isinglass, 50 parts : mastic varnish, 25 parts. 
Dissolve the isinglass in as little water as pos- 
sible, adding some strong spirit of wine. The 
mastic varnish is made by pouring rectified 
spirit of wine and benzine over finely powdered 
mastic. Use as small a quantity of the solvent 
as possible in dissolving this. Pour the solu- 
tions together and mix thoroughly. 

Jewelers' 1 Cement.— This is the Armenian or 
Diamond Cement, which see. 

Joints. — A permanent and durable joint can 
be made between rough cast iron surfaces by 
the use of asbestos, mixed with sufficient white 
lead to make a very stiff putty. This will resist 
any amount of heat, and is unaffected by steam 
or water. 

Keene's Marble Cement.— Baked gypsum or 
plaster of Paris, steeped in a saturated solution 
of alum and then recalcined and reduced to 
powder. For use, mix up with water the same 
as plaster of Paris. This important cement 
will not stand the weather, but is admirably 
adapted for applying as a stucco. 

Kerosene Lamps, Cement for. See Lamps. 

KittorVs White Lead Cement.— (Month. Mic. 
Jonrn., 1876, p. 221). Equal parts of white lead, 
red lead and litharge (all in powder), ground 
together with a little turpentine until thor- 
oughly incorporated, then mixed with gold size. 
The mixture should be thin enough to work 
with a brush. No more of the cement should 
be made than is required for present use, as it 
soon sets and becomes unworkable ; but a stock 
of the materials may be kept ready ground in a 
bottle. For microscopical use. 

Labels, Cements or Mucilages for Attaching to 
Tin.— I. 4 parts shellac, 2 parts borax ; water, 30 
parts ; boil until the shellac is dissolved. 

2. Add 4 oz. dammar varnish to 1 lb. of traga- 
canth mucilage. 

3. Balsam of fir, 1 part ; turpentine, 3 parts ; 
use only for varnished labels. 

4. Butter of antimony is good to prepare the 
tin for the label. 

5. Venice turpentine added to good starch 
paste makes an excellent mounting medium. 

6. Use liquid glue or glue dissolved in acetic 
acid. 

7. Add 1 oz. of tartaric acid to each lb. of 
flour used in making flour paste. - 

8. Add 10$ flour to tragacanth mucilage. 

9. Corrosive sublimate, 125 parts; wheaten 
flour, 1,000 parts ; absinthe, 500 parts ; tansy, 500 
parts; water, 15,000 parts. This cement is use- 
ful for vessels which are kept in a damp place. 

10. Starch, 100 parts; strong glue, 50 pai-ts; 
turpentine, 50 parts ; the whole boiled in water. 
This cement dries quickly. 

Labels, Cement for. See Pastes, and also 
BucklaiuVs Cement ; also Nickel. 

Laboi^atory, Chemical Cement, or Chemical 
Mastic— Equal parts of pitch, rosin and plas- 
ter of Paris (thoroughly dried) ; mix together. 
Used for the masonry of chlorine chambers, 
vitriol works, etc.; and as a lining for casks 
intended to hold chloride of lirne. 

Lamps, Kerosene, Cement for. —A cement 
particularly adapted for attaching the brass 
works to petroleum lamps is made by boil- 
ing 3 parts resin with 1 part of caustic soda 
and 5 parts of water. The .composition is then 
mixed with half its weight of plaster of Paris. 
It sets firmly in a half Ao three-quarters of 
an hour. It is said to be of great adhesive 
power, not permeable to petroleum, a low 
conductor of heat, and but superficially at- 
tacked by hot water. Zinc white, white lead, 
or precipitated chalk may be substituted for 
plaster, but hardens more slowly. See also Pe- 
troleum-resisting Cement. 






Cements. 



79 



Cements. 



Leather Cement. See also Belting and Gutta 
Percha Cements.— 1. A good cement is gutta 
percha dissolved in bisulphide of carbon, until 
it is of the thickness of molasses; the parts to be 
cemented must first be well thinned down, 
then pour a small quantity of the cement on 
the parts to be cemented, spreading it well so 
as to fill the pores of the leather ; warm the 
parts over a source of heat for about half a 
minute, apply them quickly together, and 
press hard. The bottle containing the cement 
should be tightly corked and kept in a cool 
place. 

2. This is made by mixing 10 parts of bisul- 
phide of carbon with 1 part of oil of turpentine, 
and then adding enough gutta percha, cut into 
small pieces, to make a tough, thickly-flowing 
liquid. One essential prerequisite to a thor- 
ough union of the parts consists in freedom of 
the surfaces to be joined from grease. This 
may be insured by laying a cloth upon the 
part to be joined, and applying a hot iron for 
a time. The cement is then applied to both 
pieces, the surfaces brought in contact, and 
pressure applied till the joint is dry. 

3. 16 parts of gutta percha, 4 parts of gum 
rubber, 2 parts of yellow pitch, 1 part of shel- 
lac, mejted together with 2 parts of linseed 
oil. 

4. 1 lb. gutta percha, 4 oz. India rubber, 2 
oz. pitch, 1 oz. shellac, 2 oz. linseed oil ; melted 
together; it hardens by keeping, and needs 
remelting for use. 

5. Leather to Metal.— Melt together equal 
parts asphalt and gutta percha, and apply hot 
under a press. 

6. F. Sieburger recommends the following 
process by Fuchs: Digest 1 part crushed nutgalls 
with 8 parts distilled water for six hours, and 
strain ; macerate glue with its own weight of 
water for twenty-four hours, and dissolve; 
spread the warm infusion of the galls on the 
leather, and the glue on the roughened metallic 
surface ; apply the prepared surfaces together, 
and dry gently; the leather then adheres so 
firmly to the metal that it cannot be removed 
without tearing.— PoZyt. Notizblatt. 

7. Leather to Pasteboard.— Strong glue, 50 
parts, is dissolved with a little turpentine in a 
sufficiency of water, over a gentle fire ; to the 
mixture is added a thick paste made with 100 
parts of starch. It is applied cold, and dries 
rapidly. 

8. Soak the leather in a hot infusion of nut- 
galls, coat the metal with gelatine, and bring 
them together. 

9. Leather and Pasteboard, Cement for.— 
Strong glue, 60 parts, is dissolved with a little 
turpentine in q. s. water, over a gentle fire; 
to the mixture is added a thin paste, made with 
100 parts of starch. It is applied cold, and 
dries rapidly. 

10. Leather on Top Rollers, Cement to Fast- 
en.— Gum arabic,5J^ oz.; isinglass, 5J^ oz. Dis- 
solve separately in water and mix. 

Lenses, to Cement.— In those of foreign make, 
an arborescent appearance is occasionally to 
be seen between the elementary parts of which 
the lens is composed. This arises from the 
drying or shrinking of the balsam with which 
it is cemented. To remedy this, unset the 
lens, place it in warm water, which may be 
still further heated till the balsam softens, 
separate the components, and clean with ether, 
benzole, or turpentine. Next place a drop of 
pure balsam on the center of the concave sur- 
face, and gently press the convex one down 
upon it until the balsam spreads and oozes out 
at the edges. Then apply a gentle heat until 
the balsam is found to have been hardened. 

Letter-fixing Cement.— Copal varnish, 15 parts; 
drying oil, 5 parts; oil of turpentine, 2 parts: 
liquefied glue (made with the least quantity of 
water), 5 parts ; melt together in n water bath, 
and add fresh slaked lime (perfectly dry, and in 
very fine powder), 10 parts. Used to attach 
metal letters to plate glass in shop windows. 



Letters, Metal, Cementing to Glass.— Copal 
varnish, 3 parts ; linseed oil varnish, 1 part ; oil 
of turpentine, 1 part ; glue, 1 part. Use best 
Canada balsam. Add carpenter's glue, 2 oz.; 
Venice turpentine, V£ oz. 

Lime Cements.— Lime cements are very valu- 
able in mending many articles and when com- 
bined with casein, sodium silicate, or egg, pro- 
duce one of the simplest and most durable 
cements for household use. 

Lime Cement used by Joiners.— Mix 20 parts 
flour, 10 parts slaked lime, and 3 parts linseed 
oil varnish. 

Lime and Glue Cement.— Into hot glue stir 
air-slaked lime. This gives a good cement and 
very cheap. 

Linseed Oil Cements.— Linseed oil, 25 parts ; 
boil with 35 parts litharge and 250 parts finely 
powdered burned lime. Use hot. Used for 
jointing stones, etc. 

Liquid Cement or Glue.—l. To make 1 gal. 
of the gum, about 1^ gal. of water, 3 lb. of 
glue, 4 oz. of borax, and 2 oz. of carbonate 
of soda, or an equivalent of any other alkali, 
are taken. The glue and alkaline salts are 
dissolved in the water by heat, and the solution 
is kept at a temperature a few degrees below 
boiling point for 5 or 6 hours. The continued 
application of heat renders the gum perma- 
nently liquid at the ordinary temperature. 
After allowing the sediment to settle, the clear 
liquid is evaporated to the required consist- 
ency. 

2. Soak gelatine in water, melt at a low heat 
and add strong vinegar or acetic acid until.it 
remains liquid when cold. 

Litharge Cement.— Litharge, 1 oz.; plaster of 
Paris, 1 oz.; finely powdered resin, y$ oz.; mix 
thoroughly, and make into a paste with boiled 
linseed oil to which driers have been added. 
Beat it well, and let it stand four or five hours 
before using. Soda silicate and chalk make a 
good cement. 

Litharge and Glycerine Cement.— A cement 
made of very finely powdered oxide of lead 
(litharge) and concentrated glycerine unites 
wood to iron with remarkable efficiency. The 
composition is insoluble in most acids, is un- 
affected by the action of moderate heat, sets 
rapidly, and acquires an extraordinary hard- 
ness. 

London Cement.— The London cement for 
joining broken glass, china, wood, etc., is made 
by taking a piece of Gloucester cheese, boiling- 
it three times in water, each time allowing the 
water to evaporate, and mixing the paste thus 
left with dry quicklime. 

LoveWs Cement, used by Microscopists.— 
Powdered white lead, 2 parts ; powdered red 
lead, 2 parts; powdered litharge, 3 parts; 
gold size. The white and red lead and the 
litharge must be very finely powdered; for 
use this powder is mixed with gold size 
to the consistency of cream, and the cells 
immediately fastened to the slide. They are 
secure in two weeks. This stands considerable 
heat and is excellent for fluids containing some 
alcohol. Make a little only of the mixture with 
gold size at a time, as it hardens quite rapidly 
and becomes useless. 

Lutes.— A lute is a tenacious and ductile com- 
position becoming solid on drying, employed 
to secure the joints of vessels intended to be 
subjected to corrosive influence, such as heat, 
water, steam, acids, and gases, and to pre- 
vent the escape of liquid or volatile bodies. 
Besides the lutes mentioned below others will 
be found in other portions of the cement divi- 
sion of this book. As : Acid-proof, aquariums, 
cap, chemical, coppersmiths 1 , fireproof, iron, 
laboratory, Massiat's, putties, Serbat, steam, 
and waterproof. 

Algerian.— 1. Wood ashes, 2 parts; lime, 3 
parts; sand, 1 part; mixed, passed through a 
sieve, moistened with water and oil, and beaten 
up with a wooden mallet till the compound 
has acquired the right consistence. 



Cements'. 



80 



Cements. 



2. Ground almond cake as before or linseed 
cake is added to starch, paste and gum water. 

Almond Paste.— Ground almond cake from 
which the oil has been expressed is mixed 
with an equal weight of whiting- and made into 
a paste with water. It is employed where the 
heat does not exceed 3J0° F. 

Fat Lute.— Clay is powdered, sifted, placed in 
an iron mortar, and incorporated with drying- 
oil, added gradually, the whole being beaten up 
till the mass assumes the consistence of a fine 
paste. It should be preserved under a coating 
of oil to prevent it drying up. It resists the ac- 
tion of corrosive gases, but softens on exposure 
to heat. 

Plaster of Paris mixed with water, milk, or 
weak glue stands a dull red heat. 

Crucible Lute.— Make a paste of freshly slaked 
lime and a concentrated solution of borax. Let 
it get thoroughly dry. 

Lutes for Crucibles.— Powdered clay and brick 
dust mixed up with a solution of borax in 
water. 

DihVs Lute.— A mixture of boiled linseed oil, 
litharge, and powdered china clay. The whole 
is made into a paste and applied with a trowel. 
The surfaces of the joint must be previously 
thoroughly cleaned and dried. 

Lutes.— 1. Linseed meal, either alone or mixed 
with an equal weight of whiting, and made into 
a stiff paste with water. It soon becomes very 
hard and tough. 

2. Fresh slaked lime made into a paste with 
strained bullock's blood, or size. Used as the 
last. 

3. Plaster of Paris made into a paste with 
water and at once applied. It bears nearly a 
red heat, but becomes rather porous and fri- 
ble ; use screws or clamps. 

4. Powdered clay or whiting made into putty, 
with water and boiled linseed oil. This is com- 
monly known as "fat lute." 

5. A mixture of powdered clay and ground 
bricks, made up with water or a solution of 
borax. For joining crucibles, etc., which are 
to be exposed to a strong heat. 

6. Pipe clay and horse dung made into a 
paste with water. As a coating for glass ves- 
sels, to preserve them from injury from ex- 
posure to the fire. This composition is used 
by pipe makers, and will stand unharmed the 
greatest heat of their kilns for 24 hours. It is 
applied by spreading it on paper. 

7. As the last, but employing shredded tow or 
plumbago for horse dung. For the joints of small 
vessels, as tubes, etc., especially those of glass or 
earthenware, pieces of vulcanized India rubber 
tubing slipped over and tied above and below 
the joint, are very convenient substitutes for 
lutes. Flat rings or "washers" of vulcan- 
ized rubber are excellent for still heads, when 
the parts can be pinched together by clamps. 

Glass, Lute for.— As a coating for glass ves- 
sels, to protect them from injury during ex- 
posure to the fire, pipe clay and horse dung 
are made into a paste with water. This com- 
position is applied by spreading it on paper. 
Shredded tow or plumbago is substituted for 
the horse dung. 

Lute for Stills or Retorts.— (Lemery's.) Fine 
lime, J^ oz.; fine flour, }& oz.; potter's earth, J4 
oz.; make a moist paste of this, with white of 
egg, beaten up with a little water. This will 
stop retorts very closely. 

Lute for Retorts.— (Boyle's.) Pound in a 
mortar some fine quicklime, and scrapings of 
cheese, water q. s. to make a soft paste. Spread 
on a linqn rag, and apply. 

Water Gutters, Lute for.— Tar, 1 part ; tallow, 
1 part ; fine brick dust, 1 part ; the latter is 
warmed over a gentle fire ; the tallow is added; 
then the brick dust, and the whole is thorough- 
ly mixed. It must be applied while hot. 

Wooden Vessels, Lute for.— A mixture of lime, 
clay, and oxide of iron, separately calcined, 
and reduced to fine powder, then intimately 



mixed, kept in a closed vessel, and made up with 
the requisite amount of water when wanted. 

Mahogany Cement.— 1. Melt beeswax 4 oz.; 
then add Indian red 1 oz., and enough yellow 
ocher to produce the required tint. 

2. Shellac, melted and colored as above. 
Very hard. Used to fill up holes and cracks in 
mahogany. 

Marble, Cements for.— See Alabaster and 
Keene's Cement. Also Marble Cement. 1. Take 
plaster of Paris, and soak it in a saturated solu- 
tion of alum, then bake in an oven, the same as 
gypsum is baked to make it plaster of Paris ; 
after which grind the mixture to powder. It 
is then used as wanted, being mixed up with 
water like plaster and applied. It sets into a 
very hard composition capable of taking a very 
high polish, and may be mixed with various 
coloring minerals to produce a cement of any 
color capable of imitating marble. 

The Eny. Mech. gives these three recipes : 

2. Melt together 8 parts of resin and 1 of wax; 
when melted, stir in 4 or 5 parts of plaster of 
Paris. The pieces to be joined should be made 
hot. 

3. Procure a small piece of quicklime fresh 
from a newly burnt kiln, slake with a white of 
an egg, wash the fractured parts quite clean, 
and apply. 

4. Soak plaster of Paris in a saturated solu- 
tion of alum, bake in an oven, reduce it to pow- 
der, mix with wafer, and apply; it sets like 
granite. 

5. Mix 12 parts of Portland cement, 6 parts of 
slate lime, 6 parts of fine sand and 1 part of 
infusorial earth, and make up into a thick paste 
with silicate of soda. The object to be cement- 
ed does not require to be heated. It sets in 
twenty-four hours, and the fracture cannot be 
readily found. 

6. Make a thick mucilage of x oz. of gum ara- 
ble, add 1}4 oz. dental plaster, and finally ^ oz. 
finely powdered quicklime; mix well. When 
required for use heat the marble. 

7. Coat the marble with linseed oil varnish • 
then apply the following cement: brick dust 10 
parts; litharge (elutriated), 1 part; linseed oil 
varnish, 2 parts ; work up into a stiff putty. 

8. Mix litharge and freshly burned lime in the 
proportion 20 to 1. Make into a putty with q. s. 
of linseed oil. 

9. Lac colored to imitate the marble; may 
be mixed with marble dust passed through a 
silken sieve. 

10. W. F. Reid gives the following details for 
it. Begin with the raw gypsum in lumps of mod- 
erate size, burning them at the usual. tempera- 
ture (below red heat). The solution of alum 
should contain 1 part of this salt in 10 parts of 
water. There is ho difficulty in dissolving this 
quantity if the water be previously heated and 
the alum coarsely pulverized. By immersing 
the lumps of burnt gypsum in this solution 
while they are still warm, and leaving them in 
it for about fifteen minutes, they will become 
thoroughly saturated with the liquid. They 
should then be allowed to drain and again 
burnt, but this time at a red heat. Gypsum 
which has been treated in this way forms, when 
pulverized, a slow-setting cement which ulti- 
mately attains great hardness, and has fre- 
quently been used for making paving tiles, 
especially in Italy. 

11. Into a solution of chloride of zinc, sp. gr. 
1*490 to 1*652, is introduced Z% of borax or sal 
ammoniac; when this is dissolved, oxide of 
zinc, which has been subjected to a red heat, is 
added, till the mass attains the desired consist- 
ence. This cement becomes as hard as marble, 
and may be used for moulding. 

12. 12 parts Portland cement, 6 parts slaked 
lime, 6 parts fine sand, 1 part infusorial earth, 
and mix into a thick paste with silicate of soda. 
The object to be cemented need not be warmed. 
The cement sets in twenty-four hours, and the 
fracture can then hardly be detected. The 
cemented portions are harder than the rest, and 



Cements. 



81 



Cements. 



the fracture cannot by any chance be reopened. 
— Polytech. Centralblatt. 

Marine Glue.— Caoutchouc, 1 oz.; genuine 
asphaltum, 2 oz.; benzole or naphtha, q. s. 'xhe 
caoutchoiic is first dissolved by digestion and 
occasional agitation, and the asphaltum is grad- 
ually added. The solution should have about 
the consistency of molasses. 

Marteaux & Robert's Cement.— Pyrolusite 
finely powdered 100 parts, graphite 12 parts, 
white lead 5 parts, red lead 5 parts, clay 3 parts. 
After sifting and mixing, 1 part of boiled lin- 
seed oil to each 7 parts of the mixture are 
added. Make into a paste, heat and pound ; re- 
peat the operation several times. 

Martin's— This is manufactured in the same 
way as Keene's, only carbonate of soda or car- 
bonate of potash is used as well as alum, and 
the burning is carried on at a higher temper- 
ature. 

Mason*.— I. 20 lb. clean river sand, 2 lb. lith- 
arge, 1 lb. quicklime, sufficient linseed oil to 
form a thin paste. Used for joining fragments 
-of stone. 

2. Gad's.— 3 parts well dried and powdered 
clay, 1 of iron oxide, mixed together and made 
into a stiff paste with boiled oil. Used for work 
required to harden under water. 

3. For Grotto Work.— Commonest sealing- 
wax. 

4. An excellent cement for foot walks, and 
:for all uses which require exposure to the 
weather or to dampness, is described in"Der 
Praktische Maschinen-Constructeur. 1 ' It is 
made by thoroughly stirring Portland cement 
or good hydraulic lime into a warm solution of 
glue, so as to make a thick paste, and applying 
It immediately. In three days it acquires ex- 
traordinary hardness and tenacity. It is an 
excellent cement for joining the procelain heads 
to the metal spikes which are used as orna- 
mental nails, 

5. Fahnejelm recommends a mixture of 75 
parts of carefuDy washed chalk and ^5 parts of 
washed kaolin, to be first calcined to red heat, 
and afterward ground. The powder is then 
snow-white, or, if the heat has been too great, 
it has a bluish shade. Either alone, or with a 
small percentage of gypsum, it makes an excel- 
lent hydraulic cement. 

6. 1 part yellow Botany Bay gum, 1 part brick 
dust, melted together. For stoneware. 

7. 60 parts chalk. 20 parts lime, 20 parts sait, 10 
parts Barnsey sand, 5 parts iron filings, 5 parts 
clay; ground together, and calcined. Beale's. 

8. 3 parts clay, lpart slaked lime ; mixed, ex- 
posed for three hours to full red heat, and 
ground to powder. Bruyere's hydraulic. 

MassiaVs Cement.— Melt rubber with 10 to 
20$ tallow or beeswax. Gradually add finely 
pounded quicklime. Used to cover bungs. 

Mastic Cement.— Y. Mastic cement is used for 
moulding ornaments, etc. Reduce all materials 
to fine powder. Quartz sand, 60 pts.; limestone 
.20 pts.; litharge, 10 pts.; linseed oil, 7 pts. 

2. Powder slaked lime 30 parts; sand 17^£ 
parts; litharge V/* parts. Knead to a stiff 
mass with 3^ to 5 parts old linseed oil, or lin- 
seed oil varnish may be used. Work thorough- 
ly in a mortar with a pestle. 

Meerschaum, Cement for— 1. Take some garlic 
and crush it in order to form a kind of dough, 
rub over the broken pieces of meerschaum with 
it and reunite them by pressing very closely, 
bind them with iron wire according to the 
strength of the pieces, and finally boil them 
for half an hour in a sufficient quantity of milk. 
Casein and quicklime cements apply here. 

2. Dissolve casein in a solution of water glass 
(silicate of soda) and stir into it calcined mag- 
nesia and use at once. Casein is pi-epared by 
allowing perfectly skimmed milk to stand until 
it curdles, when the casein is filtered out and 
washed on the filter. To simplify above a little 
fresh cheese may be boiled in water and mixed 
with slaked lime and ashes, using 10 parts 



cheese, 20 parts water, 2)4 parts lime, and 2 parts 
wood ashes. 

Metallic Cement.— 1. From 20 to 30 parts of fine- 
ly divided copper, obtained by the reduction of 
oxide of copper with hydrogen, or by precipi- 
tations from solutions of its sulphate with zinc, 
are made into a paste with oil of vitriol, and 70 
parts of mercury added, the whole being well 
triturated. When the amalgamation is com- 
plete the acid is removed by washing with 
boiled water, and the compound allowed to 
cool. In ten or twelve hours it becomes suffi- 
ciently hard to receive a brilliant polish, and to 
scratch the surface of tin or gold. By heat it 
assumes the consistence of wax, and, as it does 
not contract by cooling, it is recommended by 
a noted chemist for dentists 1 use for stopping 
teeth. This is a splendid cement for attaching 
to the surface of wood, glass, metal and porce- 
lain. 

2. The following recipe for a metallic cement 
for repairing broken stone is given by Prof. 
Brune, of the School of Fine Arts. It was used 
in the restoration of the colonnade of the 
Louvre, of the Pont Neuf , and of the Conserva- 
toire des Arts et Metiers. It consists of a pow- 
der and a liquid. The Powder.— 2 parts by 
weight of oxide of zinc, 2 parts of crushed 
limestone of a hard nature, and 1 part of 
crushed grit, the whole intimately mixed and 
ground. Ocher in suitable proportions is added 
as a coloring matter. The Liquid.— A saturated 
solution of zinc in commercial hydrochloric 
acid, to which is added a part, by weight, of hy- 
drochlorate of ammonia equal to i that of 
the dissolved zinc. This liquid is diluted with 
% of its bulk of water. To use the cement, 1 
lb. of the powder is to be mixed with 2}4 pt. of 
the liquid. The cement hardens very quickly 
and is very strong. 

Metals, to Cement. See also Iron Cement and 
Litharge Cement. 

Casein, Cement for.— Mix with water quartz 
sand (elutriated), 5 parts ; casein, 4 parts ; lime 
(slaked), 5 parts. 

Any fibrous material can be stuck to metal, 
whether iron or other metal, by a mixture com- 
posed of good glue dissolved in hot vinegar 
with y% of its volume of white pine pitch, also 
hot. This composition, it is said, will give a 
sure and certain result. 

Metal Letters on Glass, Marble, Wood, etc., Ce- 
ment for Fastening.— I. Copal varnish, 30 parts; 
linseed oil varnish, 10 parts ; oil of turpentine, 
10 parts ; glue, 10 parts. Place the mixture in a 
water bath, to dissolve the glue, then add 20 
parts slaked lime. 

2. Copal varnish, 15 parts; drying oil, 5 parts; 
turpentine. 3 parts. Melt in a water bath, and 
add 10 parts slaked lime. 

3. Into melted resin, 180 parts, are stirred 
burnt umber, 30 parts; calcined plaster, 15 parts; 
boiled oil, 8 parts. 

4. Rosin, 4 to 5 parts; wax, 1 part; colcothar, 
1 part; the whole melted together. A little 
powdered plaster is often added. 

5. Sandarac or galipot varnish, 13 parts; boiled 
linseed oil, 5 parts; turpentine, 2% parts; es- 
sence turpentine, 2% parts; marine glue, 5 parts; 
pearl white, 5 parts; dry carbonate of lead, 5 
parts; mixed. 

6. Copal or lac varnish, 15 parts; drying oii, 5 
parts; India rubber or gutta percha, 4 parts; 
coal oil, 7 parts; Roman cement, 5 parts; plaster, 
5 parts. 

7. Copal or rosin varnish, 15 parts; turpentine, 
2M parts; essence turpentine, 2)4 parts; fish 
isinglass (in powder), 2 parts; iron filings, 3 parts; 
ocher or rotten stone, 10 parts. These cements 
are much used for h xing metallic letters to glass, 
marble, or wood. The two following are par- 
ticularly good for uniting brass and glass: 

8. Caustic soda, 1 part; rosin, 3 parts; plaster, 
3 parts; water, 5 parts; the whole is boiled. This 
compound hardens at the end of half an hour; 
the hardening may be retarded by replacing 



Cements. 



82 



Cements. 



the plaster by zinc white, white lead, or slaked 
lime. 

9. Fine litharge, 2 parts; white lead, 1 part; 
copal, 1 part; boiled linseed oil, 3 parts; the 
whole is triturated together. Dissolve by heat. 

10. For joining metallic surfaces where solder- 
ing is inconvenient, recourse may be had to a 
composition formed in the following way : Pure 
and finely divided copper, such as that obtained 
by the reduction of sulphate of copper with 
zinc clippings, 20 to 36 parts, according to the 
degree of hardness desired in the cement, dis- 
solved in a sufficient quantity of sulphuric acid 
to make a thick paste; with this is incorporated, 
by trituration in a mortar, mercury, 70 parts. 
The mass is soft, but hardens at the end of some 
hours. For use it is heated to 212° F. (100° C), 
and powdered in an iron mortar heated to 302° F. 
(150° C); it then assumes the consistence of wax, 
and is harder in proportion, as it contains more 
copper. 

Metal, Cement for.— Melt over a water bath 30 
parts copal varnish, 10 parts drying oil, 6 parts 
turpentine; when melted add 20 parts slaked 
lime. 

Metal and Rubber, Cement for.— Powdered 
shellac is softened in ten times its weight of 
strong water of ammonia, whereby a transpar- 
ent mass is obtained, which becomes fluid after 
keeping some little time without the use of hot 
water. In three or four weeks the mixture is 
perfectly liquid, and, when applied, it will be 
found to soften the rubber. As soon as the am- 
monia evaporates the rubber hardens again— it 
is said, quite firmly— and thus becomes imper- 
vious both to gases and to liquids. For cement- 
ing sheet rubber, or rubber material in any 
shape, to metal, glass, and other smooth sur- 
faces, the cement is highly recommended. 

Metal Sheets, Thin, to Cement.— Dissolve isin- 
glass, cut fine, in warm water, and add a little 
nitric acid. If more acid is used than is neces- 
sary the cement will not dry. 

Metal, Linseed Oil Cement for.— Linseed oil and 
well slaked lime are made into a paste. Great 
pressure must be used. 

Metal to Porcelain, Glass, etc.— Dissolve good 
glue in water, heat and add }4 as much linseed 
and varnish and J4 as much Venice turpentine 
as the amount of glue used. 

Mica, Cement for.— A colorless cement for 
joining sheets of mica is prepared as follows : 
Clear gelatine is softened by soaking it in a little 
cold water, and the excess of water is pressed 
out by gently squeezing it in a cloth. It is then 
heated over a water bath until it begins to melt, 
and just enough hot proof spirit (not in excess) 
stirred in to make it fluid. To each pint of 
this solution is gradually added, while stirring, 
34 oz. of gum ammoniac and \% oz. of gum 
mastic previously dissolved in 4 oz. of rectified 
spirit. It must be warmed to liquefy it for use 
and kept in stoppered bottles when not re- 
quired. This cement, when properly prepared, 
resists cold water. 

Microscope Cement.— Put into a bottle 2 parts 
of isinglass and 1 part of gum arabic, cover 
them with proof spirit, cork the bottle loosely, 
and place it in a vessel of water, and boil it till 
a thorough solution is effected, when it must be 
strained for use. This is a highly valuable ce- 
ment for many purposes, and is used for mount- 
ing opaque objects for the microscope. 

Minerals, Fossils, etc.— 1. Use best fish glue 
(hot) and tie well. 

2. Starch, J4 oz. ; white sugar, 1 oz. ; gum ara- 
bic, x 4 oz. Dissolve the gum in a little hot 
water, and the sugar and starch, and boil until 
the starch is cooked. 

Mohr's.— Equal parts of pulverized brick and 
litharge are made into a paste with linseed oil. 
After application a little fine sand is dusted 
over the lute, and it is dried in the oven. 

Mortar. See Mortars. 

Muirhead's Cement.— 3 lb. Portland cement, 3 
lb. of sharp sand, 4 lb. of blacksmith's ashes, 4 



lb. of resin. Melt the resin and stir the other 
ingredients in. 

Naturalists'.— Consists of mucilage of gum 
arabic, thickened with starch powder or farina, 
with the addition of a little lemon juice. Some- 
times the mucilage is used alone. This cement 
is employed by naturalists, for mounting speci- 
mens; by artificial flower makers; by confec- 
tioners, to stick ornaments on their cakes, etc. 

Nickel, Cementing Labels on.— Dissolve 40 parts 
dextrin in 50 of water, 2 of glycerine, and 1 of 
glucose, and heat. 

Oil Cements are useful, but require a long time 
to harden. See also linseed oil, litharge, Serbat's 
and Stephenson's cement. 

Oil Cement for Steam Pipes.— 1. Barytes (heavy 
spar) finely powdered, 8 parts; graphite, 6 parts; 
lime (slaked), 3 parts; ^boiled linseed oil, 3 
parts. 

2. 100 parts red lead, 250 parts white lead, 200 
parts pipe clay. Mix with boiled oil. 

Oil Proof Cement.— ^ The hardest cement is 
produced by triturating 50 grm. (grammes, not 
grains) of litharge with 5 cubic centimeters of 
glycerine ; if more glycerine is used, the mass 
hardens much more slowly and imperfectly. 
The small proportion of glycerine, however, 
makes it impracticable to prepare large quanti- 
ties of the cement at a time. For this purpose 
it will be necessary to take more glycerine. 
. . . The most favorable results are obtained 
by adding 2 volumes of water to 5 volumes of 
glycerine (s. g. 1*240). Six cubic centimeters of 
this b'quid are incorporated with 50 grm. of 
litharge. This mass requires a shorter time 
than any other proportions to produce a hard 
cement, ten minutes only being required to 
harden moderately, while after two hours it 
becomes harder than any mixture containing 
glycerine and litharge alone ; but after a few 
days the latter compound (prepared without 
water) overtakes the former in hardness, and 
remains so. If it is desired to produce a cement 
which rapidly hardens and still have consider- 
able firmness, it is advisable to use water with 
the glycerine." 

Cement, Opticians'.— 1. Shellac softened with 
rectified spirit or wood naphtha. For fine 
work. 

2. Beeswax, 1 oz.; rosin, 15 oz. Melt and add 
whiting (previously made red hot, and still 
warm) 4 oz. 

3. Rosin, 1 lb.; melt and add plaster of Paris 
(dry) 4 oz. The above are used to fix glasses, 
stones, etc., while polishing and cutting them. 
The last is a very strong cement for rough 
purposes. 

4. 10 parts rosin, 2 parts shellac, 1 part rouge. 
Melt, mix, and add enough turpentine to make 
it tough, so as not to splinter under pressure 
from the thumb nail, at the working temper- 
ature of the room. 

Paper {Parchment) to Cement.— Mix. ordinary 
glue with about 3% of potassium or ammonium 
dichromate in the dark. This may be used on 
the paper, and after exposure to light becomes 
perfectly insoluble in boiling water. This glue 
has been very largely used in Germany for join- 
ing the parchment paper envelopes of pea 
sausages. The strips of paper joined by this 
glue are dried quickly and exposed to light till 
the glue changes to a brownish color; they are 
then boiled with water containing about 3% of 
alum till all the excess of alkaline dichromate is 
extracted, and then washed in water and 
dried. 

Paper, to Fasten to Stone.— Melt together 
equal parts of asphalt and gutta percha. Use 
hot. The surfaces to be joined should be per- 
fectly clean and dry. 

Parabolic— Syn. Universal Cement. Curdle 
skim milk, press out the whey, and dry the curd 
by a gentle heat, but as quickly as possible. 
When it has become quite dry, grind it to pow- 
der in a coffee or pepper mill, and mix it with 
& of its weight of finely powdered quicklime, 
and a piece of camphor the size of a pea, also 



Cement*. 



83 



Cements. 



reduced to powder, to every ounce of the mix- 
ture. Keep it in wide mouth 1 oz. vials, well 
corked. For use, make it into a paste with a 
little water, and apply it immediately. 

Parian Cement is also made in the same way 
as Keene ; s, but with the use of a solution of 
borax, the biborate of soda, in place of alum. 
All these cements arc capable of receiving' a 
high degree of polish, and as they dry very 
rapidly can be painted over within a few days. 

Paris Cement for Mending Shells and Other 
Specimens.— Gum arabic, 5 parts ; sugar candy, 
2 parts; white lead, enough to color. 

Pasteboard, to Cement.— Good pitch and gutta 
percha (about equal parts) are fused together, 
and to 9 parts of this are added 3 parts of boiled 
oil and £ part of litharge ; continue the heat 
with stirring until thorough union of the in- 
gredients is effected. This is applied hot or 
cooled somewhat, and thinned with a small 
quantity of benzole or turpentine oil. 

Peasley Cement. — The exact composition of this 
cement is unknown, but it is without doubt a 
modification of the Armenian cement, which 
see. 

Pax's Cement for Covering Buildings, etc. — 
Powdered quicklime, 1 part; po wdered baked 
clay, 2 parts; mix, then add 1 part of freshly 
baked and powdered gypsum to 2 parts of pow- 
dered baked clay, and after mixing well add 
them to the former powder, and thoroughly in- 
corporate the two. Used to cover buildings. 
It is mixed up with water and applied like mor- 
tar. It acquires great hardness, and is*very 
durable. 

Petroleum Cement.— 1. Dissolve 5 parts of shel- 
lac and 1 part of turpentine in 15 parts of pe- 
troleum. This cement is fairly elastic. 

2. A cement particularly adapted for attach- 
ing the brasswork to petroleum lamps is made 
by Puscher, by boning 3 parts resin with 1 part 
.of caustic soda and 5 parts of water . The com- 
position is then mixed with half its weight of 
plaster of Paris, and sets firmly in half to three- 
quarters of an hour. It is of great adhe- 
sive power, and not permeable to petroleum, a 
low conductor of heat, and but superficially 
attacked by hot water. Zinc white, white lead, 
or precipitated chalk may be substituted for 
plaster, but hardens more slowly. 

Pew's Cement.— Prep. Powdered quicklime, 1 
part; powdered baked clay, 2 parts; mix, then 
add 1 part of freshly baked and powdered gyp- 
sum to 2 parts of powdered baked clay, and 
after mixing well add them to the former pow- 
der and thoroughly incorporate the two. Used 
to cover buildings. It is mixed with water, 
and applied like mortar. It acquires great 
hardness and is very durable. 

Pipes, Cement Used for Uniting Large.— 1. 
12 parts Roman cement, 4 parts white lead, 1 
part litharge, % part rosin are pulverized and 
mixed. From '2Y 2 to 3 lb. of the mixture is 
triturated with old linseed oil in which is boiled 
1 oz. resin. 

2. Equal parts of burnt lime, Roman cement, 
potter's clay and ordinary clay, separately well 
dried, finely ground, sifted, well mixed, and 
triturated with linseed oil. 

3. 2 parts red lead, 5 parts white lead, and 3 
parts of the finest clay. Mix with boiled linseed 
oil. 

Pipes, Water, Glass Cement for.— This cement 
stands an intense heat. Mix 10 parts zinc 
white, 8 parts hydrolusite, and 2 parts sodium 
silicate. 

Pipes, Cement for.— A cement, impermeable 
by air and steam, and especially well adapted to 
use for steam or gas pipes, is made of powdered 
graphite 6 parts, slaked lime 3 parts, sulphate 
of lime 8 parts, and boiled oil 7 parts; well 
kneaded. 

Oil, Cement for.— Litharge 5 parts, lime (air 
slaked) 2 parts, quartz sand 2 parts. 

Waterproof Cement for Cast Iron Pipes, etc.— 
Take equal weights, in dry powder, of burnt 
lime, Roman cement, pipe clay and loam, and 



knead the whole with about one-sixth the 
weight of linseed oil. The addition of more 
Roman cement improves the quality. See also 
red lead and rust cements. 

Cement Pipe. — The proper proportion for ce- 
ment pipe is 1 of water cement to 3 of sand. 
Gravel from the size of a pigeon's egg down is 
better than fine sand, and it must be perfectly 
clean and free from mould or vegetable matter. 
The cement and sand must be thoroughly mixed 
before the water is added, and it must be used 
immediately after mixing. The most common 
cause of failure is a poor quality of cement. 

Plaster Cement.— 1. Plaster of Paris, baked 
and ground, acquires great hardness and solid- 
ity when left for twenty-four hours in con- 
tact with a solution of alum, and when, after 
drying in the air, it is submitted to a second 
baking. 

2. Still better results are obtained by em- 
ploying an aqueous solution containing ^ of 
borate and ■& of cream of tartar ; the plaster, 
baked and in fragments, is plunged into this 
solution until it is saturated ; then it is calcined 
and pulverized. 

3. A mixture of silicate of potash, 100 parts ; 
carbonate of potash, 27 parts ; and water, 500 
parts, may also be used. 

4. Plaster of Paris busts, etc., are best 
mended with shellac varnish or soluble glass. 

Plumber's Cement.— Black resin, 1 part ; brick 
dust, 2 parts ; well incorporated by a melting 
heat. 

Pointing for Buildings.— Use equal parts 
hydraulic cement (Portland), lime, and fine 
white sand. 

Pollack's Cement for Iron and Stone.— Take 
litharge and red lead, equal parts ; mix thor- 
oughly and make into a paste with concentrated 
glycerine to the consistency of soft putty ; fill 
the crack and smear a thin layer on both sides 
of the casting so as to completely cover the 
fracture. This layer can be rubbed off if ne- 
cessary when nearly dry by an old knife or 
chisel. M. Pollack has used it to fasten the 
different parts of a fly-wheel with great suc- 
cess. This cement is fire and water proof. 

Porcelain Letters, Cement for Attaching.— 8 
parts starch is mixed with 10 parts of chalk 
(finely powdered), by using equal parts of 
alcohol and water with the addition of 3 parts 
of Venice terpentine. See Glass above. 

Porcelain, Cement for.— See also Casein Ce- 
ments. 1. Add plaster of Paris to a strong solu- 
tion of alum till the mixture is of the con- 
sistency of cream. It sets readily, and is said to 
unite glass, metal, porcelain, etc., quite firmly. 
It is probably suited for cases in which large 
rather than small surfaces are to be united. 

2. Use thick white lead paint. 

3. Milk is coagulated with acetic acid and the 
casein thus formed is washed well in water 
and then dissolved in a cold saturated solution 
of borax; a clear solution is thus obtained 
which is superior to gum arabic. For porcelain 
mix with finely powdered quicklime, apply to 
the ware immediately, bind with cord and ex- 
pose to gentle heat.— Dingier' s Poly. Jl. 

4. Into a clear solution of gum arabic stir 
plaster of Paris ; use immediately ; water will 
destroy the joint made by this cement. 

5. Yellow gum, 16 parts ; fine brick dust, 17 
parts ; mix. 

6. To Resist Heat.— China clay mixed with 
asbestos. Beat well before applying ; use no 
more water than absolutely necessary. This 
is said to stand a high heat. Not recommended 
for household use. 

7. Calcine oyster shells ; grind and sift ; reduce 
to the very finest powder with a muller, and 
beat into a paste with white of an egg ; press 
the broken pieces together firmly. This cement 
stands both heat and water. 

8. Stir the white of an egg into a stiff solution 
of glue. 

Sulphur Cement for Porcelain.— Sulphur, 7 
parts; white pitch, 5 parts - shellac (bleached) 



Cements. 



84 



Cements. 



1 part ; mastic, 2 parts ; gum elemi, 2 parts ; 
glass meal, 7 parts. 

Portland Cement derives its name from its 
supposed resemblance to Portland stone when 
used as a stucco upon walls. The materials re- 
quired in its manufacture are chalk, or any 
other " rich " limestone, river mud, or clay, and 
oxide of iron, the proportions in which these 
materials are mixed varying- at different works 
—from 65 to 80$ of limestone and 20 to 35% of 
clay and iron oxide, which are intimately mixed 
with water in a mill, then dried slowly on hot 
plates, and afterward calcined in a kiln, and re- 
duced to fine powder. Before being used the 
cement should be kept for some months in a dry 
place, as its cohesive strength is thereby in- 
creased. It hardens rapidly when stirred up 
with water, and possesses great cohesive power, 
which is diminished by the admixture of sand. 
When used as a stucco it can be mixed with 3 
or 4 parts of sand to 1 of cement, and the setting- 
then proceeds more slowly than if pure cement 
is used. The sand must be perfectly free 
from loamy particles, otherwise it will not 
harden, but will crumble to pieces at the touch. 
If painted over with oil color soon after it has 
been laid on a wall, it will peel off and form 
blisters— probably from the large proportion of 
quicklime it contains not being thoroughly 
slaked before it hardened. Some months, there- 
fore, should be allowed to elapse before paint is 
applied to it. 

Pots and Pans, Cement for.— 2 parts of sulphur 
and 1 part, by weight, of fine black lead; put the 
sulphur in an old iron pan, holding it over the 
fire until it begins to melt, then add the lead; 
stir well until all is mixed and melted; then 
pour out on an iron plate or smooth stone. 
When cool, break into small pieces. A sufficient 
quantity of this compound being placed upon 
the crack of the iron pot to be mended, can be 
soldered by a hot iron in the same way a tin- 
smith solders his sheets. If there is a small hole 
in the pot, drive a copper rivet in it and then 
solder it over with this cement. 

Prisms, Bisulphide of Carbon, Cement for. — 
For bisulphide of carbon prisms, Mr. Lewis M. 
Rutherfurd, who has had much experience in 
this subject, employs a cement o$ glue and 
molasses. The surfaces must be perfectly 
clean; they are then warmed and dusted with a 
fine camel's hair brush, and placed in contact. 
A hot and fluid mixture of glue and molasses 
is then applied around the edges, and pene- 
trates by capillary attraction. It must be left 
a day or two to harden, before preparing the 
next side. The ground stopper was also ren- 
dered tight by a little molasses. (See Silliman's 
American Journal, March, 1865.) Marine glue 
is also employed, and we suppose that the 
cement from glycerine and litharge may be. 

Putty may be considered as cement. It is pre- 
pared by mixing fine whiting with linseed oil 
or linseed oil varnish, the latter drying more 
quickly. The whiting should be passed through 
a sieve, the meshes being 42 threads to the inch. 
It should be dry before sifting, and be thor- 
oughly incorporated with the oil, a tedious 
operation. Keep in oiled paper or under water. 
White lead is sometimes mixed with the putty. 
Color if desired with dry colors. 

Soft Putty.— 1. 10 lb. of whiting and 1 lb. of 
white lead, mix with the necessary quantity of 
boiled linseed oil, adding to it 3^ a giU of the 
best olive oil. The last prevents~the white lead 
from hardening and preserves the putty in a 
state sufficiently soft to adhere at all times, and 
not, by getting hard and cracking off, suffering 
the wet to enter, as is often the case with or- 
dinary hard putty. 

2. A very strong putty is made of boiled oil 
and whiting for exposed situations, as sky- 
fights, but is not adapted for keeping— it gets 
too hard. 

3. Putty for good inside work is improved bv 
adding white lead. 



4. Another putty which requires to be made 
as wanted (as it gets hard almost immediately; 
is composed of red lead in powder mixed with 
boiled oil and turpentine varnish, and is used 
for fronts of houses or any place requiring a 
hard putty. 

5. Some manufacturers prepare an oil for the 
purpose by melting 20 lb. resin and mixing it 
with 90 lb. linseed oil, the resin being used f or- 
economy's sake. 

6. For some purposes a drying oil may be 
used with the whiting; this is made by mixing 
1 gal. linseed oil, 12 oz. litharge, 1 oz. sugar of 
lead, 1 oz. white vitriol ; simmer for some time, 
allow to cool, and when settled draw it off. 

French Putty.— 1. Kuban prepares this sub- 
stance by boiling linseed oil 7 parts with brown 
umber 4 parts, for two hours; 5V£ parts of chalk 
and 11 parts of white lead then added, and the 
whole well mixed. This putty is very durable, 
and adheres well to wood, even though not pre- 
viously painted. 

2. Gum arabic 1 part, water 2 parts, potato 
starch 4 parts 

Facing Putty.— Mix whiting, some white lead, 
and a small quantity of litharge. Then add a 
small quantity of drying oil. This putty is 
especially good for stopping small flaws. 

Indestructible Putty.— Boil 4 lb. brown umber 
in 7 lb. of linseed oil for two nours; stir in 2 oz. 
of wax; take from the fire and mix in 5% lb. of 
chalk and 11 lb. of white lead and incorporate 
thoroughly. The latter operation is quite 
essential.— Science Record, 187k. 

Imperishable Putty.— Boil together for two 
hours 33^ lb. linseed oil and 2 lb. brown umber. 
Then stir in 1 oz. of beeswax. Take off the fire 
and mix in 2% lb. of chalk; 5% lb. white lead. 

Iron Putty.— The iron putty used for steam 
joints is made by mixing dry 2 parts of 
a good metallic paint, 1 part litharge, 3 parts 
fine iron borings sifted, or for close joints, iron 
filings. Add boiled linseed oil and mix to the 
consistence of stiff putty. 

Lime Putty, for Wood.— Rye flour, 10 parts ; 
slaked lime, 5 parts; linseed oil varnish, 5 parts; 
umber, q. s. to color. 

Wood and Glue Putty.— Dissolve glue in 
water, and add as much very fine sawdust as is 
required. 

Putty for Floors.— Litharge, 1 part; plaster 
of Paris, 2 parts; glue, 1 part; water, 8 parts; 
cement, 4 parts; sawdust, 2 parts; casein, 5 
parts; water, 30 parts; ammonia, 3 parts; burned 
lime, 3 parts. 

To Soften Hard Putty.— 1. It is well known that 
common putty becomes exceedingly hard with 
age, which renders the removal of glass from 
sashes peculiarly difficult. A practical man 
tells us that he thinks himself lucky if he can 
take out one pane out of three without break- 
age. It is stated, however, that the putty 
may be softened by using a paste of caustic 
potassa, easily prepared by mixing the caustic 
alkali, or even carbonate of potash or soda, with 
equal parts of freshly burnt quicklime, which 
has previously been sprinkled with water, so as 
to cause it to fall into powder. This is then 
mixed with water to a paste, and is spread on 
the putty to be softened. Where one applica- 
tion is not sufficient it is repeated. In order to 
prevent the paste from drying too quickly, it is 
well to mix it with less water, adding some soft 
soap instead. 

2. Take 1 lb. of pearlash, 3 lb. of quicklime; 
slake the lime in water, then add the pearlash, 
and make the whole the consistency of paint. 
Apply it to both sides of the glass and let it re- 
main twelve hours, when the putty will be so 
softened that the glass may. be removed with 
ease. 

Soft soap rubbed on pretty thick, and allowed 
to stand about twelve hours or more, will 
soften putty so that it can be cut out quite 
easily with a knife. 

Putty for Stoves.— See also Stoves. 5 parts 
clay, 2 parts fine iron filings, 1 part peroxide 



Cements, 



Ceineuts. 



of manganese, % part salt, ^ part "borax; 
pulverize and mix thoroughly in a mortar. 
Make into a thick putty with water and use 
immediately. Will set and harden with heat 
of the stove. 

Wax Putty. — For leaky casks, bungs, etc. 
Yellow wax, 4 lb.; tallow, 2 lb.j spirits of tur- 
pentine, 1 lb.; solid turpentine, G lb. Melt the 
wax and solid turpentine over a gentle fire ; 
add the tallow. When melted take entirely 
away from the fire, add the spirits of turpen- 
tine, let it cool. 

Pozzuolana Cement.— A kind of earth thrown 
out of a volcanoes, of a rough, dusty, granular 
texture ; its most important property consists 
in making a cement when mixed with 3^ its 
weight of lime and water, which hardens very 
suddenly, and is more durable under water than 
any other. Manganese is found to be a valuable 
ingredient in water cements. 4 parts of gray clay 
are to be mixed with 6 parts of the black oxide of 
manganese, and about 90 of good limestone, re- 
duced to tine powder, the whole to be calcined 
to expel the carbonic acid; when well calcined 
and cooled, to be worked into the consistence 
of a stiff paste, with 60 parts of washed sand. 

Quicklime Cement.— Dilute white of egg with 
its bulk of water and beat up thoroughly. Mix 
to the consistence of thin paste with powdered 
quicklime. Must be used immediately. 

Red Cement.— The red cement used for uniting 
glass to metals is made by melting 5 parts black 
resin with 1 part yellow wax, and then stir- 
ring in gradually 1 part red ocher or Venetian 
red, in fine powder, and previously well dried. 
This cement requires to be melted before use, 
and it adheres better if the objects to which it 
is applied are warmed. 

Red Lead made into a paste with boiled lin- 
seed oil is also used for cementing the joints of 
metal pipes. 

. Resinous Cements are excellent in all cases 
where heat is not applied, and they are very in- 
expensive. 

Retorts, Lute for.—l . Lemery , the chemist, 
used the following lute for stopping retorts, 
etc.: Fine flour and fine lime, of each 1 
ounce; potter's earth, y% ounce; make a 
moist paste of these with white of egg, well 
beaten up with a little water, and this will be 
found to stop exceedingly close. 

2. This cement is used also in melting pots. 
Sift brick dust and mix with equal quantity 
red lead, rub together with boiled linseed 
oil, which is mixed with coarse sand to the 
stiffness of cement. In covering dishes apply 
the paste, then sand. Heat for a long time. 

3. Rub freshly slaked lime into a concen- 
trated solution of borax. Apply with a stiff 
brush, allow it to dry. When heated, the glaz- 
ing fuses. 

4. For large pots take 6 parts litharge ; 4 parts 
fresh burnt pulverized lime ; 2 parts white bole 
and mix with cold linseed oil. 

Rice Cement. — Rice cement, which is made 
by mixing rice flour intimately with cold water 
and then gently boiling it, forms a beautifully 
white preparation, and dries nearly trans- 
parent ; it is capable of bearing a very high 
polish, and is very durable; it is in every re- 
spect far before the common paste made with 
wheat flour or starch ; it may be formed, also, 
into a plastic clay. 

Roadway Cement.— The first coat should be 
three and a half inches thick, 7 parts of sharp, 
coarse sand or fine gravel, to 1 part cement, 
thoroughly mixed in a box dry, then damp- 
ened with water. Spread it on the ground in 
sections or squares. As soon as it is set, put on 
another coat, 1 inch thick, of 1 part 
cement to 3 parts sharp sand. When that 
is set, for a finishing coat put half an inch 
thick of 1 part cement and 1 part sand. 
Do not drive over it for five days. 

Roman Cement.— This consists of pul vis Puteo- 
ianus or pozzuolana, a ferruginous clay from 
Puteoli, calcined by the fires of Vesuvius, lime 



and sand, mixed up with soft water. The only 
preparation which the pozzuolana undergoes is 
that of pounding and sifting ; but the ingredi- 
ents are occasionally mixed up Avith bullock's 
blood and fat of animals, to give the com- 
position more tenacity. 

Roman Cement.— Ordinary clay, 60 lb.; cal- 
cine and mix with 40 lb. lime ; recalcine the 
whole. 

Roofs, Cement for.—l. Melt together in an 
iron pot two parts by weight of common pitch 
and one part gutta percha. This forms a homo- 
geneous fluid much more manageable than 
gutta percha alone. To repair gutters, roofs 
or other surfaces, carefully clean out of the 
cracks all earthy matters, slightly warm the 
edges with a plumber's soldering iron, then 
pour the cement in a fluid state upon the 
cracks while hot, finishing up by going over the 
cement with a moderately hot iron, so as to 
make a good connection and a smooth joint. 
The above will repair zinc, lead or iron, and is 
a good cement for aquariums. 

2. Take 4 lb. rosin, 1 pt. linseed oil, 2 oz. red 
lead, stir in fine sand until the proper consist- 
ency is secured, and apply warm. This cement 
becomes hard, and yet possesses considerable 
elasticity, is durable and waterproof. 

Rubber Cements. — Rubber cements are very 
common and very useful, but great care should 
be taken in their preparation to guard against 
fire; they should not be prepared at night, as 
the carbon bisulphide, naphtha, or chloroform 
is very inflammable. Vessels which are used to 
digest the rubber should be closed and if possi- 
ble put out of doors. If heat is required, use a 
sand or hot water bath ; on no account bring 
near a fire. 

See also Gutta Perclia Cements. 

Rubber Cement.— 1. Digest caoutchouc, cut in 
fine shreds, with about 4 volumes of naphtha or 
carbon bisulphide in a well covered vessel for 
several days. 

2. Cement for sticking on leather patches and 
for attaching rubber soles to boots and shoes is 
prepared from virgin or native India rubber, by 
cutting it into small pieces or else shredding it 
up; a bottle is filled with this to about one- 
tenth of its capacity, benzine is then poured on 
till about three parts full, but be certain that 
the benzine is free from oil. It is then kept till 
thoroughly dissolved and of a thick consisten- 
cy. If it turns out too thick or thin, suitable 
quantities must be added of either material to 
make as required. 

3. Cement used for repairing holes in rubber 
boots and shoes is made of the following solu- 
tion : 1. Caoutchouc, 10 parts ; chloroform, 280 
parts. This is simply prepared by allowing the 
caoutchouc to dissolve in the chloroform. 
2. Caoutchouc, 10 parts; resin, 4 parts; gum 
turpentine, 40 parts. For this solution the 
caoutchouc is shaved into small pieces and 
melted up with the resin, the turpentine is then 
added, and all is then dissolved in the oil of tur- 
pentine. The two solutions are then mixed to- 
gether to repair the shoe with this cement. 
First wash the hole over with it, then a piece of 
linen dipped in it is placed over it ; as soon as 
the linen adheres to the sole, the cement is then 
applied as thickly as required. 

4. Good rubber cement for sheet rubber, or 
for attaching rubber material of any descrip- 
tion or shape to metal, may be made by soften- 
ing and dissolving shellac in ten times its weight 
of water of ammonia. A transparent mass is 
thus obtained, which, after keeping three or 
four weeks, becomes liquid, and may be used 
without requiring heat. When applied it \yill 
be found to soften the rubber, but when the 
ammonia is evaporated it forms a kind ot hard 
coat, and causes it to become both impervious 
to gases as well as liquids. 

5. A cement for uniting India rubber is com- 
posed as follows: 100 parts of finely chopped 
rubber, 15 parts of resin, 10 parts of shellac; 
these are dissolved in bisulphide of carbon. 



Cements. 86 



Cements. 






6. Another India rubber cement is made of : 
15 grains of India rubber, 2 oz. of chloroform, 
4 drm. of mastic ; first mix the India rubber and 
chloroform together, and when dissolved, the 
mastic is added in powder. It is then allowed 
to stand for a week or two before using. 

7. Rubber Cement to Mend Boots.— Dissolve 1 
drm. of gutta percha in 1 oz. of bisulphide of 
carbon, filter through coarse filter paper, add 
15 gr. of pure rubber, rub the whole smooth 
with a palette knife, taking care to do it 
quickly. If necessary, thin with bisulphide of 
carbon. Keep it away from fire or light, as it 
is volatile and inflammable. 

Rubber, Hard, to Cement.— Dissolve bleached 
gutta percha in carbon bisulphide. Cement, 
and when dry brush over carbon bisulphide in 
which sulphur has been dissolved. 

Rubber, Cement to Mend. — Equal parts of pitch 
and gutta percha are melted together and lin- 
seed oil is added, which contains litharge. Melt 
until all are well mixed, use no more of the lin- 
seed oil than necessary. Apply warm. 

Rubber Shoes, Cement for.—2}4 parts India 
rubber are dissolved in 70 parts of chloroform 
by mastication. For the second solution melt 
2^2 parts India rubber with 1 part of resin, ^ 
part of Venice turpentine is added, and lastly 
10 parts oil of turpentine. Mix the solutions. 

To Fasten Hard Rubber to Metal. — Make a thin 
solution of glue, and gradually add pulverized 
wood ashes till you have a stiff varnish. Use 
this cement hot. 

Rubber (Hard) Cement for Mending. — 1. Fuse 
together equal parts of gutta percha and 
genuine asphaltum ; apply hot to the joint, 
closing the latter immediately with pressure. 
See Ammonia and Shellac Cement. No. 4 above. 

Oil and Sulphur.— 1 of sulphur to 12 of oil 
gives a substance like molasses ; 4 to 12 of oil 
a stiff substance like rubber. To be successful 
in making this compound, take an iron ladle, 
such as is used for the melting of lead, and fill 
it not more than £ full, and place it over a clear 
fire. Owing to a quantity of water being 
held in the oil by the vegetable matter, it will 
begin to seethe, and, if not closely watched, 
boil over into the fire. After a little time it 
will subside, the surface remaining quite placid, 
with now and then little flickers of smoke Sit- 
ing across the surface. Your sulphur must be 
either roll brimstone or the crude sublimed, i.e., 
not washed or treated with acid. If the first, 
finely powder it, and mix by degrees in the oil, 
stirring all the time until incorporated. 

Rubber to Wood and Metal, Cement to Fasten. 
—As rubber plates and rings are now almost 
exclusively used for making connections be- 
tween steam and other pipes and apparatus, 
much annoyance is often experienced by the 
impossibility or imperfectness of an air-tight 
connection. This is obviated entirely by em- 
ploying a cement which fastens equally well to 
the rubber and to the metal or wood. Such 
cement is prepared by a solution of shellac in 
ammonia. This is best made by soaking pul- 
verized gum shellac in 10 times its weight of 
strong ammonia, when a slimy mass is obtained, 
which, in three or four weeks, Avill become 
liquid without the use of hot water. This 
softens the rubber, and becomes, after volatili- 
zation of the ammonia, hard and impermeable 
to gases and fluids. 

Rust Cement.— Rust Cements for Water and 
Steam Pipes, Steam Boilers, etc.— 1. Make a 
stiff paste with 2 parts sal ammoniac, 35 parts 
iron borings, 1 part sulphur and water, and 
drive it into the joint with a chisel ; or, to 2 
parts of sal ammoniac and 1 part flowers of 
sulphur, add 60 parts of iron chips, and mix the 
whole with water, to which | part vinegar or a 
little sulphuric acid is added. Another cement 
is made by mixing 100 parts of bright iron fil- 
ings or fine chips or borings with 1 part pow- 
dered sal ammoniac, and moistening with urine; 
when thus prepared, force it into the joint. It 
will prove serviceable under the action of fire. 



2. Iron may be cemented in wood by drop- 
ping in the recess prepared in the latter, a 
small quantity of a strong solution of sal am- 
moniac. This causes the iron to rust, render- 
ing it very difficult to extract. Additional rust 
cements will be found under Steam Cements 
below and also under Iron. 

Sandstone, Cement for.— Clean sand, 10 parts; 
lead oxide, 1 part; ground lime, J^ part. Mix 
with linseed oil. 

Scheibler' l s Cement.— Melt 1 part of wax and 3 
parts of shellac, and work into the mixture 
while still warm 2 parts of gutta percha cut 
fine. 

Sclwttler' l s Cement.— Plaster of Paris (freshly 
ground), 12 parts, by weight ; cinders (sifted), 
8 parts; brick dust, 6 parts. Mix with water. 

Seal Engraveis'.— Common resin and brick 
dust melted together. Use. To fix the pieces 
of metal while cutting, and also to secure seals 
and tools in their handles. It grows harder 
and improves every time it is melted. 

SerbaVs Linseed Oil Mastic— Lead sulphate, 6 
parts; mix with 1 part linseed; add gradually; 
add 6 parts powdered pyrolusite. 

Shellac.— 1. Simple shellac, made into sticks 
of the size of a lead pencil, is commonly sold 
for a cement withstanding water, acids, oils, 
etc. The objects to be cemented are first 
warmed till they melt the shellac brought in 
contact with them. This is very good to ce- 
ment broken glass, porcelain, etc., especially 
as the objects are again ready for use imme- 
diately when cold; but it is not adapted for 
flexible objects, as it cracks, and also will not 
withstand heat or alcohol. 

2. When the gum called shellac is dissolved 
in alcohol or naphtha, a cement for uniting 
broken glass, china, or stoneware is obtained. 

Shells, Cement for. See Paris Cement. 

Shoemakers Cement.— Dissolve gutta percha 
in chloroform to the consistency of honey. 
Heat the surfaces to which it is to be applied, 
and press together. See also gutta percha and 
rubber cements above. 

Siemens' 1 Cement.— 12 lb. black iron rust or iron 
filings, 100 lb. sulphur. 

Signs, Filling, Cement for.— Melt together in a 
clean iron pot 2 parts each of best asphaltum and 
gutta percha; stir well together, and then add 
1 part of gum shellac in fine powder. It may be 
used hot and mixed with smalt, vermilion or 
other pigment, if desired. 

Singer's Cement for Electrical Machines and 
Galvanic Troughs. — 1. Melt together 5 lb. resin 
and lib. beeswax, and stir in lib.* red ocher, 
highly dried and still warm, with 4 oz. plaster of 
Paris, continuing the heat a little above 212°, 
and stirring constantly till all frothing ceases ; 
very useful in electroplating and electrotyp- 
ing. The following cement is especially adapted 
for troughs. 

2. Resin, 6 lb.; dried red ocher, 1 lb.; calcined 
plaster of Paris, ^ lb.; linseed oil, 34 lb- Used 
to cement the plates in voltaic troughs, to join 
chemical vessels. 

Slag Cement.— 1. Granulated slag is ground 
and mixed with lime and the mixture calcined 
and reground. 

2. Blast furnace slag is mixed in the follow- 
ing proportions with lime and clay: blag, 
10 parts; lime, 25 parts; clay, 10 parts. Calcine. 

Sodium Silicate Cement. See Soluble Glass 
Cement below. 

Soft Cement— Melt yellow beeswax with its 
weight of turpentine and color with finely pow- 
dered Venetian red. When .cold it has the hard- 
ness of soap, but is easily softened and moulded 
with the fingers, and for sticking things together 
temporarily it is invaluable. 

Soluble Glass Cements.— When finely pulver- 
ized chalk is stirred into a solution of soluble 
glass of 30° B. until the mixture is fine and plas- 
tic, a cement is obtained which will harden in 
between six and eight hours, possessing an ex- 
traordinary durability, and alike applicable for 
domestic and industrial purposes. If any of 



Cements. 



Cements. 



the following substances be employed besides 
chalk, differently colored cements of the same 
general character are obtained : 

1. Finely pulverized or levigated stibnite (gray 
antimony or black sulphide of antimony) will 
produce a dark cement, which, after long bur- 
nishing with an agate, will present a metallic 
appearance. 

2. Pulverized cast iron, a gray cement. 

3. Zinc dust, so-called zinc gray, an exceed- 
ingly hard gray cement, which, after burnish- 
ing, will exhibit the white and brilliant appear- 
ance of metallic zinc. This cement may be 
employed with advantage in mending orna- 
ments and vessels of zinc, sticking alike well to 
metals, stone and wood. 

4. Carbonate of copper, a bright green ce- 
ment. 

5. Sesquioxide of chromium, a dark green 
cement. 

6. Tbenard's blue (cobalt blue), a blue cement. 

7. Minium, an orange coloi-ed cement. 

8. Vermilion, a splendid red cement. 

9. Carbon red, a violet cement. 

Water Glass and Lime Cement.— Solution of 
water glass, 20 parts; quicklime, 8 parts; whit- 
ing, 80 parts. Used for flag pavement by mix- 
ing with small sharp edged stones and stamping 
in moulds. Hardens slowly. 

Water Glass Cement with Zinc and Pyrolusite.— 
Water glass, 16 parts; pyrolusite, 64 parts; zinc 
white, 80 parts. Used for cementing the joints 
of pipes exposed to red heat. Hardens quickly 
and makes a close joint. 

Water Glass, Cement for, Porcelain and 
Glass.— Solution of water glass, 48 parts; elutri- 
ated glass powder, 8 parts; elutriated powder 
of fluorspar, 16 parts. Stir together quickly. 
The paste which is formed should be applied at 
once. This cement hardens in a few days, so 
that the article can be heated with safety. 

SoreVs Cement.— Mix commercial zinc white 
with half its bulk of fine sand, adding a solu- 
tion of chloride of zinc of 1*26 specific gravity, 
and rub the whole thoroughly together in a 
mortar. The mixture must be applied at once, 
as it hardens very quickly. See also Zinc, below. 

Steam Boiler Cement.— 1. Mix 2 parts of finely 
powdered litharge with 1 part of very fine 
sand and 1 part of quicklime which has been 
allowed to slake spontaneously by exposure to 
the air. This mixture may be kept for any 
length of time without injuring. In using it a 
portion is mixed into paste with linseed oil, or, 
still better, boiled linseed oil. In this state it 
must be quickly applied, as it soon becomes 
hard. 

2. Dried and powdered clay, 6 lb.; iron filings, 
1 lb.; made into a paste with boiled linseed oil ; 
used for stopping cracks and leaks in boilers, 
stoves, etc. 

3. Litharge in fine powder, 2 parts ; very fine 
sand, 1 part; lime that has been allowed to 
slake spontaneously in a damp place, 1 ; mixed, 
and kept from the air ; made into a paste 
with boiled oil, and used to mend cracks and 
secure steam joints. 

4. Good linseed oil varnish ground with equal 
weights of white lead, oxide of manganese, 
and pipe clay. 

5. Dry, powdered clay, 1 part ; clean, sifted 
iron filings, 2 parts ; acetic acid, sufficient to 
make a paste. 

0. Dry, powdered clay, 8 to 10 parts ; iron fil- 
ings, free from rust, 4 parts ; peroxide of man- 
ganese, 2 parts ; sea salt, 1 part ; borax, 1 pai't ; 
water, sufficient to make a paste. 

7. Sulphate of baryta, 1 part ; clay, 2 parts ; 
made up with solutions of silicate of potash and 
borax ; it resists a very high temperature. 

8. Iron filings, free from rust, 50 parts ; flow- 
ers of sulphur, 2 parts ; pulverized hydrochlo- 
rate of ammonia, 1 part ; these substances are 
mixed with water or mine, so as to make a solid 
and homogeneous paste, which is used in the 
joints of steam boilers. The lute swells, be- 



comes very solid, and perfectly closes the 
joints. 

9. Iron filings, 4 parts ; loam, 2 parts ; pow- 
dered sandstone, 1 part ; made into a paste with 
salt water ; becomes very hard on setting. 

10. A thick paste, composed of silicate of soda 
and iron filings ; the latter substance may be 
replaced by a mixture, in equal parts, of pow- 
dered oxide of zinc and peroxide of manganese. 

11. Sand, 84 parts; Portland stone, 166 parts; 
litharge, 18 parts; pulverized glass, 0*90 part; 
red lead, - 45 part ; suboxide of lead, 0*90 part ; 
the whole rubbed up with oil. 

12. Cement to stop steam leak : Iron borings, 
powdered fine, 1 lb.; sal ammoniac in powder, 2 
oz.; flowers of sulphur, 1 oz.; mix trie whole 
thoroughly dry. For use mix 1 part of the 
above with 20 parts of flne iron borings, and 
mix with water until of the consistence of mor- 
tar. Use at once. 

Stephenson's Oil Cement.— 1. Litharge, 10 parts; 
air slaked lime, 5 parts ; fine sand, 5 parts ; mix 
to a paste wth hot linseed oil. Use immedi- 
ately. 

2. Litharge, 20 parts; slaked lime, 10 parts; 
sand, 10 parts ; linseed oil varnish, 3 parts. 

Stickall.— This is simply a solution of potas- 
sium silicate. It forms a very valuable cement 
for mending statuary. It suffices to brush the 
surfaces with the solution, and to press them 
firmly together. 

Stieda's White Zinc Cement.— Hub up oxide of 
zinc with turpentine, and add, stirring continu- 
ally for every drachm of zinc oxide, 1 oz. of a so- 
lution of dammar in turpentine, of the consist- 
ency of thick sirup. This gives a white cement 
like Ziegler's. For a red cement, take, instead 
of zinc, cinnabar, and take 2 drm. of the metal 
for each ounce of the dammar solution. If the 
cement has become too thick with age, dilute 
with turpentine, ether, or chloroform. 
Stone. See also Metallic Cements. 
Stone Cement.— River sand, 20 parts ; litharge, 
2 parts; quicklime, 1 part ; linseed oil to mix. 

Stone Sidewalks, Artificial, Cement for.— En- 
glish Portland cement is generally preferred. 
Procure a sharp, light-colored sand, and wash 
it free from all particles of soft earth or soil ; 
also some stone chips, gravel, and large stone. 
Excavate the sidewalk about 18 in. deep, and fill 
in the large stone to within 6 in. of the surface ; 
prepare a concrete made of the cement 1 pai*t, 
stone chips and gravel about 6 parts, and bed it 
in upon the stone bottom to within 2 in. of the 
surface ; then prepare a concrete of the cement 1 
part and fine sand 2 parts, and lay it in up to the 
surface, floating the surface with the cement at 
pleasure. Finish by lining off into very regular 
blocks. A more economical sidewalk can be made 
by omitting the stone bed, but it will require a 
good hard soil to lay it on, and then will not be 
so sure of being permanent. 

Stonemason's Cement.— Clean river sand, 20 
lb.; litharge, 2 lb.; quicklime, 1 lb.; linseed oil, 
sufficient to form a thick paste. This cement is 
applied to mend broken pieces of stone, and 
after a time it becomes exceedingly hard and 
strong. 

Stove Cement, for the Joints of Iron Stoves. — 
Mica, together with finely sifted wood ashes, an 
equal quantity of finely powdered clay, and a 
little salt. When required for use, add enough 
water to make a stiff paste. 

Cement for Closing Cracks in Stoves.— 1. This 
cement is prepared by mixing finely pulverized 
iron, such as can be procured at the druggists 1 , 
with liquid water glass to a thick paste, and 
then coating the cracks with it. The hotter the 
fire then becomes the more does the cement melt 
and combine with its metallic ingredients, and 
the more completely will the qrack become 
closed. 

2. Take equal parts of sulphur and white lead, 
with about & part of borax ; incorporate them 
so as to form one homogeneous mass. When 
going to apply it, wet it with strong sulphuric 
acid and place a thin layer of it bet ween the two 



Cement*. 



Cements, 



pieces of iron, which should then be pressed 
together. An excellent cement consists of 
glycerine and litharge stirred to a paste. 

3. Sand, 6 parts; iron filings, 5 parts; bone 
black, 5 parts ; slaked lime, 6 parts ; glue water, 
q. s. See also Iron Cements and Putty. 

Stratena. — This well-known household cement 
is said to be prepared as follows : 6 parts white 
glue are dissolved in 8 parts acetic acid; this 
solution is added to another composed of 1 part 
French gelatine in 8 parts water. After mixing 
add 1 part shellac varnish. 

Sulphur or Brimstone Cement. — Roll sulphur 
is frequently" used alone as a cement for fasten- 
ing iron bars in holes drilled in stone. The ad- 
dition of brick dust, sand or resin lessens its 
liability to crack. "When the yellow color of 
brimstone is an objection, a little graphite may 
be mixed with it. 

Tapes , Insulating. See Insulating Cements. 

Temporary Cement. — A temporary cement, to 
fix optical ' glasses, stones, jewelry, etc., on 
stocks or handles for the purpose of painting, 
repairing, or ornamenting, is made by melting 
together at a good heat, 2 oz. of resin, 1 drm. 
of wax, and 2 oz.of whitening; with this applied 
to the article when heated, secure fixation may 
be obtained, unfixed at pleasure by the same 
means, viz., heat. 

Terra Cotta, Cement for. — Coat the terra cotta 
after heating and apply the cement as soon as 
possible. The cement is made as follows: 10 
parts rosin, 10 parts yellow wax, 2 parts sul- 
phur. Melt these together and add 1 part each 
of hammer slag and quartz sand. Point up the 
edges of the joint with pounded terra cotta. 

Tiles, to Stick to Iron. — Use a gutta percha 
cement, made by melting together in an iron 
pan 2 parts of common pitch and 1 part of gutta 
percha. Stir them well together until thor- 
oughly incorporated and then pour the liquid 
into cold water. When cold it is black, solid 
and elastic; but it softens with heat, and at 100° 
F. is a thin fluid. Also try bedding in plaster 
of Paris. 

Cement for Tile Roofs. — Dry sand and whiting 
equal parts; 25$ of litharge. Make of the con- 
sistency of putty, with linseed oil. This cement 
is not liable to crack when cold, or melt like tar 
or asphalt with the heat of the sun. 

Tolu Balsam Cement. — Tolu balsam, 2 parts ; 
Canada balsam, 1 part; saturated solution of 
shellac in chloroform, 2 parts. Add enough 
chloroform to bring the mixture to a sirupy 
consistence. Carnoy finds this cement superior 
to all others. Used by microscopists. 

Teeth, Cements for the. — Tooth cements are 
extensively used in England, but their use is 
not advised. Consult a good dentist. See also 
SoreVs Cement. 

Phosphate Cement. — 1. Concentrate pure 
phosphoric acid till semi-solid ; mix aluminum 
phosphate with it by heating. For use, mix 
with basic oxide of zinc to the consistency of 
putty. The light oxide of zinc should not be 
used here, nor in making oxychlorides. The 
cement sets in two minutes. 

2. ' • By calcining magnesium nitrate an oxide 
is made. This, when hydrated, forms a durable 
cement. When mixed with phosphoric acid it 
hardens at once, growing so hot as to burn the 
hand. As basic oxide of zinc forms with phos- 
phoric acid a slower-setting cement, the indi- 
cation is plain. I have used for pulp capping 
and temporary filling the following mixture: 
Basic oxide of zinc, 2 parts; oxide of magne- 
sium, 5 parts. Grind them together. For use, 
mix to a paste with sirupy phosphoric acid. 
This sets in thirty seconds. 1 ' 

3. Gutta Percha Stopping.— This is pure, un- 
colored, native gutta percha. A small piece is 
softened in hot water, and at once applied. It 
answers well for filling hollow teeth with cen- 
tral cavities, and is efficient and durable. 

4. Vienna Cement. — Powdered asbestos made 
into a paste with thick mastic varnish. Neither 
hard nor durable. 



5. Wirth's Cement.— levigated quartz made 
into a paste with very thick mastic varnish. 
The color is good, but it is not very durable. 

6. Mr. Evans'.— Take of pure grain tin, 2 parts; 
cadmium, 1 part; beeswax, 1 part. Melt them 
together in a porcelain crucible at a heat not 
exceeding 600° F., and 'cast' the alloy so as to 
form a small ingot, whicb, when cold, must be 
reduced to filings. For use, a small quantity of 
these ' filings ' is formed into an amalgam with 
quicksilver, the excess of the latter is squeezed 
out through a piece of chamois leather, and the 
amalgam at once applied to the tooth. This 
cement is recommended by Mr. Evans as very 
durable and unobjectionable. Its color is inter- 
mediate between that of silver and tin, but it 
is said not to darken so readily as the simple 
amalgam of those metals. 

7. Zinc Amalgam ; Dentist's Zinc— Pure zinc 
filings, combined with twice their weight of 
quicksilver, a gentle heat being employed to 
render the union more complete. It is best 
applied as soon as made. Color gray, often 
proves effective and durable. 

8. Poudre Metallique.— According to Mr. Red- 
wood, the article sold in Paris under this name 
is a triple amalgam of mercury, silver and am- 
monium, with the latter in excess. 

9. Silica.— A mixture of levigated porcelain, 
plaster of Paris, and steel filings, in equal pro- 
portion, made into a paste with thick, quick- 
drying copal varnish. It is only adapted to fill 
central cavities in the double teeth, as its color 
unfits it for the front ones. 

10. Taveare's.— This is powdered mastic mix- 
ed with about )4 its weight of ether, and then 
with sufficient powdered burnt alum to form a 
stiff paste. It must be kept in a closely stop- 
pered bottle. It has little hardness and dura- 
bility.— Cooler/. 

Tortoise Shell, Cement for.—l. Dissolve in 125 
parts alcohol 90$, 30 parts of sheUac, 10 parts 
mastic and 2 parts turpentine. 

2. Mastic, 15 parts; shellac, 45 parts ; turpen- 
tine, 3 parts; spirit of wine 90$, 175 parts. 

3. Gum mastic, 10 parts; shellac, 30 parts; 
turpentine, 2 parts ; spirits of wine 90$, 12a 
parts. 

Transparent Cement.— 1. According to Ding- 
gler's Polyteehn. Journal, a very strong, trans- 
parent cement, applicable to wood, porcelain, 
glass, stone, etc., may be made by rubbing to- 
gether in a mortar 2 parts of calcium nitrate, 25 
parts of water, and 20 parts of powdered gum 
arabic. The surfaces to be united are to be 
painted with the cement, and bound together 
until completely dry. 

2. Pure, un vulcanized rubber, 75 parts; dis- 
solve in 60 parts of chloroform, and 15 parts of 
mastic are added. 

Trees, Cement for.— The following cement is 
used to protect injured trees : 2 parts of yellow 
ocher ; wood ashes (sifted), 1 part ; white lead, 
10 parts ; Venice turpentine, 2 parts ; linseed 
oil, q. s. to mix. 

Turner's Cement.— -1. H oz. rosin, }& oz. pitch, 
1 oz. beeswax ; melted together, sufficient fine 
brick dust added to produce desired consist- 
ence. 

2. 2 lb. rosin, 2 lb. Burgundy pitch, 2 lb. dried 
whiting, 2 oz. yellow wax, melted and mixed to- 
gether. 

3. y % lb. black rosin, 1 oz. yellow wax ; melted 
together, and poured into a tin canister. 

4. Use a mixture of rosin, turpentine and 
yellow wax, then add a little pulverized sealing 
wax. . ,, _ 

5. Melt 1 lb. of rosin in a pan over the fire, 
and, when melted, add H lb. of pitch. While 
these are boiling add brick dust until, by drop- 
ping a little on a cold stone, you think it hard 
enough. In winter it may be necessary to add 
a little tallow. By means of this cement a piece 
of wood may be fastened to the chuck, which 
will hold when cool ; and when the work is fin- 
ished it may be removed by a smart stroke with 



Cements. 



89 



Cements. 



the tool. Any traces of the cement may be re- 
moved from the work by means of benzine. 

6. When wanted for use, chip off as much as 
will cover the chuck to the ■£■ of an inch, spread 
it over the surface in small pieces, mixing' it 
within of its bulk of gutta percha in thin slices ; 
then heat an iron to a dull red heat, and hold it 
over the chuck till the mixture and gutta percha 
are melted and liquid ; stir the cement until 
it is homogeneous ; chuck the work, lay on a 
weight to enforce contact, leave it at rest 
twenty minutes. 

7. The following is a very exceUent cement 
for the use of turners and artisans in general : 
16 parts of whiting are to be finely powdered 
and heated to redness, to drive off all the water ; 
when cold, this is mixed with 16 parts of black 
resin and 1 part of beeswax, the latter having 
been previously melted together, and the whole 
stirred till of uniform consistence. 

Vegetable Cement.— 1. Mix gum arabic with 
calcium nitrate, 1 part of the gum arabic to 10 
parts of the calcium, and use 10 parts of 
water. 

2. Calcium nitrate, 2 parts ; 20 parts gum ara- 
bic (pulverized.; 25 parts water. 

Venice Cement.— It glue is mixed with J4 its 
weight of Venice turpentine, a cement is formed 
which will unite glass with metals or wood.— 
Building News. 

Vulcanite, to Cement.— 1. Dissolve 1 part of 
sulphur and 3 parts pure caoutchouc in 6 parts 
alcohol and 100 parts bisulphide of carbon, and 
evapoi'ate to the consistence of a thin paste. 
Join the fractured edges with this, and heat the 
whole to about 310° F., for four hours. 

2. Mix dry caoutchouc with \£ its weight of 
flowers of sulphur, and thoroughly knead the 
mixture on a plate of warm metal. Heat the 
teeth to a temperature of about 212° F., join the 
fractured edges with a little of the caoutchouc 
dough, moistened with a drop or two of bisul- 
phide of carbon, and expose the whole to a tem- 
perature of about 200° F. for two hours. At 
the expiration of this time, raise the tempera- 
ture to 390°, and maintain it constantly at this 
for four hours more. When cool, the joint will 
be found firm, and may be trimmed with a 
sharp knife. 

Wash Basins, Cement for.— Glass meal, 2 parts ; 
litharge (elutriated), 2 parts; linseed oil var- 
nish, 1 part. Wet the powders slightly with the 
oil, heat and gradually add the rest. Do not 
use the basin for four days. Glass meal can 
be made by heating glass and throwing in cold 
water. Grind and elutriate. 

Water Cements.— 1. 100 parts slaked lime, 190 
parts brick dust, 160 parts sand, 50 parts black- 
smith's dross, 50 parts powdered lime; mix with 
water. 

2. 600 parts iron filings, 100 parts ignited sand, 
100 parts powdered slaked lime; mix with water. 

Waterproof Cements.— 1. Soak pure glue in 
water until it is soft, then dissolve it in the 
smallest possible amount of proof spirits by the 
aid of gentle heat. In 2 oz. of this mixture dis- 
solve 10 gr. of gum ammoniacum, and, while 
still liquid, add y% dr. of mastic dissolved in 3 
dr. of rectified spirits. Stir well, and for use 
keep the cement liquefied in a covered vessel 
over a hot water bath. 

2. A good waterproof cement maybe made by 
mixing glue 5, rosin 4, red ocher 3 parts, with a 
little water. 

3. Shellac, 4 oz.; borax, 1 oz.; boil in a little 
water until dissolved, and concentrate by heat 
to a paste. 

4. 10 parts of carbon disulphide and 1 part 
of oil of turpentine are mixed, and as much 
gutta percha is added as will readily dissolve. 

5. Tar, 1 part ; tallow, 1 part ; fine brick dust, 
1 part ; the latter is warmed over a very gentle 
fire; the tallow is added, then the brick dust, 
and the whole is thoroughly mixed. It must be 
applied while hot. 

6. Good gray clay, 4 parts; black oxide of man- 
ganese, 6 parts ; limestone, reduced to powder 



by sprinkling it with water, 90 parts; mixed, 
calcined, and powdered. 

7. Manganese iron ore, 15 parts ; lime, 85 parts; 
calcined and powdered. 

Both six and seven require to be mixed with 
a little sand for use ; thrown into water they 
harden rapidly. 

8. Fine, clean sand, 1 cwt.; powdered quick- 
lime, 28 lb.; bone ash, 14 lb. Beaten up with 
water for use. 

9. Quicklime, 5 parts ; fresh cheese, 6 parts ; 
water, 1 part. The lime is slaked by sprinkling 
with the water ; thereupon it is passed through 
a sieve, and the fresh cheese is added. The 
latter is prepared by curdling milk with a little 
vinegar and removing the whey. The cement 
thus formed is very strong, but it requires to be 
applied immediately, as it sets very quickly. 

10. Fresh curd, as before, 1 part; quicklime, 

1 part; Roman cement, 3 parts. Used for 
joining stone, metals, wood, etc. 

11. A paste composed of hydraulic lime and 
soluble glass. 

12. 1 part glue, 1 part black rosin, 34 part 
red ocher, mixed with least possible quantity 
of water. 

13. 4 parts glue; 1 part boiled oil by weight; 1 
part oxide of iron. 

14. Mix a handful of quicklime with 4 oz. lin- 
seed oil, thoroughly lixiviate the mixture, boil 
it to a good thickness, and spread it on tin 
plates in the shade. It will become very hard, 
but it can be dissolved over a fire, like com- 
mon glue, and is then fit for use. 

Yates 1 Waterproof (Old).— Glue, 4 oz.; isinglass, 

2 oz. Dissolve in ale over a slow fire, then add 
V/i oz. boiled linseed oil. When required for 
use dissolve in ale. [This cement is from Mac- 
kenzie, and was once a great favorite.— Ed.] 

White Cement.— Mix in a well-stoppered bottle 
10 drm. chloroform with 12}^ drm. unvulcan- 
ized caoutchouc in small pieces. The solution is 
easily effected, and, when finished, add 2±£ drm. 
mastic, and let the whole macerate from eight 
to ten days, shaking the mixture from time to 
time, but without heat. A perfectly white and 
very adhesive cement is thus produced. This 
compound is made on the same principle as the 
cement greatly in vogue among florists for 
making permanent bouquets. 

Wliite Lead Cement, Withstanding Heat and 
Moisture. — Pure white lead, or zinc white, 
ground in oil, and used very thick, is an excellent 
cement for mending broken crockery ware, but 
it takes a very long time to harden. It is well to 
put the mended object in some store room, and 
not to look after it for several weeks, or even 
months. It will then be found so firmly united 
that, if ever again broken, it will not part on the 
line of the former fracture. 

WollastoiVs White Cement for Large Objects.— 
Beeswax, 1 oz.; rosin, 4 oz.; powdered plaster of 
Paris, 5 oz. Melt together. To use, warm the 
edges of the specimen and use the cement 
warm. 

Wliite Cement, Zeigler^s.— Composition un- 
known. Is very much used on the Continent for 
microscopical use. 

Wood, Resinom Cement for Coating.— This ce- 
ment is fairly acid proof and resists alkalies. 
Melt 3 parts rosin, lpart asphaltum and 2 parts 
brick dust. Use hot. 

Wood, Cement to Stop Flaws or Cracks in.— 
1. Put any quantity of fine sawdust of the same 
kind of wood into an earthen pan, and pour boil- 
ing water on it; stir it well, and let it remain for 
a week or ten days, occasionally stirring it; then 
boil it for some time, and it will be of the con- 
sistence of pulp or paste; put it into a coarse 
cloth and squeeze all the moisture from it. Keep 
for use, and, when wanted, mix a sufficient 
quantity of thin glue to make it into a paste; 
rub it well into the cracks, or fill up the holes in 
your work with it. When quite hard and dry,, 
clean the work off, and, if carefully done, you 
will scarcely discern the imperfection. 



Cements. 



90 



Chalk. 



2. Make a paste of slaked lime, 1 part; rye meal, 
2 parts ; with a sufficient quantity of linseed 
oil. 

3. Dissolve 1 part of best glue in 16 parts of 
water, and when almost cool stir in sawdust 
(hardwood) and prepared chalk a sufficient 
quantity. Oil varnish thickened with a mix- 
ture of equal parts of white lead, red lead, 
litharge and chalk. 

4. A Hard Cement for. — The f ollowing cement 
will be as hard as stone when dry, and will 
adhere firmly to wood. Melt 1 oz. of resin 
and 1 oz. of pure yellow wax in an iron pan, 
and thoroughly stir in 1 oz. of Venetian red, 
until a perfect mixture is formed. Use while 
hot. When cold it is as hard as stone. 

5. Oil Cement f or.— 1 part pulverized slaked 
lime ; 2 parts rye flour ; mixed with linseed oil 
varnish. It takes any desired color and polish. 

Wood to Metals.— A good cement. An excel- 
lent cement for uniting articles of wood with 
metals, glass, stone, etc., may be obtained 
by dissolving glue in boiling water and making 
it of the same consistence as that of cabinet- 
makers' glue ; then add, while stirring, a suffi- 
cient quantity of wood ashes as to produce a 
varnish-like mixture. While hot, the surfaces 
to be united must be covered or coated with 
this glue compound, and pressed together. 
When cold the surfaces will be found firmly 
united, and much force will be needed to sepa- 
rate them again. 

Wood to Stone, Cement for Fastening.— Melt 
together 4 parts pitch and 1 part wax, and add 
4 parts brick dust or chalk. It is to be warmed, 
for use, and applied thinly to the surfaces to be 
joined. 

Zeiodite,— Is a cement composed of 10 parts 
sulphur and 12 parts glue or pumice. 

Zinc Cement.— Used by microscopists. Dis- 
solve 1 oz. gum dammar in 1 oz. of oil of tur- 
pentine by the aid of heat ; rub up 1 drm. zinc 
oxide with an equal quantity of oil of turpen- 
tine (adding the latter drop by drop) into a 
creamy mixture perfectly free from lumps or 
grit ; and then mix the two fluids, which must 
be stirred well together, and strained through 
fine muslin wetted with turpentine. Blue or a 
green pigments may be worked up with this if 
desired. 

Zinc White Cement.— German formula: 1, mas- 
tic; 2, dammar; 3, sandarac; 4, Venetian tur- 
pentine ; 5, turpentine ; 6, benzol ; 7, zinc white. 
1, 2, and 3, powdered, are mixed in a well-corked 
bottle with 4, 5 and 6 ; shake well occasionally ; 
after several days filter, and triturate in a mor- 
tar with zinc white in quantity sufficient. Dilute 
if necessary with benzol. 

Zinc White.— English formula : 1, gum dam- 
mar; 2, gum mastic; 3, benzol. Dissolve pow- 
dered 1, 2 and 3 in a well-corked bottle ; when 
dissolved, filter and mix caret' ully in a mortar 
with zinc white. 

Zinc Ornaments, Cement for.— Water glass 
having fine whiting and impure zinc (zinc gray) 
stirred in forms an excellent cement and re- 
ceives a high polish. 

Zinc Cement, Oxychloride of.—l. This cement 
or mastic is prepared by mixing 1 part <5f the 
finest pulverized glass with 3 parts of oxide of 
zinc thoroughly calcined (made from the car- 
bonate), which is afterward kept in well stop- 
pered glass vials. Separately 1 part of borax is 
dissolved in the smallest possible quantity of 
water. It is mixed with a solution of chloride 
of zinc of 1*5-1'6 sp. gr., and is kept in this state 
in well closed vials. To use this mastic, enough 
of the powder is mixed with some of the liquid 
to form a putty, which hardens readily until 
like stone. Under the name of Paris dental 
cement a similar preparation is sold in the 
pharmacies which has even been used for fill- 
ing hollow teeth. This composition can serve 
excellently for many other purposes; for ex- 
ample, to attach to each other different parts 
of technical, scientific, or domestic appliances, 



where a tenacious, quickly hardening cement is 
required.— L'Elettricita. See also Teeth. 

2. That in most general use for ordinary plug- 
ging is composed of oxide of zinc, 5; silex, 2; 
borax, 1 ; moistened with a solution of 1 oz. zinc 
chloride in 6 drm. water. Where it is to be 
used as a capping or temporary filling over 
freshly exposed pulps the fluid should be zinc 
chloride, 1 oz.; water, 1 to 2 oz.; making a solu- 
tion of only sufficient strength to cause the 
mixture to set. The cavity having been cleaned, 
ci^eosote should be applied to the exposed pulp, 
and the oxychloride introduced in a semi-fluid 
state, and protected by a rubber dam from the 
fluids of the mouth until properly hardened 
(half an hour usually suffices). It is advisable 
to allow several days to intervene for the more 
thorough solidification of the cap prior to the 
removal of the excess of material and final 
insertion of the metal stopping. 

Cerates, Ointments and Salves.— These 
are unctuous substances, composed mainly of oil 
or lard mixed with wax, spermaceti or resin in 
different proportions. Cerates are used prin- 
cipally for a dressing or kind of plaster, and are 
of firmer consistency. Ointments are mainly 
intended to be rubbed upon the surface, and 
ordinarily melt or become soft at the tempera- 
ture of the body. The cerates contain a greater 
amount of wax, from which (cera, wax) they 
derive their name. The tendency of this class 
of preparations to become rancid may be largely 
obviated by dissolving in them a little gum 
benzoin or benzoic acid. Ointments made with 
the fixed oils, with suitable proportions of wax, 
suet or cocoa butter, are less liable to rancidity 
than those made with lard. 

Vaseline, Simple Cerate.— Vaseline, 16 oz.; white 
wax, 8 oz. Melt with a gentle heat. This cerate 
keeps well, is of medium consistency, and can 
be used all the year round, not being too hard 
for cold or too soft for warm weather. 

Resin Cerate.— Vaseline, 16 oz.; yellow wax, 4 
oz.; resin, 10 oz. Melt as resin cerate, U. S. P. 
This offers no advantage over lard cerate, and 
requires constant stirring on cooling, as the 
resin tends to separate readily. 

Pomatum Camphoratum.— This is a strong 
solution of camphor in lard and wax. With 
vaseline it is inalterable. The formula is as 
follows : Camphor, 6 dr.; white wax, 6 dr.; vase- 
line, 14 dr. 

Simple Cerate.— White wax, 141b.; sweet oil, }4 
lb.; water, 3 oz.; melt and stir until cold. 

Cerise.— A coal tar color, of the rosaniline 
group, obtained from magenta residues. It is 
much used in compound colors. 

Ceromel.— VanMons. Beeswax, loz.; honey 
4oz.; melt together and stir until cold. An ex- 
cellent application to irritable ulcers, abraded 
surfaces, sore nipples, etc. 

Cetine.— Syn. Pure Spermaceti. Dissolve 
spermaceti in boiling alcohol, and collect the 
crystals that deposit on cooling. Prep. Bright 
pearly crystals ;. melts at 120° ; sublimes at 670°. 

CIxslIIh*— Camphorated.— Camphor, 1 oz.; pre- 
cipitated chalk, 15 oz. Prepared chalk may be 
used in lieu of precipitated chalk. Less white 
and velvety, but cleans the teeth better than 
the softer article. 

Colored Chalk for Tailors' Use.— Knead to- 
gether ordinary pipe clay, moistened, and 
ultramarine for blue, finely ground ocher for 
yellow, burnt ocher for red, etc., until they are 
uniformly mixed ; roll out into thin sheets, 
cut, and press into wooden or metallic moulds 
well oiled to prevent sticking, and allow to dry 
slowly at ordinary temperature, or at a very 
gentle heat. 

Precipitated Chalk. — This is prepared by 
adding a solution of carbonate of soda to a 
solution of chloride of calcium (both cold), as 
long as a precipitate forms. This last is well 
washed with pure water, and dried out of the 
dust, as the last. The refuse, "sulphate of 



Chameleon. 



91 



Cheese. 



lime 1 ' of the soda water makers, which is 
poisonous in quantity, is often sold for it by 
the druggists. Pure chalk is wholly soluble in 
vinegar, and in dilute acetic, hydrochloric, and 
nitric acid, with effervescence. Sulphate of 
lime is insoluble in these menstrua. 

Prepared Chalk.— Syn. Creta. Rub 1 lb. chalk 
with sufficient water, added gradually, until 
reduced to a very fine powder ; then put this 
into a large vessel with water, agitate well, and, 
after a short interval, pour off the supernatant 
water, still turbid, into another vessel, and let 
the suspended powder subside. In the same 
way shells are prepared, after being first freed 
from impurities, and washed with boiling 
water. 

Chameleon Pictures.— Put into small 
bottles, say 2 drachm, some bromide of copper, 
chloride of cobalt, and acetate of cobalt in 
solution. Label distinctly. 

Directions.— Draw a scene on paper with 
bromide of copper. The trees stretching across 
the sky, and the snow-covered ground, may be 
changed to vernal beauty by heat. This is 
done by painting in the grass, foliage, etc., in 
muriate of cobalt, and the blues— of the sky 
and water— in acetate of cobalt. These tints 
will be invisible until held before the fire. 

Champagne, See "Wines and Cider* 

Chaps.— The effect of cold is to diminish the 
caliber of the cutaneous bloodvessels by pro- 
ducing contraction of their coats. Hence there 
is a lessened supply of blood to the skin and a 
lessened nutrition, accompanied by a decreased 
secretion of the cutaneous glands. The de- 
ficient secretions must be replaced by an out- 
ward application. The following f ormula will 
be of service : 

1. White wax, 1 part; borax, 3 parts; juice of 
bitter almonds, 1 part; oatmeal water, 3 parts. 

2. Milk, 1 part; chalk, 2 parts; glycerine, 1 
part. 

3. Spe-.-maceti, 2 parts; white wax, 1 part; 
glycerine, 1 part; chalk, 3 parts; oatmeal water, 
2 parts. 

4. Chaptal's Water, for Chapped Breasts.— 
Sulphate of alumina, 1 drm.; sulphate of zinc, 
% oz.; borate of soda, 4 grn.; rose water, 6 oz. 

Cracked Hands.— Various receipts are given 
for this, as f ollow. 1. Try the following oint- 
ment: Camphor, 60 grn.; boric acid, 30 grn.; 
lanoline, white vaseline, of each }£ oz.; to make 
an ointment. 

2. Anoint your hands with glycerine after 
washing and while they are still damp. If used 
without some water it has a drying tendency. 
Vaseline is no good. 

3. Mix a powdered ball of sal-prunel with 2 oz. 
of vaseline, and rub well in. 

4. Pomatum for Chapped Lips.— The follow- 
ing is from the Druggists' Circular: Lard, 16 
parts; cacao oil, 24 parts; spermaceti, 8 parts; 
yellow wax, 3 parts; alcanna root, 1 part. The 
substances are fused for a quarter of an hour 
at a gentle heat, then strained through a cloth 
and mixed with oil of lemon, oil of bergamot, 
of each \ part, oil of bitter almonds ^ part, when 
the mass is poured into suitable vessels to cool. 

Chartreuse. See Liquors. 

Chayavra.— A plant of the madder family, 
capable of dyeing similar colors. Abundantly 
used in India, but not met with in European 
markets. 

Cheese, Cheese Coloring.— Roll annatto 1 
part, potassium carbonate 1 part; digest 1 day 
in 10 parts water. Filter, add water if neces- 
sary. 

Cheese Makers, Notes for.— Cheese Fac- 
tnrits and their Surroundings.— 1. The present, 
not next week, will be the best time to see that 
all the drainage facilities of the factory are 
adequate and in good working order. 

2. Whey runs, spouts and tanks should be 
put into such order that leaking will be pre- 
vented. 



3. If there be a leakage anywhere from floors, 
spouts or tanks, which is not immediately pre- 
ventable, provision should be made at once for 
the drainage of the waste, if only by shallow 
open trenches. A liberal supply of lime and 
gypsum should be spread around such places. 
Don't fail to secure a barrel or two of each, for 
use during the hot weather. 

4. If the factory buildings are not painted 
and will not be painted, get them whitewash- 
ed at once. If you cannot get that done by 
the proprietors or managers, get permission 
and do the rest yourself. A whitewashed curing 
room of imperfect construction can be kept 10° 
cooler in summer than one not whitewashed. 
If the cheese become injured, through excess 
of heat, neither the buyers nor the patrons will 
whitewash your reputation then, whether the 
blame belongs to you or not. 

5. Make the surroundings of the factory neat 
and tidy. Plant a few trees and a great many 
flowers. 

6. While keeping the outside of the premises 
as creditable to your taste and neat habits as 
possible, make the inside to reflect still more 
your aversion to everything untidy and dirty. 
Give every part of the factory a thorough 
cleaning and keep it in a sweet state all summer. 

7. Before the curing room contains any cheese, 
fumigate it by burning some sulphur mixed in 
alcohol. That will help to prevent the growth 
of mould on the outside of the cheese. 

8. The leisure hours of May, before the large 
flow of milk is received, should be employed 
putting all the apparatus, appliances, utensils 
and machinery into the best of working order. 

9. Be sure that the making room floor is so 
well constructed and supported that it will 
not shake or vibrate during the coagulation 
of the milk. 

Milk and Making.— 1. Look out for leeky 
flavors in the milk. Don't put such milk into 
the vat with that of the other patrons. If you 
have time, make it up by itself, and send the 
cheese from it to the patron who supplied that 
milk, for his private use. 

2. Make provision for keeping a short record 
of each day's work, of the exceptional treat- 
ment of every vat and of the comparative 
quality of the cheese from each vat, before they 
are shipped. 

3. Milk sours readily and rapidly for a num- 
ber of weeks after the period of lactation in the 
cows begins. Hence milk seldom requires to be 
ripened for setting during May. 

4. Use enough rennet to coagulate the curd 
into a state fit for cutting, in from IT to 20 
minutes, at from 82° to 88° Fah. 

5. Cut it rather early, slowly and very care- 
fully. 

1 6. Use the horizontal knife first. 

7. Afterward allow the curd to settle until 
whey comes over nearly the whole surface. 

8. Then begin to cut with the perpendicular 
knife. 

9. Immediately after the cutting is completed, 
begin to stir the mass slowly and continuously, 
until the curd is cooked. 

10. Heat should not be applied until 10 min- 
utes after the stirring is begun. 

11. The heating should be effected gradually, 
at the rate of about 1 degree for every 4 or 5 
minutes until 98° Fah. is reached. 

12. Draw most of the whey early, and so 
guard against being caught unprepared for the 
rapid development of acid. 

13. Don't dip the curd until the presence of 
acid is discernible by the hot iron test. Sweety 
flavors result from too early dipping in May. 

14. After dipping the curd, stir it gently and 
keep it at a temperature above 94°. 

15. Don't attempt close matting, high piling 
or packing of the curd. See that the whey is 
separated from it. 

16. When it begins to feel " slippy " and smells 
like fresh-made butter, it should be put through 
the cutter or grinder. 



Cheese. 



92 



Chemicals. 



17. Acid develops so rapidly that care must be 
taken to keep the treatment well in advance of 
the change in the curd. 

18. After grinding- or cutting, stir for 10 or 
15 minutes before salting. 

19. Apply salt at a rate of about 1% lb., early 
in the month, to 2 lb. per 1,000 lb. of milk during 
the last ten days, varying the quantity slightly 
according to the condition of the curd as to its 
moisture. 

20. Begin to put the curd in the hoops within 
20 minutes after the salt is stirred in. 

21. Use only pure water in bandaging. 

22. Guard against the formation of edges or 
Shoulders from the hoop followers being too 
small. Apply the pressure gradually until the 
whole power through the long lever is used, 
after four hours. 

23. Leave the press cloths on, and turn the 
cheese in the hoops every morning. Let no 
cheese leave the press room until the shape is 
symmetrical and the finish neat. 

24. Don't press the scaleboards on the ends of 
the Cneese. 

25. When the press cloths are removed, use 
hot clean whey oil or butter, into which has 
been dissolved a teaspoonf ul of soda per cupful 
of oil. 

26. Try to keep the temperature of the press 
room above 60° Fah. 

27. The curing room should be kept at a tem- 
perature continuously between 65° and 70° F. 

28. Provide strong, smooth boxes ol the exact 
size. 

29. Stencil the weight of the cheese in neat 
figures on the side of every box.— Jos. W. Rob- 
ertson, Dairy Commissioner. 

Cheese Making.— It is quite easy to make 
cheese on a small scale. The operation is as 
follows: Place your milk in a tin vessel, and 
place this in a larger one filled with water, so 
that in heating it over a fire it cannot burn the 
milk. The heat required is only 82° Fah., 
therefore in very hot weather it may be neces- 
sary to cool the water outside the vat with ice, 
so as to cause the milk to attain this tempera- 
ture. Then the milk is exposed to the action 
of the so-called "rennet." This is the lining of 
one of the stomachs of the calf, and possesses 
strong digestive powers, especially for milk, 
which it coagulates very rapidly; even an in- 
fusion or preparation of this membrane pos- 
sesses the same property, and is often used in- 
stead. The quantity required is best learned 
by experience; but when using good liquid 
rennet, the small quanity of ^ of 1% is suffi- 
cient, or % a drachm for every gallon of milk. 
This liquid rennet is thoroughly stirred into 
the milk, and left alone for 20 minutes, when 
the curd is settled. The supernatant liquid, 
the whey, is then separated and the curd cut 
up in small pieces; then it is heated for about 
an hour to 98°, and continually stirred. When 
thoroughly cooked the remaining whey is sep- 
arated. As long as the curd sticks together 
there is whey present, but as soon as it crum- 
bles when pressed in the hand, it is ready to be 
strained and salted, requiring 34 of 1% of the 
milk used, or about 3 drachms of salt f or*every 
gallon of milk. The curd is then left to cool, 
ladled into a galvanized iron hoop, and pressed. 
After an hour's pressure, the mass, which now 
looks like a cheese, is taken out, bandaged, re- 
placed under the press, and left there under 
continual pressure for about 18 hours. Then 
the cheese is "cured," which consists in dress- 
ing it with the skimmings of the whey, color- 
ing the outside with some annatto, and keeping 
it in a well ventilated room at a temperature 
of about 60° or 70°, and turning it around every 
day for a few weeks. As to the question if it will 
pay on a small scale, the expense of this manu- 
facture is estimated to amount to 10 or 12 cents 
per pound. Using all the milk of five or six 
cows, it costs nine cents, while the largest 
farmer cannot reduce this cost below eight or 
seven cents. All this is outside of the value of 



the milk used. The large factories, however, 
established in the States of New York and 
Massachusetts, who make cheese for the farm- 
ers, or buy their milk, have by proper machinery 
reduced this cost to only 2>£ cents per pound, 
and it is of course impossible to compete with 
them if you intend selling your cheese to deal- 
ers. If, however, you keep a little cheese store, 
and sell all you make to consumers chiefly, it 
may pay. But it is doubtful if you cannot as 
cheaply buy cheese from the large manufactu- 
rers as make it yourself on a small scale. The 
whey can be utilized in making sugar of milk, 
as is done in Switzerland ; but it appears that 
in our cheese manufactories it is not used for 
any such purpose, but returned to the farmers 
(who bring their milk) in the proportion of two 
gallons of whey to three of milk. The farmers, 
use the whey to feed their hogs. 

Cheltenham Salts.— Glauber salts, Epsom 
salts, common salts, equal parts, powder. Mix* 
Dose % oz. 

Effervescing Cheltenham Salts.— Tartaric acid, 
dried, 25 parts ; tartrate of iron, 1 part ; seidlitz 
salt, 120 parts; mix. Dose, a teaspoonful in a 
glass of water. 

Chemic.— A name given to the acid extract 
of indigo, unmixed with salts or soda. In some 
places, the name given to bleaching liquor and 
bleaching powder. 

Chemicals and Drugs, to Pack for 
Export.— The following suggestions will be 
found of practical value : 1. Salts should be 
put in stoppered glass bottles or packed in 
casks, if sent in large quantities. Casks used 
for hygroscopic salts should be lined with oil 
cloth or parchment paper. Salts should never 
be packed in tin boxes or in paper only. 

2. The glass stoppers of all bottles contain- 
ing either liquids or dry substances should be 
greased with a little vaseline in order to avoid 
any difficulty in removing them. 

3. Parts of plants, such as leaves, roots, etc., 
should be packed in sacks, and these again in 
cases ; very delicate drugs in tin boxes. Vege- 
table powders should be packed in hermetically 
closed glass bottles or tin boxes. Drugs which 
occupy much space should be pressed as much 
as possible before being packed, especially if 
the shipping freight is calculated according to 
the bulk of the goods. 

4. Boxes and cases should be lined with zinc, 
or where this is too expensive a strong and good 
oil cloth will usually be sufficient. 

5. Although the utmost care is necessary in 
packing, yet packing materials, smch as hay, 
straw, etc., should be used as sparingly as possi- 
ble, as duty has usually to be paid for the 
weight of these as well as for the goods them- 
selves. 

6. Cases should be secured by iron bands, and 
it is always desirable that the weight and 
volume of cases should be as small as possible. 

7. Acids, caustic or inflammable substances, 
must be packed according to the regulations of 
the different railways by which they are trans- 
mitted prior to shipment. As a rule stone bot- 
tles are best for acids and ammonia and glass 
or tin vessels for volatile substances. All these 
should be closed by corks saturated with paraf- 
fine, and then wrapped in sail cloth, which, 
with the string securing it, should also be 
soaked in paraffine. 

8. Acetic acid may be safely conveyed from 
place to place in carboys of 5 to 10 gal. capacity. 

9. Liquor ammonia should never be put into 
iron vessels. 

10. Vessels containing volatile substances 
should never be quite filled. 

11. As acids and caustic and inflammable sub- 
stances are conveyed on the decks of sailing 
vessels only, the cases containing them should 
be well closed, and the address, mark, number, 
etc., be such as will resist sea water. 

12. Liquids should not be packed in the same 
case with dry substances. 






Chemical. 



93 



Chilblains. 



13. Valuable or expensive chemicals, such as 
■ethereal oils and essences, should be packed in 
strong - tin vessels and closed with corks satura- 
ted with paraffine as before described. 

14. The weights and measures of the country 
to which the goods are sent should always be 
used, to avoid loss and inconvenience. 

15. Besides observing these rules for packing, 
consignors of goods should be thoroughly ac- 
quainted with the customs tariffs and regula- 
tions of the countries to which they are sending-, 
as pecuniary loss and inconvenience may occur 
from ignorance of them. For instance, if a case 
contains various substances, the duties on 
which are different, it is usual in some tariffs to 
calculate the duty of the whole of the contents 
of the case or at least of the packing materials 
at the highest rate. The importance of packing- 
together goods upon which the customs tariffs 
are similar is self-evident from this. 

16. In cases of urgency small quantities of any 
substance suitable for such transmission, e. g., 
quinine, antipyrine, salicylic acid, etc., may be 
sent as patterns without value, and thus' avoid 
the delay caused by the customs office. 

Chem«Nomenclature. See Nomencla- 
ture. 

Chemical Reagents. See Reagents. 

Cherry Cordial. See Iiiquors. 

Cherry, Wild.— To )4 gal. sirup, add J4 oz. ar- 
tificial essence of black cherry and U oz. fruit 
acid solution. This is improved by the extract 
of wild cherry. It contains tannic acid and 
should not be placed in iron. 

Chilblains.— A chilblain is an inflammation 
of the true skin. There are three degrees: 
First, patches of red skin, generally swollen, 
and which itch ; second, the skin of a purple 
color, and surrounded by blots or vesications ; 
third, ulceration or sloughing. Causes, etc.: 
Chilblains are due to the local action of heat 
following cold. The skin of the toes and sides 
of the feet is generally attacked. Treatment. 
Preventive.— Keep the feet dry and warm; if 
cold, do not warm them at the fire or place them 
in hot water, but lave them with cold water, and 
then rub them with dry, cold towels. Chil- 
blains most frequently attack those who are 
debilitated, in health, although, of course, it is 
not confined to them; hence constitutional 
treatment is one of the most powerful meas- 
ures. Remedial.— 1. "Warm fomentations, and 
subsequent rubbing with liniments of turpen- 
tine, camphorated spirit or tincture of can- 
tharides, 3 drm.; soap liniment, 9 drm. 

2. Decoction of poppy capsules, 1 oz.; hot 
water, 2 oz. If there be much discharge of 
matter apply bread poultices, and when it 
ceases, or the inflammation subsides, use creo- 
sote ointment. If a chilblain be much in- 
flamed, it is imperative that it be protected 
from friction of the boot. 

3. A small quantity of yellow soap is dis- 
solved in very little water; then methylated 
spirit is added to just thin it a little, then add, 
while hot, tincture of iodine drop by drop, 
stirring it the while ; when it begins to change 
color there is enough. Let get cold, and apply 
night and morning, letting it dry on. It is 
only good while the spirit is in it. So it don't 
keep very long. Do not use if the chilblain is 
broken. 

4. Equal parts of tincture camphor com- 
pound and tincture belladonna, to be rubbed 
iu night and morning. 

5. A saturated solution of salt in warm water 
is also good. 

6. Local faradization of the parts is also 
g-ood. 

7. Melt together in a suitable vessel 3 oz. bees- 
wax, 3 oz. Venice turpentine, 8 oz. lard, and 1 pt. 
sweet oil. Stir these well together and raise the 
temperature till the mixture simmers; then 
allow to cool. This should be applied to the 
feet on a piece of cloth when going to bed. A 
sure protection against this irritating ailment 



is found in good, dry woolen clothing for the 
feet. 

8. A correspondent of the London Lancet 
recommends a solution of sulphate of copper (4 
grn. to the oz.) as an application for chilblains. 
He has found that to succeed when everything 
else has failed to effect a cure. 

9. L'Unwn Medicale recommends the follow- 
ing application : Oxide of zinc, 2 parts ; tannic 
acid, 1 part ; glycerine, 10 parts ; balsam of Peru, 
8 parts; camphor, 4 parts. 

10. According the Revue Medico-Photogra- 
ph ique, the following is a very convenient 
economical, and efficacious application for chil- 
blains and "chaps:' 1 Alcohol (85°), 100 parts; 
glycerine, 25 parts ; carbolic acid, 1 part. 

Camphor Balls, Camphor Cakes, Chap Balls, 
C'dlblain Balls, etc.— A popular skin cosmetic 
and preventive of chapping and chilblains, par- 
ticularly of the hands. 

1. Take spermaceti, 2 oz.; white wax (pure), 
2 oz. ; almond or olive oil, 34 pt-; melt them 
together by a gentle heat, add of camphor (cut 
sinall), 1 oz.; stir until it is dissolved, and 
otherwise proceed as directed under "almond 
cakes." 

2. Take clarified suet, 1 lb.; spermaceti, 3 
oz.; white wax, 2 oz.; camphor, 1 oz.; as before. 

Camphor balls are used in the same way as 
"almond balls." 

Lotions for Chilblains.— I. Take sal ammoniac 
(crushed small), 1 oz.; glycerine (Price's), l^oz.; 
rose water, 8 oz.; agitate them together until 
solution is complete. An elegant and effective 
preventive of " chaps " and " chilblains," as well 
as a remedy for the last before they break ; also 
for roughness of the hands produced by cold. 
The affected or exposed parts are moistened 
with the lotion night and morning. Elder 
flower water, camphor julep, or even distilled 
or clean soft water, may be substituted for the 
" rose water " at will. 

2. Take of sal ammoniac, 1 oz.; glycerine, 1 
oz.; rum (good, strong), }4 Pt.; camphor (pow- 
dered), ldrm.; agitate them together frequently 
for some hours. Very serviceable ; used as the 
last. 

3. Take sal ammoniac, V/% oz.; vinegar (good, 
strong), ji pt.; dissolve. Serviceable for un- 
broken childlains ; used as No. 1. Its efficacy is 
increased by subsequently rubbing the parts, 
when dry, with a little simple ointment or oil, 
or cold cream, or pomatum. 

4. Take tincture of catechu, 2 fluid oz.; honey 
(best), \% oz.; water, 7 oz.; mix. Used for chaps 
and chilblains, whether the latter be broken or 
not; as No. 1. 

5. Dr. Grave's "Chilblain Preventive."— Take 
sulphate of copper, 1 drm.; water, 3 oz.; dissolve. 

6. Linnaeus's " Remedy for Chilblains."— 
Take hydrochloric acid (sp. gr. 1*16), 1 oz.; 
water, 11 oz.; mix. For unbroken chilblains; 
as Nos. 1 or 3. 

Liniments for Chilblains.— 1. Take of soap 
liniment, 2 oz.; tincture of cantharides, 1 oz.; 
oil of cajeput, 13^ drm.; agitate them well to- 
gether. Useful for unbroken chilblains. To 
be applied twice or thrice daily, with friction. 

2. Take of oil of turpentine (best), J4 pt.; 
camphor (crushed small), 1 oz.; oil of cajeput, 
2 drm.; mix, and agitate till solution is com- 
plete. Use, etc., as the last. 

3. Lejeune's Liniment, Lejeune's Chilblain 
Balsam.— Take camphor (small), 1 drm.; iodide 
of potassium, 5 drm.; tincture of benzoin, % 
fluid oz.; solution of diacetate of lead, 1 fluid 
oz.; proof spirit (made with rose water), 2J/6 oz.; 
mix, dissolve, and add a warrn solution of curd 
soap, 134 oz., made with proof spirit (as above), 
2}4 oz.; and at once bottle it. Use, etc., as 
No. 1. 

4. Morton's Chilblain Lmiment.— Take calo- 
mel, 1 drm.; camphor (powdered), 1 drm.; oil 
of turpentine, 2 drm.; cocoa nut oil, 2 drm.; 
spermaceti ointment, 4 drm. Mix in a warm 
mortar, and triturate until cold. Use, etc., as 
No. 1. 



Chilli Vinegar, 



94 



Cider, 



5. Vance's Chilblain Cream.— Take oint- 
ment of nitrate of mercury, 1 oz.; camphor 
(powdered), 1 drm.; oil of turpentine, 2 drm.; 
olive oil, 5 drm.; mix, with a gentle heat, in a 
Wedgwood ware mortar, and triturate until 
cold. Use, etc., as No. 1. 

Ointments for Chilblains.— 1. Take made mus- 
tard (best, very thick), 2 drm.; glycerine 
(Price's), 1 drm.; spermaceti cerate, 13^ drm.; 
mix in a slightly warmed mortar, and triturate 
until cold. For unbroken chilblains ; to be 
applied night and morning. 

2. Take gall nuts (in very fine powder), 1 drm.; 
spermaceti cerate, 7 drm.; mix ; add of glyce- 
rine (Price's), 2 drm.; and rub the whole to a 
uniform mass. An excellent application to 
obstinate broken chilblains, particularly when 
used as a dressing. "When the parts are very 
painful, 1 oz. of compound ointment of galls 
("unguentum gallee compositum," L. Ph.) 
may be advantageously substituted for the 
galls and cerate ordered above. 

3. Cottereau.— Take acetate of lead, 1 drm.; 
camphor (in powder), 1 drm.; cherry laurel 
water, 1 drm.; tar, 1J^ drm.; lard, 1 oz.; mix as 
before. 

4. Devergie.— Take creosote, 12 drops; Gou- 
lard's extract, 12 drops ; extract of opium, 2 
grn.; lard, 1 oz.; mix. 

5. Giacomini's. — Take lead acetate, 2 drm.; 
cherry; laurel water (distilled), 2 fluid drm.; 
lard (hard), 1 oz.; mix. 

6. Linnaeus.— Take spermaceti ointment, 
2% oz.; balsam of Peru, 1 drm.; mix, with a 
gentle heat ; when cooled a little, add of hy- 
drochloric acid, 2 fluid drm., and triturate until 
cold. For unbroken chilblains. 

Chilli Vinegar, See Vinegar, 

Chimneys, Lamp, to Prevent from 
Cracking.— Put the chimneys into cold water 
and gradually heat it until it boils, then let it as 
gradually cool. 

China, Cement for. See Cements. 

China, Gilding on. See Gilding. 

Chloralum.— Aluminum chloride sp. gr. 
115. This is an impure, aqueous solution. Used 
as a disinfectant. 

Chlorodyne.— The following formula is 
from Baily's Physician's Pharmacopoeia : 

Hydrochlorate of morphia 4 gr. 

Chloroform 48 min. 

Rectified ether 32 " 

" spirit 32 " 

Dilute hydrocyanic acid . . 32 " 

Tincture of Indian hemp 32 " 

" " capsicum 24 " 

Oil of peppermint, English 3 " 

Hydrochloric acid, pure 4 ** 

Powdered tragacanth 2 gr. 

Molasses, dark green 3 drm. 

Distilled water, to loz. 

Dr. Brown's Chlorodyne contains 5 parts of 
concentrated muriatic acid and 10 parts each of 
ether, chloroform, tincture of Cannabis indica 
(Indian hemp;, and tincture of capsicum, 2 parts 
each of morphine and hydrocyanic acid, Impart 
oil of peppermint, 50 parts simple sirup, 3 parts 
each of tincture of hyoscyamus and tincture of 
aconite. 

Chocolate,— Spanish Chocolate.— 1. Caracas 
cocoa, 10 lb.; sweet almonds, 1 lb.; sugar, 3 lb.; 
vanilla, V/i oz. 

2. Caracas cocoa, 8 lb.; island cocoa, 2 lb.; 
white sugar, 10 lb.; aromatics, as above. 

3. Island cocoa, 7 lb.; farina q. s. to absorb the 
oil. Inferior. 

Vanilla Chocolate.— A variety of French or 
Spanish chocolate, highly flavored with vanilla. 
The following proportions have been recom- 
mended : 

1. Caracas cocoa, 7 lb.; Mexican vanilla, 1 oz.; 
cinnamon, y& oz.; cloves, 3. 

2. Best chocolate paste, 21 lb.; vanilla, 4 oz.; 
cinnamon, 2 oz.; cloves, y% drm.; musk, 10 gr. 



The vanilla used in making chocolate is 
reduced to powder by rubbing it with a little 
sugar before adding it to the paste. 

French Chocolate.— The proportions used for 
the best description are said to be : 2 beans of 
vanilla and 1 lb. of the best refined sugar to 
every 3 lb. of the choicest cacao nuts. 

Purgative Chocolate.— M. Giraud proposes a 
preparation made as f ollows : 

Grammes. 
Cacao, powdered and freed from oil. 50 

Sugar, powdered 100 

Castor oil..., 50 

Vanilla, powdered q. s. 

Make into tablets. The oil should be incor- 
porated with the cacao and the sugar and 
vanilla added. The ingredients must be well 
worked up upon a heated slab, and allowed to 
cool in moulds. 

Cholera Mixture. — 1. The following is 
published as the " Cholera Mixture of the Brit- 
ish Army:" Oil of anise seed, 3 drm.; oil of 
cajeput, 3 drm.; oil of juniper, 3 drm. ; ether, 8 
drm.; liquor acid of Haller, 1 drm.; tincture of 
cinnamon, 4 oz. Mix. Dose, ten drops every 
quarter of an hour, in a tablespoonful of 
water. 

2. A mixture which has accomplished won- 
ders in the writer's hands is this : Acid, tannici, 
1 drm.; aeth. chlor. (1 in 10), 2 drm.; ac. sulph. dil. 
1^ drm.; tinct. zingib., 3 drm. ; aq. menth. pip. 
ad 8 oz. Mix. One-sixth every two or three 
hours. See also Diarrhoea. 

Chromic Acid Solution for Batteries. 

—12 parts by weight potassium bichromate in 
150 parts of water, with the addition of 25 parts 
of sulphuric hydrate. 

Chromogens.— A name given to a class of 
bodies which have in themselves no tinctorial 
properties, but which pass into true dyes, under 
the action of the air. 

Chromos, to Clean. See Cleansing. 

Chrysocale. See Alloys, 

Chrysophanic Acid,— A yellow coloring 
matter scarcely soluble in water but soluble in 
alcohol. It exists in the roots of rhubarb and 
the dock plant, in senna leaves and in the 
lichen Parmelia paricina. It is of no practical 
value. 

Chrysorin.— (Rauschenberger.) This is a 
non-oxidizable alloy, and is composed of 100 
parts copper and 50*25 to 51*25 part zinc. 

Cider.— How to Make Good Cider and to 
Keep It.— In localities where the apple crop 
is abundant the preparation of cider for mar- 
ket is a profitable industry when intelligently 
undertaken, and there are few beverages more 
palatable and less harmful than cider when 
properly prepared. Unfortunately, there are 
few farmers who really know how to make 
good cider or how to care for and keep it when 
made. 

In the first place, apples not perfectly sound 
and well ripened are not fit for making cider. 
The russet is one of the best of apples for this 
purpose, but other and more commonly avail- 
able varieties need not be slighted. 

To prevent bruising the fruit intended for the 
cider press should always be hand picked. After 
sweating each apple should be wiped dry, ex- 
amined, and any damaged or decayed fruit 
thrown out and used for making vinegar cider. 

In the grinding or pulping operation the seed 
is often crushed and is apt to taint the juice, so 
that despite the loss and extra time required it 
is always better to core the apples before grind- 
ing them, as the cider will not only taste and 
look better, but keep better. A cheap and 
handy coring machine is shown in Fig. 1. In 
this the coring tube, which may be of tin, free 
from iron rust, projects through a common 
bench or table, and is surrounded by an ordinary 
furniture spring, P, which supports a piece of 
wood, A. This has a hole in the center or it, over 



Cider. 



95 



Cider. 




;and partly into which the apple is placed. 
I The lever, D, on which the piece of wood, 
B, similar to A, but having an aperture 
\ only large enough to admit the coring tube, is 
j loosely hung by side pins, is held in position by 
the spring, S. The operation of the machine 
will be readily understood by referring to Fig. 
2, in which it is shown in section. 

All ironwork about the mill or press (rings, 
rivets, etc.) should be tinned or coated with 
good asphaltum varnish, as the color and some- 
times taste of the cider are apt to be affected by 
contact with the rusty metal. 

In pressing the pomace many of the best cider 
makers prefer to use hair cloth in place of straw 
between the layers, as it is more cleanly and 
does not affect the taste of or add anything to 
the expressed juice. 

As the cider runs from the press it should be 
filtered through a hair sieve into a clean 
wooden vessel capable of holding as much juice 
as can be extracted in one day. 

Under favorable conditions the fine pomace 
will rise to the surface in about twenty-four 
tiours— sometimes less— and in a short time 
grow very thick. Then it should be watched, 
ind when white bubbles begin to appear at the 
surface, the liquid should be drawn off slowly 
trom a faucet placed about three inches from 
the bottom of the tank, so as not to disturb the 



lees. The liquid drawn off 
should be received in clean, 
sweet casks, and must be 
watched. As soon as white 
bubbles of gas appear at 
the bunghole, it must be 
drawn off (racked) into 
clean casks as before, and 
this racking repeated as 
often as necessary until 
the first fermentation is 
completely at an end. 
Then the casks should be 
filled up with cider in 
every respect like that al- 
ready contained in it and 
bunged up tight. Many 
cider makers add a goblet- 
f ul of pure olive oil to the 
cider before finally put- 
ting in the bung and stor- 
ing. 

If it is desired to keep 
cider perfectly sweet— and 
this is rarely the case — it 
should be filtered on com- 
ing from the press, and 
then sulphured by the ad- 
dition of about one-quarter 
ounce of calcium sulphite 
(sulphite of lime) per gallon 
of cider, and should be 
kept in small, tight, full 
barrels. The addition of a 
little sugar— say one-quar- 
ter of a pound per gallon 
—improves the keeping 
qualities of tart cider. 

An easily constructed 
cider filter is shown in Fig. 
3, and consists in a barrel 
provided with a tap near 
the bottom. The lower 
part is filled with dry wood 
chips covered with a piece 
of flannel. Over this a layer 
of clean rye straw is packed 
down, and then «the barrel 
is filled with clean quartz 
sand, not too fine. 

When the first fermenta- 
tion of cider has been 
checked and the liquid bar- 
reled, it should be allowed 
to stand until it acquires 
the proper flavor. 
Much of the excellency 
of cider depends upon the temperature at 
which the fermentation is conducted. The 
casks containing the juice should be kept in a 
cellar, if possible, where the temperature does 
not exceed 50° Fah. When left exposed to 
the air, or kept in a warm place, much of 
the sugar is converted into vinegar and the 
liquor becomes hard and rough. On the con- 
trary, when the fermentation is conducted 
at a low temperature, nearly the whole of 
the sugar is converted into alcohol and 
remains in the liquid instead of undergoing 
acetification. The change from alcohol to vine- 
gar (acetous fermentation) goes on most 
rapidly at a temperature of about 95° Fah., and 
at a lower temperature the action becomes 
slower, until at 46° Fah. no such change takes 
place. Independently of the difference in qua- 
lity of fruit used, the respect of temperature 
is one of the chief causes of the superiority of 
the cider made by one person over that made 
by another in the same neighborhood. 

The more malic acid and less sugar present, 
the less the tendency to acetous fermentation; 
hence it often happens that tart apples produce 
the best cider. But cider made from such 
apples can never equal in quality that pre- 
pared at a low temperature from fruit 
rich in sugar, which, if properly cared for, will 
keep good twenty years. 



FILTER. 



Cider, 



96 



Cider. 



"When the first fermentation Has subsided, 
and the liquor has developed the desired flavor 
in storage, it is drawn off into other barrels 
which have been thoroughly cleansed and sul- 
phured, either by burning- in the bung-hole a 
clean rag dipped in sulphur or, what is better, 
by thoroughly rinsing- the inside with a solu- 
tion of bisulphite of calcium prepared by dis- 
solving about a quarter pound of the sulphite 
in a gallon of water. 

The isinglass— six ounces or more (in solution) 
to the barrel— should be stirred in as soon as 
transferred, and then a sufficient quantity of 
preserving powder of bisulphite of lime (not 
sulphate or sulphide), previously dissolved in a 
little of the cider, to entirely check fermenta- 
tion. The quantity of this substance required 
rarely exceeds a quarter of an ounce to the 
gallon of cider. A large excess must be avoided, 
as it is apt to injuriously affect the taste. 

Some makers sweeten their cider by additions, 
before fining, of sugar or glucose, the quantity 
of the former varying from three-quarters of a 
pound to one and a half pounds, while as a sub- 
stitute about three times this quantity of glu- 
cose is required. Sweetened cider, when 
properly cared for, develops by aging a flavor 
and sparkle resembling some champagnes. 
Such ciders are best bottled when fined. 

The following are the n ethods by which some 
of the beverages found in the market under 
the name of " champagne cider " are made : 

1. Cider (pure apple) 3 bbl. 

Glucose sirup (A) 4 gal. 

Wine spirit 4 " 

The glucose is added to the cider, and after 
twelve days' storage in a cool place the liquid is 
clarified with one-half gallon of fresh skimmed 
milk and eight ounces of dissolved isinglass. 
The spirit is then added and the liquor bottled 
on the fourth day afterward. 

2. Pale vinous cider 1 hhd. 

Wine spirit 3 gal. 

Glucose about 30 lb. 

The liquid is stored in casks in a cool place for 
about one month, when it is fined down with 
two quarts of skimmed milk and bottled. Much 
of this and similar preparations are doubtless 
sold for genuine champagne. 

3. Pineapple cider .20 gal. 

Wine spirit 1 " 

Sugar 6 lb. 

Fine with one gallon of skimmed milk after 
two weeks' storage in wood and bottle. — 
Scientific American Supplement. 

Cider, Artificial.— Soft water, 25 gal. ; tartar- 
ic acid, 2 lb. ; New Orleans sugar, 25 lb. ; yeast, 
1 pt. Put into clean cask with bung out, and 
allow to stand twenty-four hours. Then add 
•3 gal. spirits and let stand forty-eight hours. It 
will keep well if not left exposed to the air, and 
if the cask is sweet. 

Bottling Cider. — To have good bottled cider, it 
is necessary first that care should be taken in its 
manufacture. Apples picked by hand and per- 
fectly ripe and sound are essential to the besf 
quality. They should lie some time after pick- 
ing. They should then be sorted, their surface 
wiped dry, and all the rotten fruit rejected. 
The cider may then be made in the usual man- 
ner by grinding and pressing. The cider should 
then be stored in a cool place to mature. After 
three or four months it should be racked off 
carefully, and then fined by adding to each hogs- 
head a pound of isinglass finings. In two weeks 
from the time that the finings are added it 
should be again racked off, and if found suffi- 
ciently clear and sparkling it is ready for bot- 
tling; if not, it should be again fined and al- 
lowed to stand two weeks. Before bottling, the 
bung should be left out of the casks for ten or 
twelve hours to permit the escape of carbonic 
acid gas. The cider may then be placed in bot- 
tles, and the corks loosely placed in. The bottles 
should then be allowed to stand twenty-four 
hours. The corks may then be driven in and 
wired down. If the corks are driven in and 



wired when the cider is first put into the bottles 
there will be great danger of breaking the bot- 
tles by the accumulating pressure of the gas. 
All additions of flavoring materials are a 
decided damage to cider made from a fine 
quality of fruit, though they may improve juice 
of a poor quality. If the directions here given 
be strictly followed, a delicious cider will be 
produced. 

Cider, to Can.— Cider may be preserved sweet 
for years by putting it up in airtight cans, after 
the manner of preserving fruit. The liquor 
should be first settled and racked off from the 
dregs, but fermentation should not be allowed 
to commence before canning. 

Champagne Cider.— Good, pale vinous cider, 1 
hhd. ; proof spirit, 3 gal. ; honey or sugar, 14 lb. 
Mix well, and let them remain together in a 
moderately cool place for one month, then add 
orange flower water, 3 pt., and in a few days 
fine it down with skimmed milk, Yz gal. A simi- 
lar article, bottled in champagne bottles, sil- 
vered and labeled, is said to be sometimes sold 
for champagne. 

Cider, to Clear.— Ground horseradish, 4 pts.; 
nearly 1 lb. of thick gray filtering paper to the 
barrel; shake or stir, until the paper has sep- 
arated into small shreds; let it stand twenty- 
four hours, then draw off the cider by means 
of a siphon or stopcock. 

Cider, to Improve.— Cider, 1 hogshead; rum, 
weak flavored, 2 gal.; alum, dissolved, 1 lb.; 
honey or coarse sugar, 15 lb.; sugar coloring, 
q. s.; bitter almonds, ^ lb.; cloves, )4 lb-; mix, 
and after three or four days fine down with 
isinglass. For champagne cider, omit the 
coloring, and fine with 2 qts. milk; this will 
render it very pale. 

Cider, to Keep.— I. Place in each barrel im- 
mediately on making, mustard, 4 oz.; salt, 1 oa.; 
ground chalk, 1 oz. Shake well. 

2. Mustard seed, 1 oz.; allspice, 1 oz.; olive 
M pt.; alcohol, y% pt. 

Made, Cider. — An article under this name is 
made in Devonshire, chiefly for the supply of 
the London market, it having been found that 
the ordinary cider will not stand a voyage to the 
metropolis without some preparation. The 
finest quality of made cider is simply ordinary 
cider racked into clean and well-sulphured 
casks ; but the mass of that which is sent to 
London is mixed with water, molasses and 
alum. The cider sold in London under the 
name of Devonshire cider would be rejected 
even by the farmers' servants in that county. 

How to Preserve Cider. — A pure, sweet cider 
is only obtainable from clean, sound fruit, and 
the fruit should therefore be carefully exam- 
ined and wiped before grinding. 

In the press, use hair cloth or gunny in place 
of straw. As the cider runs from the press, let 
it pass through a hair sieve into a large open 
vessel that will hold as much juice as can be 
expressed in one day. In one day, or sometimes 
less, the pomace will rise to the top, and in a 
short time grow very thick. When little white 
bubbles break through it, draw off the liquid 
through a very small spigot placed about 3 in. 
from the bottom, so that the lees may be left 
behind. The cider must be drawn off into very 
clean, sweet casks, preferably fresh liquor casks, 
and closely watched. The moment the white 
bubbles, before mentioned, are perceived rising 
at the bunghole, rack it again. It is usually 
necessary to repeat this three times. Then fill 
up the cask with cider in every respect like that 
originally contained in it, add a tumbler of 
warm, sweet oil, and bung up tight. For very 
fine cider it is customary to add at this stage of 
the process about ^ lb. of glucose (starch sugar) 
or a smaller portion of white sugar. The cask 
should then be allowed to remain in a cool place 
until the cider has acquired the desired flavor. 
In the meantime clean barrels for its reception 
should be prepared, as follows: Some clean 
strips of rags are dipped in melted sulphur, 
lighted and burned in the bunghole, and the 



Cider. 



97 



Clarification. 



bung laid loosely on the end of the rag so as to 
retain the sulphur vapor within the barrel. 
Then tie up y 2 lb. of mustard seed in a coarse 
muslin bag, and put it in the barrel, fill the 
barrel with cider, add about 34 lb. of isinglass or 
fine gelatine dissolved in hot water. 

This is the old-fashioned way, and will keep 
cider in the same condition as when it went 
into the barrel, if kept in a cool place, for a 
year. 

Professional cider makers are now using cal- 
cium sulphite (sulphite of lime), instead of 
mustard and sulphur vapor. Jt is much more 
convenient and effectual. To use it, it is simply 
requisite to add y$ to 34 of an ounce of the 
sulphite to each gallon of cider in the cask, 
first mixing the powder in about a quart of the 
cider, then pouring it back into the cask and 
giving the latter a thorough shaking or rolling. 
After standing bunged several days to allow the 
sulphite to exert its full action, it may be bot- 
tled off. 

The sulphite of lime (which should not be 
mistaken for the sulphate of lime) is a commer- 
cial article, costing about 40 cents a lb. by the 
barrel. It will preserve the sweetness of the 
cider perfectly, but unless care is taken not to 
add too much of it, it will impart a slight 
sulphurous taste to the cider. The bottles and 
corks used should be perfectly clean, and the 
corks wired down. 

A little cinnamon, wintergreen, or sassafras, 
etc., is often added to sweet cider in the bottle, 
together with a drachm or so of bicarbonate of 
soda at the moment of driving the stopper. 
This helps to neutralize the acids, and renders 
the liquid effervescent when unstoppered ; but 
if used in excess it may prejudicially affect the 
taste. 

Raisin Cider. — This is made in a similar 
way to raisin wine, but without employing 
sugar, and with only 2 lb. of raisins to the 
gallon, or even more, of water. It is usually 
fit for bottling in ten days, and in a week 
longer is ready for use. 

See Wines (British). 

Cider, to Keep Sweet.— When the cider has 
reached the flavor required, add 1 to 2 tumblers 
of grated horseradish to each barrel of cider. 

Cheap Cider.— Mix. well together 10 gal. cold 
water, VA lb. brown sugar, M lb. tartaric acid, 
add the juice expressed from 2 or 3 lb. dried 
sour apples, boiled. 

Cider Vinegar. See Vinegar. 

Cigarettes, Scenting.— Take lign. santal 
flav., loz.;cort. cinnamonis, 1 oz.; flor. lavand., 
2 oz.; caryophylli, 34 oz.; mix. 

Cigars, Flavor for.— 1. Macerate 2 oz. of 
cinnamon and 4 oz. of tonka beans in 1 qt. of 
rum. The beans must be ground fine. Infe- 
rior tobacco may be given a very fair flavor 
with preparation. 

2. Tincture tonka beans, 12 oz.; fluid extract 
valerian, V/ 2 oz.; alcohol, 3434 oz. 

3. Moisten ordinary cigars with a strong 
tincture of cascarilla, to which a little gum 
benzoin and storax may be added. Some per- 
sons add a small quantity of camphor, or oil of 
cloves or cassia. 

4. Soak the tobacco of which the cigars are to 
be made, for a short time, in a very strong in- 
fusion of cascarilla, and then allow it to dry by 
a very gentle heat. 

5. Insert very small shreds of cascarilla bark 
between the leaves of the cigar, or in small 
slits made for the purpose. The above yield 
a very agreeable odor when smoked ; but are 
said to intoxicate quicker than unprepared 
cigars of equal strength and quality. They lose 
much of their fragrance by age. 

Cinnamon Cordial. See Liquors. 

Cinnamon Water. See Waters. 
Cisterns, Capacity of Cylindrical.— 

The Sanitary News gives the following table 



showing the capacity in gallons for each foot 
in depth of cylindrical cisterns of any diameter : 



Diameter. 


Gallons. 


Diameter. 


Gaflons 


25 feet. 


3,059 


7 feet. 


239 


20 M 


1,958 


634" 


206 


15 " 


1,101 


6 '« 


176 


14 " 


959 


5 " 


132 


13 " 


827 


4Vz " 


99 


12 " 


705 


4 " 


78 


11 " 


592 


3 " 


44 


10 " 


489 


2^" 


30 


9 " 


396 


2 " 


19 


8 " 


313 







Citrate of Magnesia. See Magnesia, 
Citrate of. 

Citric Acid, to Make from Fruit.— 

Citric acid is generally manufactured from 
lemon juice, which is imported in a concen- 
trated state produced by evaporation by heat. 
It consists of citric acid 6 to 7$, alcohol 5 to 6, 
and the remainder water, inorganic salts, etc. 
By some manufacturers it is allowed to par- 
tially ferment for the purpose of evaporating 
the clear liquor from the mucilage, or it may 
be clarified in the usual method by the use of 
albumen in the form of the white of an egg. 
Carbonate of lime in fine powder is gradually 
added, and stirred in so long as effervescence 
continues. Citrate of lime forms, and after 
being separated by drawing off the watery 
liquor, is well washed with warm water. It is 
then ultimately mixed with strong sulphuric 
acid diluted with 6 parts of water. After some 
hours the citrate is decomposed, the sulphuric 
acid having taken up the lime and formed an 
insoluble sulphate, setting the citric acid free. 
This, separated by decanting and filtering, is 
evaporated in leaden pans till it attains the 
specific gravity 1'13. The evaporation is after- 
ward continued by a water or steam bath till 
the liquor begins to be sirupy, or to be 
covered with a thin pellicle. It is then re- 
moved from the fire, and put aside to crystal- 
lize, the mother liquor after a few days being 
evaporated as above, and again set to crystal- 
lize, and so on as long as clear crystals are ob- 
tained. To obtain pure citric acid, all the crys- 
tals should be redissolved and recrystallized, 
it may be several times, and the solution 
digested with bone black. A gallon of lemon 
juice should make about 8 oz. of crystals. Limes 
and lemons constitute the source from which 
citric acid is generally made, yet it may be ex- 
tracted from oranges, currants, gooseberries, 
raspberries, tamarinds, etc. The machinery 
and cost of manufacture will depend upon cir- 
cumstances which any one about to go into the 
business can best judge. 

Citron. See Liiquors. 

Claret Cup.— 1 bottle of claret, 1 bottle of 
soda water, y, tumbler of iced water, y lemon 
sliced; put in small lumps of ice, and sweeten 
with sugar. Or claret and champagne cup: 
1 bottle of claret or champagne, I large 
wineglass of sherry, a tumbler and y 2 of seltzer 
water, balm and borage, peel of lemon, very 
thin, 1 slice of cucumber, to be sweetened to 
taste and highly iced. 

Claret Wine. See Wines. 

Clarification.— The depuration or removal 
of substances from liquids, by the admixture of 
some substance, usually albumen in some form, 
as milk, white of egg, or a solution of gelatine, 
which by being coagulated entangles and pre- 
cipitates the contained impui-ities, rendering 
the liquid clear. The addition of vegetable 
acids will clarify the expressed juices of plants 
by causing coagulation and precipitation of 
their pectine or vegetable albumen, and thus 
fit them for sirups. Albumen, gelatine acids, 
certain salts, blood, lime, plaster of Paris, alum, 
heat, alcohol, etc., serve in many cases for this 
purpose. The first is used under the form of 
white of egg, for the clarification of sirups, a? 



Clark's Alloy. 



98 



Cleansing 



it combines with the liquid when cold, but on 
the application of heat rapidly coagulates and 
rises to the surface, carrying the impurities 
with it, forming a scum which is easily removed 
with a skimmer. It is also much used for fining 
wines and liqueurs, particularly the red wines 
and more limpid cordials. Gelatine, under the 
form of isinglass, dissolved in water or weak 
vinegar, is used to fine white wines, beer, cider, 
and similar liquors, that contain a sufficient 
quantity of either spirit or astringency (tan- 
nin) to induce its precipitation. Sulphuric acid 
is frequently added to weak liquors for a similar 
purpose, either alone, or after the addition of 
white of egg or gelatine, both of which it rapidly 
throws down in an insoluble form. Lead acetate 
is frequently used, but the practice is danger- 
ous. 

Clark's Patent Alloy. See Alloys. 

Clay Plaster.— Make a paste of rye flour 
and water and add % its bulk of dry clay. Use 
no more water than is necessary to make a 
smooth paste. 

Cleansing', Renovating and Protect- 
ing.— This section of the work includes laun- 
dry work and the removal of spots and stains. 

Acid Stains, to Remove.— 1. Chloroform will 
restore the color of garments, where the same 
has been destroyed by acids. See No. 2. 

2. When acid has accidentally or otherwise 
destroyed or changed the color of the fabric, 
ammonia should be applied to neutralize the 
acid. A subsequent application of chloroform 
restores the original color. 

3. Spots produced by hydrochloric or sul- 
phuric acid can be removed by the application 
of concentrated ammonia, while spots from 
nitric acid can scarcely be obliterated. 

Acids, Vinegar, Sour Wine, Must, Sour Fruits. 
— White goods, simple washing, followed up by 
chlorine water if a fruit color accompanies 
the acid. Colored cottons, woolens, and silks 
are very carefully moistened with dilute am- 
monia, with the finger end. (In case of deli- 
cate colors, it will be found preferable to make 
some prepared chalk into thin paste, with water, 
and apply it to the spots.) 

Alabaster, to Clean.— 1. The best method of 
cleaning these ornaments is to immerse them 
for some time in milk of lime, and then wash 
in clean water, and when dry dust them with a 
little French chalk. Milk of lime is made by 
mixing a little slaked lime in water. This has 
a " milky " appearance, whence its name. Ben- 
zol or pure oil of turpentine is very highly 
recommended. 

2. Use soap and water, with a little washing 
soda or ammonia, if necessarv. Rinse it thor- 
oughly. 

Alkali Stains. — To remove from garments. 
A mixture of acetic acid, diluted with a large 
quantity of water, will remove stains brought 
by soda, soap, boilers, lye, etc., if the solution is 
readily applied. 

Aniline from the Hands, to Remove Stains of. 
—Wash with strong alcohol, or what is more 
effectual, wash with a little bleaching powder, 
then with alcohol. *■ 

Animals, Stuffed, to Clean.— Give the animal 
a good brushing with a stiff clothes brush. 
After this warm a quantity of new bran in a 
pan, taking care it does not burn, to prevent 
which, quickly stir it. When warm, rub it well 
inuothe fur with your hand. Repeat this a 
few times, then rid the fur of the bran, and 
give it another sharp brushing until free from 
dust. 

Balls, Scouring.— 1. Curd soap,8oz.; oil of tur- 
pentine and oxgall, of each 1 oz. Melt the soap, 
and when cooled a little, stir in the rest, and 
make it into cakes while warm. 

2. Soft soap and fuller's earth, each 1 lb.; beat 
them well together in a mortar, and form into 
cakes. To remove grease, etc., from cloth. 
The spot first moistened with water is rubbed 
with the cake, and allowed to dry, when it is 



well rubbed with a little warm water, and after- 
ward rinsed or rubbed off clean. 

Barometer Tubes, to Clean.— Try a small quan- 
tity of warm nitric acid. Then rinse with 
water, rinse with absolute alcohol, and finally 
with ether ; warm to expel the vapor of ether. 

Barrels, to Cleanse.— -Put a few pounds un- 
slaked lime in the barrel, add water, and cover. 
In a short time add more water and roll the 
barrel. Rinse a h clean water. 

Blackboards, w Remove Grease from.— Make 
a strong lye of pearlashes and soft water, and 
add as much unslaked lime as it will take up. 
Stir it together and let it settle a few minutes, 
bottle it and stopper close. Have ready some 
water to dilute it when used, and scour the 
part with it. The liquor must not remain long 
on the board, as it will draw the color with it. 
Hence use it with care and expedition. 

Blankets, to Cleanse.— 1. Put two large table- 
spoonfuls of borax and a pint bowl of soft soap 
into a tub of cold water. When dissolved put 
in a pair of blankets, and let them remain over- 
night. Next day rub and drain them out, and 
rinse thoroughly in two waters, and hang them 
up to dry. Do not wring them. 

2. Scrape 1 lb. soda soap, and boil it down in 
sufficient water, so that when cooling you can 
beat it with the hand to make a sort of jelly. 
Add 3 tablespoonf uls spirit of turpentine and 
1 tablespoonf ul of spirit of hartshorn, and with 
this wash the article well and rinse in cold water 
until all the soap is taken off. Then apply salt 
and water and fold between two sheets, taking 
care not to allow two folds of the article washed 
to tie together. Smooth with a cool iron. Only 
use the salt where there are delicate colors that 
may run. If you can get potash soap, it will 
be better, as woolen manufacturers do not use 
soda soap. 

Blood Stains, to Remove. — 1. An accidental 
prick of the finger frequently spoils the appear- 
ance of work, and if for sale, decreases its value. 
Stains may be entirely obliterated from almost 
any substance by laying a thick coating of 
common starch over the place. The starch is 
to be mixed as if for the laundry, and laid on 
quite wet. 

2. The free and early application of a weak 
solution of soda or potash, and the subsequent 
application of the solution of alum, is recom- 
mended. 

Blood and Albuminoid Matters.— Steeping in 
lukewarm water. If pepsine, or the juice of 
Carica papaya, can be procured, the spots are 
first softened with lukewarm water, and then 
either of these substances is applied. 

Bluing, Laundry. See Bluing. 

Bones and Ivory, to Clean and Prepare.— 1. The 
curators of the anatomical museum of the Jar- 
din des Plante shave found that spirits of tur- 
pentine is very efficacious in removing the dis- 
agreeable odor and fatty emanations of bones 
or ivory, while it leaves them beautifully 
bleached. The articles should be exposed in the 
fluid for three or four days in the sun, or a little 
longer if in the shade. They should rest upon 
strips of zinc, so as to be a fraction of an inch 
above the bottom of the glass vessel employed. 
The turpentine acts as an oxidizing agent, and 
the product of the combustion is an acid liquor 
which sinks to the bottom, and strongly attacks 
the ivory if allowed to touch it. 

2. Make a thick paste of common whiting in a 
saucer. Brush well with a toothbrush into the 
carved work. Brush well out with plenty of 
clean water. Dry gently near the fire. Finish 
with a clean dry hard brush, adding one or two 
drops (not more) of alcohol. 

3. Mix about a tablespoonful of oxalic acid in 
^ pt. of boiling water. Wet the ivory over first 
with water, then with a toothbrush apply the 
acid, doing one side at a time and rinsing, finally 
drying it in a cloth before the fire, but not 
too close. 

4. Take a piece of fresh lime, slake it by 
sprinkling it with water, then mix into a paste. 



Cleansing. 



Cleansing. 



-which apply by means of a soft brush, brushing 
well into the interstices of the carving; next set 
by in a warm place till perfectly dry, after 
which take another soft brush and remove the 
lime. Should it still remain discolored, repeat 
the process, but be careful to make it neither 
too wet nor too hot in drying off, or probably 
the article might come to pieces, being most 
likely glued or cemented tog^ + her. If it would 
stand steeping in lime wat.- 1 7 for twenty-four 
hours, and afterward boning in strong alum 
water for about an hour and then dried, it 
would turn out white and clean. Rubbing with 
oxide of tin (putty powder) and a chamois 
leather will restore a fine gloss afterward. 

5. Clean well with spirits of wine, then mix 
some whiting with a little of the spirits, to form 
a paste, and well brush with it. It is best to use 
a rubber of soft leather where there are no deli- 
cate points; put a little soap on the leather, and 
dip into the paste and rub the ivory until you 
get a brilliant polish, finish off with a little dry 
whiting; the leather should be attached to a flat 
wood surface and rub briskly. 

6. When ivory ornaments get yellow or dusky 
looking, wash them well in soap and water, 
with a small brush to clean the carvings, and 
place them while wet in full sunshine; wet them 
two or three times a day for several days with 
soapy water, still keeping them in the sun; then 
wash them again, and they will be beautif uUy 
white. To bleach ivory, immerse it for a short 
time in water containing a little sulphurous 
acid, chloride of lime or chlorine. 

7. Soda ash, 1 lb.; lime (burned), y% lb.; hot 
water, 3 qt. Mix, and soak the bones for twen- 
ty-four hours in the liquid; wash them thor- 
oughly and bleach them. 

8. Put the bones in a strong warm alcoholic 
solution of caustic potash for a short time, then 
immerse in running water. 

Bonnets, Chip or Straw.— To Clean.— Wash in 
warm soap liquor, well brushing them both in- 
side and out, then rinse in cold water, and they 
are ready for bleaching. 

To Bleach.— Put a small quantity of salts of 
sorrel or oxalic acid into a clean pan, and pour 
on it sufficient scalding water to cover the bon- 
net or hat. Put the bonnet or hat into this 
liquor, and let it remain in it for about five 
minutes ; to keep it covered hold it down with 
a clean stick. Dry in the sun or before a clear 
fire. Or, having first dried the bonnet or hat, 
put it, together with a saucer of burning sul- 
phur, into a box with a tight-closing lid. Cover 
it over to keep in the fumes, and let it remain 
for a few hours. The disadvantage of bleach- 
ing with sulphur is that the articles so bleached 
soon become yellow, which does not happen 
to them when they are bleached by oxalic acid. 

To Finish or Stiffen. — After cleaning and 
bleaching, white bonnets should be stiffened 
with parchment size. Black or colored bonnets 
are finished with a size made from the best glue. 
Straw or chip plaits, or leghorn hats and bon- 
nets, may also be cleaned, bleached and finished 
as above. 

Books, Removal of Stains from, and Cleaning. 
— 1. Dust can be removed by using bread or 
very soft rubber. 

2. Water stains are removed by boiling water 
and alum. It will be necessary to float the 
sheet on this bath for some hours. Dry between 
clean blotting paper. The amount of alum is 
immaterial. 

3. Damp stains are treated the same way, but 
with less chance of success. 

4. Mud.— Very little can be done. Wash in cold 
water, then in dilute hydrochloric acid and af- 
terward in a weak solution of chloride of lime. 
Rinse and dry. 

5. Fox Marks.— Use very dilute hydrochloric 
acid or Javelle water. 

6. Finger Marks.— Very difficult to erase. Ap- 
ply a jelly of white or curd soap, then wash 
with a brush in cold water. 



7. Blood Stains. —Soak in cold water, wash 
with soap and rinse. 

8. Ink stains (of writing ink) usually try 
oxalic acid followed by chloride of lime. Wash 
well. 

9. Ink Stains (Marking Ink, etc.). — Apply tinc- 
ture of iodine. The silver in the ink forms sil- 
ver iodide, which is removed by weak solution 
of potassium cyanide (deadly poison). 

10. Grease Spots.— Put over the spot a piece of 
blotting paper, apply a hot iron. 

11. Or, apply Fr. chalk, put a piece of paper 
over it and apply the iron. 

12. Or, try ether or benzine, put blotting paper 
above and below the spot. 

Blottles, Ink, to Clean. — For cleaning ink bot- 
tles, the best and quickest agent is oxalic acid, 
but it is a violent poison. Try shaking small 
nails, with water or vinegar in them, and if 
this does not answer, use hydrochloric acid, 
carefully washing out two or three times after 
its application. 

Bottles, to Clean Oily or Greasy.— Pour into them 
a little strong sulphuric acid ; after they have 
been aflowed to drain as much as possible, the 
bottle is then corked, and the acid caused to 
flow into every portion of it, for about five 
minutes. It is then washed with repeated rins- 
ings of cold water. All traces of oil or grease 
left will be removed in a very expeditious man- 
ner, and no odor whatever will be left in the 
bottle after washing. 

Brass., to Glean.— 1. There are many substances 
and mixtures which will clean brass. Oxalic 
acid, muriatic acid, and several other acids will 
clean brass very effectively ; oxalic acid is the 
best, but the acids must be well washed off, the 
brass dried, and then rubbed with sweet oil 
and tripoli, otherwise it will soon tarnish 
again. Mixture to clean brass is : soft soap, 
1 oz.; rotten stone, 2 oz. 

2. Oxalic acid, 1 oz.; rotten stone, 2 oz.; sweet 
oil, 1% oz.; spirits of turpentine enough to 
make a paste. When used, a little water is 
added and friction applied. If brass is very 
dirty, it requires a strong acid to make it 
bright; such is chromic acid, best prepared 
by mixing bichromate of potassa, sulphuric 
acid, and water, equal parts of each. This 
makes the dirtiest brass bright and clear at 
once, but it must be immediately washed off 
with plenty of water, rubbed dry, and polished 
with rotten stone. There are no patents on 
any of these proceedings ; and if there were, 
the patentees would not be sustained in their 
claims. 

3. Wash with rock alum, boiled in a strong 
lye in the proportion of 1 oz. to 1 pt.; polish 
with dry tripoli. 

4. The government method prescribed for 
cleaning brass, and in use at all the United 
States arsenals, is claimed to be the best in the 
world. The plan is to make a mixture of 
1 part common nitric acid and y% part sul- 
phuric acid, in a stone jar, having also ready a 
pail of fresh water and a box of sawdust. The 
articles to be treated are dipped into the acid, 
then removed into the water, and finally rub- 
bed with sawdust. This immediately changes 
them to a brilliant color. If the brass has be- 
come greasy, it is first dipped in a strong solu- 
tion of potash and soda in warm water; this 
cuts the grease, so that the acid has free power 
to act. 

5. Rub the surface of the metal with rotten 
stone and sweet oil, then rub off with a piece of 
cotton flannel, and polish with soft leather. A 
solution of oxalic acid rubbed over tarnished 
brass soon removes the tarnish, rendering the 
metal bright. The acid must be washed off 
with water, and the brass rubbed with whiting 
and soft leather. A mixture of muriatic acid 
and alum dissolved in water imparts a golden 
color to brass articles that are steeped in it for 
a few seconds. 

6. First boil your articles in a pan with or- 
dinary washing soda, to remove the old lac- 



Cleansing. 



100 



Cleansing. 



quer; then let them stand for a short time in 
dead nitric acid; then run them through bright 
dipping nitric acid . Swill all acid off in clean 
water, and brighten the relieved parts with a 
steel burnisher, replace in clean water, and dry 
out in beech sawdust. Next place your work 
on + he stove till heated, so that you can with 
dim. ulty bear your hand on articles, and apply 

Eale lacquer with brush; the work will burn if 
eated too much or too rapidly. 

7. Put a coat of nitric acid over the part you 
want cleaned, with a piece of rag; as soon as it 
turns a light yellow, rub it dry and the brass 
will present a very clean appearance; if not 
satisfactory, repeat. 

8. Oxalic acid and whiting mixed and applied 
wet, with brush, and brushed again when dry 
with soft plate brush to polish with dry whit- 
ing. 

9. Brass Instruments.— If the instruments are 
very much oxidized, or covered with green 
rust, first wash them with strong soda and 
water. If not so very bad, this first process 
may be dispensed with. Then apply mixture 
of 1 part common sulphuric acid and 12 parts 
of water, mixed in an earthen vessel, and 
afterward polish with oil and rotten stone, 
well scouring with oil and rotten stone, 
and using a piece of soft leather and a little 
dry rotten stone to give a brilliant polish. In 
future cleaning, oil and rotten stone will be 
found sufficient. 

10. Take a strip of coarse linen, saturate with 
oil and powdered rotten stone, put round the 
tubing of instrument, and work backward 
and forward ; polish with dry rotten stone. 
Do not use acid of any kind, as it is injurious 
to the joints. To hold the instrument, get a 
piece of wood turned to insert in the bells ; fix 
in a bench vise. The piece of wood will also 
serve for taking out any dents you may get in 
the bells. 

11. Oil and rotten stone for this purpose, 
though very efficacious, are objectionable on ac- 
count of dirt, the oil finding its way to the pis- 
tons, and because the instrument cleaned in this 
manner so soon tarnishes. Dissolve some com- 
mon soda in warm water, shred into it some 
scraps of yellow soap, and boil it till the soap 
is all melted. Then take it from the fire, and 
when it is cool add a little turpentine and suf- 
ficient rotten stone to make a stiff paste. Keep 
it in a tin box covered from the air, and if it 
gets hard, moisten a small quantity with water 
for use. 

12. If very much oxidized or covered with 
green rust, first wash it with strong soda and 
water. If not so very bad, this first process 
may be dispensed with. Then apply a mixture 
of 1 part of common sulphuric acid and 12 
parts of water, mixed in an earthen vessel; 
wash well, first with clear water, and then with 
water containing some ammonia, afterward 
scouring well with oil and rotten stone, and 
using a piece of soft leather and a little dry 
rotten stone to give a brilliant polish. In sub- 
sequent cleaning oil and rotten stone will be 
found sufficient. * 

13. Brass work that is so dirty by smoke 
and heat as not to be cleaned with oxalic 
acid, snould be thoroughly washed or scrub- 
bed with soda, or potash water, or lye. Then 
dip in a mixture of equal parts of nitric acid, 
sulphuric acid, and water; or, if it cannot 
be conveniently dipped, make a swab of a small 
piece of woolen cloth upon the end of a stick, 
and rub the solution over the dirty or smoky 
parts ; leave the acid on for a minute, and then 
wash clean and polish. 

14. Paste for Cleaning Brass.— Starch, lpart; 
powdered rotten stone, 12 parts ; sweet oil, 2 
parts ; oxalic acid, 2 parts ; water to mix. 

15. Prep.— Soft soap, 2 oz.; rotten stone, 4 oz.; 
beat them to a paste. 

16. Rotten stone made»into a paste with«sweet 
oil. 



17. Rotten stone, 4 oz.; oxalic acid, 1 oz.; sweet 
oil, 1^4 oz.; turpentine enough to make a paste. 

To Clean Brass.— The first and last are best 
applied with a little water. The second, with a 
little spirits of turpentine or sweet oil. Both 
require friction with soft leather. 

18. Oxalic acid, 1 part; iron peroxide, 15 parts; 
powdered rotten stone, 20 parts ; palm oil, 60 
parts; petrolatum, 4 parts. See that solids are 
thoroughly pulverized and sifted, then add and 
thoroughly incorporate oil and petrolatum. 

Cleaning Brass Inlaid Work.— Mix tripoli and 
linseed oil, and dip felt into the preparation. 
With this polish. If the wood be rosewood or 
ebony, polish it with finely powdered elder 
ashes, or make a polishing paste of rotten stone, 
a pinch of starch, sweet oil, and oxalic acid, 
mixed with water. 

Brass Oas Fixtures, to Restore. — Have the 
water clean and boiling in two vessels. Dip in 
one water and then in the next as soon as taken 
from the nitric acid bath, so that there shall be 
no traces of acid on the fittings. Dry in box- 
wood sawdust while hot, and place upon a piece 
of hot sheet iron over a stove. As soon as all 
traces of water have left, quickly lacquer with 
very thin shellac varnish, using a camel's hair 
' brush. You can make the lacquer, by dissolv- 
ing shellac in best alcohol. Do not touch the 
metal with the fingers before lacquering. 

Brass Gun Shells, to Clean.— Por such as have 
been used, boil in a strong solution of caustic 
soda, rinse in hot water, then dip in a hot 
pickle of sulphuric acid, 1 part ; water, 4 parts; 
and rinse in hot water. 

Britannia Metal, to Clean. — Use finely pow- 
dered whiting, 2 tablespoonfuls of sweet oil and 
a little yellow soap. Mix with spirits of wine 
to a cream. Rub on with a sponge, wipe off 
with a soft cloth, and polish with a chamois 
skin. 

Broadcloth, to Remove Stains from. — Grind 
fine 1)4 oz. pipe clay ; mix with 18 drops of al- 
cohol and the same quantity spirits of turpen- 
tine. Moisten a little of this mixture with 
alcohol and rub on the stains. When dry, rub 
off with a woolen cloth. 

Bronze, to Cleanse.— Clean the surface, first of 
all, with whiting and water, or crocus powder, 
until it is polished; then cover with a paste of 
plumbago and crocus, mixed in the proportions 
that will produce the desired color. Heat the 
paste over a small charcoal fire. Perhaps the 
bronzing has been produced by a. corrosive 
process; if so, try painting a solution of sulph- 
ide of potassium over the cleaned metal. 

Bronze Statuary, to Clean. — Use weak soap- 
suds or aqua ammonia. 

Brushes, to Wash.— Dissolve a piece of soda in 
some hot water, allowing a piece the size of a 
walnut to a quart of water. Put the water into 
a basin, and after combing out the hair from, 
the brushes, dip them, bristles downward, into 
the water and out again, keeping- the backs and 
handles as free from the water as possible. Re- 
peat this until the bristles look clean; then 
rinse the brushes in a little cold water; shake 
them well, and wipe the handles and backs with 
a towel, but not the bristles, and set the brushes 
to dry in the sun, or near the fire ; but take 
care not to put them too close to it. Wiping 
the bristles of a brush makes them soft, as does 
also the use of soap. 

Calico and Linen, to Clean. — 1. When linen or 
calico is discolored by washing, age, or lying out 
of use, the best method of restoring the white- 
ness is by bleaching in the open air, and expo- 
sure on the grass to the dews and winds. There 
may occur cases, however, where this may be 
difficult to accomplish, and where a quicker pro- 
cess may be desirable, and the following is the 
best: 

2. Lay the linen for twelve hours in a lye 
formed of 1 lb. soda to a gal. of boiling hot soft 
water ; then boil it for half an hour in the same 
liquid. Then make a mixture of chloride of 
lime with 8 times its quantity of water, which 



Cleansing. 



101 



Cleansing. 



must be well shaken in a stone jar for three 
d ays, then allowed to settle, and being- drawn 
off clear, the linen must be steeped in it thirty- 
six hours, and then washed out in the ordinary 
way. This will remove all discoloration. 

Chairs, Cane-seatea, Renovating.— 1. Clean the 
articles with a solution of oxalic acid. Their 
color will be restored. 

8. Wash with hot water and a sponge, using 
soap if necessary. Dry in a current of air. 

Canvas, to Renovate— Coat it with a black 
leather varnish, such as the following : Digest 
shellac, 12 parts ; white turpentine, 5 ; gum san- 
darac, 2; lampblack, 1 ; with spirits of turpen- 
tine, 4; and alcohol, 96. 

Carpets, to Clean.— 1. If brooms are wet with 
boiling suds once a week, they will become very 
tough, will not cut a carpet, and will last much 
longer. A handful or so of salt sprinkled on a 
carpet will carry the dust along with it and 
make the carpet look bright and clean. A very 
dusty carpet may be cleaned by dipping the 
broom in cold water, shaking off all the drops, 
and sweeping a yard or so at a time. Wash the 
broom and repeat until the entire carpet has 
"been swept. 

2. Use 1 pint oxgall to a pailful of water; 
after washing apply cold water to rinse out the 
oxgall, and finally sponge as dry as possible. 

3. Dry Cleaning.— Have ready a number of 
dry coarse cotton or linen cloths, some coarse 
flannels and one or more large pieces of coarse 
sponge ; two or more hard scrubbing or scour- 
ing brushes, some large tubs or pans, and pails, 
and also a plentiful supply of both hot and cold 
water. First take out all grease spots; this 
may be effected in several ways. Well rub the 
spot with a piece of hard soap and wash out 
with a brush and cold water, and well dry each 
spot before leaving it. 

4. Or use, instead of the soap, a mixture of 
fuller's earth, gall and water, well rinsing and 
drying each spot as before. When this has been 
done, the carpet may be cleaned by one of the 
three following methods : 

Carpet, How to Sweep. — It is not an easy 
matter to sweep well, at any rate, if we may 
judge by experience ; for when a broom is put 
into the hands of the uninitiated, more harm 
than good generally results from the use of it. 
Without the greatest care and some little 
knowledge, furniture and paint, by being 
knocked about with the broom, may soon 
receive an irreparable amount of damage. 
Before sweeping rooms, the floors should be 
strewed with a good amount of dry tea leaves, 
which should be saved for the purpose ; these 
will attract the dust and save much harm to 
other furniture, which, as far as possible, 
should be covered up during the process. Tea 
leaves also may be used with advantage upon 
druggets and short piled carpets. Light 
sweeping and soft brooms are here desirable. 
Many a carpet is prematurely worn out by in- 
judicious sweeping. Stiff carpet brooms and 
the stout arms of inexperienced servants are 
their destruction. In sweeping thick piled 
carpets, such as Axminster and Turkey car- 
pets, the servant should be instructed to brush 
always the way of the pile ; by so doing they 
may be kept clean for years ; but if the broom 
is used in a different way, all the dust will enter 
the carpet and soon spoil it. Salt spiinkled upon 
the carpet before sweeping will make it look 
1 >right and clean. This is also a good prevent- 
ive against moths. 

To Remove Grape Stains from Carpet.— Wash 
out with warm soapsuds and a little ammo- 
nia water. 

Carriages, to Preserve.— \. Ammonia cracks 
varnish and fades the colors both of painting 
and lining. A carriage should never, under any 
circumstances, be put away dirty. In washing 
a carriage, keep out of the sun, and have the 
lever end of the " setts " covered with leather. 
Use plenty of water, which apply (where prac- 
ticable) with a hose or syringe, + aking care that 



the water is not driven into the body to the 
injury of the lining. When forced water is not 
attainable, use for the body a large soft sponge. 
This, when saturated, squeeze over the panels, 
and by the flow down of the water the dirt will 
soften and harmlessly run off, then finish with 
a soft chamois leather and oil silk handker- 
chief. The same remarks apply to the under 
works and wheels, except that when the mud 
is well soaked, a soft mop, free from any hard 
substance in the head, may be used. Never use 
a "spoke brush, 1 ' which, in conjunction with 
the grit from the road, acts like sandpaper on 
the varnish, scratching it, and of course effec- 
tually removing all gloss. Never allow water 
to dry itself on the carriage, as it invariably 
leaves stains. 2. Be careful to grease the bear- 
ings of the fore carriage so as to allow it to 
turn freely. Examine a carriage occasionally, 
and whenever a bolt or slip appears to be get- 
ting loose, tighten it up with a wrench, and 
always have little repairs done at once. Top 
carriages should never stand with the head 
down, and aprons of every kind should be fre- 
quently unfolded or they will soon spoil. 

Celluloid Collars and Cuffs, to Whiten.— 1. If the 
coloring does not disappear when the affected 
portions are rubbed with a woolen cloth and a 
little tripoli, and then polished with a clean 
woolen rag, the injury is a permanent one. 
2. Cream of tartar is excellent. Use with a little 
water. 

Celluloid Covered Mountings, tn Clean.— Rub 
the covered parts with a woolen cloth and a 
little tripoli, and polish with a clean woolen 
rag. 

China, to Clean.— Use a little fuller's earth 
and soda or pearlash with your water. 

Chromos, to Clean.— Keep a wet towel lying 
on its face till the dirt is thoroughly softened, 
say 3 or i days, occasionally rubbing off care- 
fully with a sponge ; then rub with clear nut 
or linseed oil. 

Clocks and Watches, to Clean.— In cleaning 
clock and watch movements take 1 qt. water, 
about 1 teaspoonf ul or 5 grn. liquid ammonia 
or alkali ; into this liquid should be grated or 
scraped fine 5 grn. common soap. These propor- 
tions can be varied as desired, if the following 
remarks are kept in view : The articles to be 
cleaned should be plunged into this bath, where 
they should be allowed to remain at least ten 
minutes. Twenty or thirty minutes is better, 
especially for clocks. The articles should be 
wiped dry when removed from the bath, or 
polished up with a brush dipped in some polish- 
ing powder. Rectified benzine is preferable, as 
ammonia is apt to turn the movement black if in 
excess. Use great care in using benzine, as it is 
very inflammable and never should be used at 
night. 

Cloth, Spots and Stains on. See Spots and 
Stains below. 

To Clean Black Cloth.— Dissolve 1 oz. bicarbon- 
ate of ammonia in 1 qt. warm water. With this 
liquid rub the cloth, using a piece of flannel or 
black cloth for the purpose. After the appli- 
cation of this solution, clean the cloth well with 
clear water, dry and iron it, brushing the cloth 
from time to time in the direction of the fiber. 

Cloth Cleaning .Compound.— Glycerine, 1 oz.; 
sulphuric ether, 1 oz.; alcohol, 1 oz.; ammonia, 
4 oz.; Castile soap, 1 oz.; mix together and add 
sufficient water to make 2 qt. Apply and rinse. 

Clothes, to Brush.— Brushing clothes is a very 
simple but very necessary operation. Fine 
clothes require to be brushed lightly, and with 
rather a soft brush, except where mud is to be 
removed, when a hard one is necessary, being 
previously beaten lightly to dislodge the dirt. 
Lay the garment on a table, and brush it in the 
direction of the nap. Having brushed it proper- 
ly, turn the sleeves back to the collar, so that 
the folds may come at the elbow joints; next 
turn the lapels or sides back over the folded 
sleeves, then lay the skirts over level with the 
collar, so that the crease may fall about the 



Cleansing. 



102 



Cleansing. 



center, and double one half over the other, so 
that the fold comes in the center of the back. 

Coins, Medals, etc., to Clean.— 1. If the coins 
are silver, clean with potassium cyanide. This 
is a deadly poison, and should be handled with 
care. 

2. Dip in strong hot solution of potash or 
soda, rinse and dip for a moment in nitric acid, 
after which rinse quickly in running- water. 

3. Coins can be quickly cleansed by immersion 
in strong" nitric acid, and immediate washing in 
water. If very dirty, or corroded with verdi- 
gris, it is better to give them a rubbing with 
the following : y% oz. pure bichromate of pot- 
ash ; 1 oz. sulphuric acid ; 1 oz. nitric acid. Rub 
over, wash with water, wipe dry, and polish 
with rotten stone or chalk. — Lijle. 

Color, to ^Restore— When color on a fabric has 
been accidentally or otherwise destroyed by acid 
ammonia is applied to neutralize the same, 
after which an application of chloroform will, 
in almost all cases, restore the original color. 
The application of ammonia is common, but 
that of chloroform is but little known. 

Color, to Revive the Color of Faded Black Cloth 
or Leather.— Take of the best quality of blue 
galls, 4 oz. ; of logwood, clean sulphate of iron, 
(copperas), clean iron filings and sumac leaves, 
each 1 oz. ; put the galls, logwood and sumac 
berries into 1 qt. of the best white wine vinegar, 
and heat to nearly the boiling point in a sand 
bath, then add the iron filings and copperas; 
digest for twenty-four hours and strain for use. 
Apply with a sponge. 

Combs, to Clean.— If it can be avoided, never 
wash combs, as the water often makes the teeth 
split and the tortoiseshell or horn of which 
they are made rough. Small brushes, manu- 
factured purposely for cleaning combs, may be 
purchased at a trifling cost ; with this the comb 
should be well brushed, and afterward wiped 
with a cloth or towel. 

Copper, to Clean.— 1. Take 1 oz. of oxalic acid, 6 
oz. rottenstone, ^ oz. gum arabic, all in powder, 
1 oz. sweet oil, and sufficient of water to make a 
paste. Apply a small portion, and rub dry with 
a flannel or leather. 

2. Use soft soap and rotten stone, made into a 
stiff paste with water, and dissolved by gently 
simmering in a water bath. Rub on with a 
woolen rag, and polish with dry whiting and 
rotten stone. Finish with a leather and dry 
whiting. 

3. Copper plates are cleaned by laying them 
on the hob near the fire, and pouring on them 
some turpentine, and then rubbing them with 
a small soft brush. 

Coral, to Clean and Bleach.— 1. The secret in 
cleaning coral is to turn the mass bottom up- 
ward and suspend it by means of a piece of 
wire in the saucepan, so that the dirt, as it 
boils off, may drop into the water, instead of 
down the septa. A strong solution of ordinary 
washing soda, or better, oxalic acid, is to be 
used to boil in it. The mass is to be boiled at 
least three hours. This is not only to clean the 
coral, but to bleach it also. 

2. Apply a mixture of hydrochloric acid and 
water, or wash the coral with a stiff brush »in 
cold salt and water, with a little soap powder, a 
little chloride of lime will improve it, then put 
in the sun to dry and bleach. 

Crape, to Restore.— Skimmed milk and water, 
with a little bit of glue in it, made scalding hot, 
is excellent to restore rusty Italian crape. If 
clapped and pulled dry like muslin, it will look 
as good as new; or, brush the veil till all the 
dust is removed, then fold it lengthwise, and 
roll it smoothly and tightly on a roller. Steam 
it till it is thoroughly dampened, and dry on 
the roller. 

Crape, to Clean.— Crape is cleansed by rinsing 
it in ox-gall and water, to remove the dirt, 
afterward in pure water to remove the gall, 
and lastly in a little gum water to stiffen and 
crisp it. It is then clapped between the hands 
until dry. 



Curtains, to Wash.— Shake every curtain, or 
hang them on a line and brush them down 
with a soft haired brush . Prepare a soaking 
liquid by melting a small quantity of borax in 
warm water, soak for an hour or two, then 
squeeze between the hands to remove the 
superfluous water. Take some good soap and 
chip it in hot water, stir until all the soap is 
melted, and a fine lather produced. By this 
time the water will be moderately warm. 
Immerse the curtains in this, pass them repeat- 
edly through the lathered water, or work them 
up and down. Rubbing should be avoided; 
when absolutely necessary i do it gently and 
without a brush. Squeeze out the soapy water, 
and rinse in plenty of soft, warm water. 
Wring carefully. Curtains should be dried 
quickly. If in the country, they may be 
spread to dry on clean grass. Otherwise cur- 
tains are always better for being stretched 
and pinned to wooden frames while drying. 

It is advisable to use cooked starch for cur- 
tains. Use good starch, mix it thoroughly in 
warm water, which should be made to boil for 
fifteen or twenty minutes. While cooling add 
a very little indigo blue. This is only to be used 
for pure white curtains. The starch should be 
decidedly thick. Draw the curtains through 
the starch, squeeze out gently, and dry rapidly. 

Curtains, Coloring. — Many persons prefer 
tinted curtains to pure white ones. If they 
have to be colored, do not put any blue in the 
starch, but use water that has been slightly 
tinted with coffee ( for ecru curtains ), tea for 
a more decided hue, or saffron ( for yellow tint) 
for preparing the starch. A decoction of log- 
wood may be used if you wish to give the cur- 
tains a delicate pink hue. 

Curtains, how to Prepare Special Coloring- 
Starches for Curtains.— The basis of these color- 
ing starches is thus prepared. Soak 1 lb. of 
good white glue for twelve hours, using just 
enough water to make it into a jelly ; dissolve 
this with boiling water, adding about 18 to 191b. 
of Paris white ; add more water until the com- 
pound is diluted to the consistency of milk. 
This starch may be colored to taste. A little 
Prussian blue and vermilion ( in the propor- 
tions of 2 to 1) gives a fine lilac. Raw 
umber and a pinch of lamp-black gives a gray. 
Vermilion and red lead ( in the proportion of 3 
to 1) produce a tender rose. Indigo blue 
just tinted with vermilion gives a lavender. 
Chrome yellow and a pinch of Spanish brown 
gives lemon yellow. Indian yellow and burnt 
sienna ( in the proportion of 2 to 1 ) gives a buff 
hue. Experiments should be tried, as some of 
the colors look very badlv if thev are dark. 

Diamonds, to Clean.— Clean all diamonds and 
precious stones by washing them with soap and 
water with a soft brush, adding a little ammonia 
in the water, and then dry in fine boxwood saw- 
dust. A little potash or pearlash put in the 
water will answer the same purpose. 

Drawing Instruments, to Clean.— If the lac- 
quering is badly spotted, clean it off with strong 
alcohol, and then polish the brass or German sil- 
ver with the following paste by means of flannel 
and a little water, and polish off with clean 
chamois leather or cotton cloth and a little whit- 
ing, after which you might re- varnish with shel- 
lac dissolved in alcohol, colored with a little 
dragon's blood, which can be got from any 
apothecary: Soft soap, 3 oz.; sweet oil, l / 2 oz.; 
turpentine, J4 oz.; powdered rotten stone, 4oz.; 
finest flour emery, 1 oz.; fine powdered crocus 
of antimony, J4 oz. Melt the soap, oil and tur- 
pentine together, add the powders, a little water 
to make a stiff paste, and mix well. 

Engravings, to Clean.— I. Presuming these to 
be mounted, proceed in the following manner: 
Cut a stale loaf in half, with a perfectly clean 
knife; pare the crust away from the edges. 
Place the engravings on a flat table, and rub- 
bing the surface with the fresh cut bread, in 
circular sweeps, lightly but firmly performed, 
will remove all superficial markings. Soak the 



Cleansing. 



103 



Cleansing. 



prints for a short time in a dilute solution of 
hydrochloric acid, say 1 part acid to 100 of 
water, and then remove them into a vessel con- 
taining a sufficient quantity of clear chloride of 
lime water to cover them. Leave them here 
until bleached to the desired point. Remove, 
rinse well by allowing to stand an hour in 
a pan in which a constant stream of water is 
allowed to flow, and finally dry off by spread- 
ing on clean cloths. Perhaps they may require 
ironing between two sheets of clean paper. 

2. Put the engraving on a smooth board, 
cover it thinly with common salt finely 
powdered ; squeeze lemon juice upon the salt so 
as to dissolve a considerable proportion of it; 
elevate one end of the board, so that it may form 
an angle of about 45° or 50° with the borizon. 
Pour on the engraving boiling water from a 
tea kettle until the salt and lemon juice be all 
washed off; the engraving will then be per- 
fectly clean, and free from stains. It must be 
dried on the board, or on some smooth surface, 
gradually. If dried by the fire or the sun, it 
will be tinged with a yellow color. 

3. Hydrochloric acid, oxalic acid, or eau de 
Javelle may be employed, weakened by water. 
After the leaves (if it be a book) have by this 
means been whitened, they must be bathed 
again in a solution of sulphate of soda, which 
will remove all the chlorine, and leave the 
leaves white and clean. They will, however, 
have lost all firmness of texture, owing to the 
removal of the size from the paper. It will, 
therefore, be advisable to give a bath of gela- 
tine and alum made with boiling water, to 
which may be added a little tobacco, or any 
other simple substance, to restore the tint of 
the now too white paper. 

4. Immerse each mildewed sheet separately in 
a solution made in the proportions of ^ lb. 
chloride of lime to 1 pt. of water. Let it stand, 
with frequent stirring, for 24 hours, and then 
strain through muslin, and finally add 1 qt. 
water. Mildew and other stains will be found 
to disappear very quickly, and the sheets must 
then be passed separately through clear water, 
or the chloride of lime, if left in the paper, 
will cause it to rot. Old prints, engravings, 
and every description of printed matter may 
be successfully treated in the same manner. 

5. "I have in my time cleaned many hun- 
dreds. The plan which I adopt is as follows : 
I place them, one or two at a time, in a shallow 
dish, and pour water over them until they are 
completely soaked or saturated with it. I then 
carefully pour off the water, and pour on to the 
prints a solution of chloride of lime (1 part liquor 
calcis chloratae to 39 parts of water). As a 
general rule, the stains disappear as if by magic, 
but occasionally they are obstinate. When that 
is the case, I pour on the spot pure liquor calcis 
chloratae, and if that does not succeed, I add a 
little dilute nitro-muriatic acid. I have never 
had a print which has not succumbed to this 
treatment — in fact, as a rule, they become too 
white. As soon as they are clean they must be 
carefuhy washed with successive portions of 
water until the whole of the chlorine is got rid 
of. They should then be placed in a very 
weak solution of isinglass or glue, and many 
collectors color this solution with coffee 
grounds, etc., to give a yellow tint to the print. 
They should be dried between folds of blotting 
paper, either in a press or under a heavy book, 
and finally ironed with an ordinary flat iron to 
restore the gloss, placing clean paper between 
the iron and the print. G rease stains are much 
more difficult. I find benzine best. Small 
grease spots may be removed by powdered 
French chalk being placed over them, a piece 
of clean blotting paper over the chalk, and a 
hot iron over that."— F. Andrews. 

6. Mildew often arises from the paste used to 
attach the print. Take a solution of alum of 
medium strength and brush on back and face 
of the engraving 2 or 3 coats, then make the 
frame air-tight by pasting a strip ot Daper all 



round the inside of glass, leaving about ^ in. 
overlapping (taking care not to paste the paper 
on the glass so as to be seen from the front), 
then place your glass in frame, take the over- 
lapping piece and paste to side of rabbet ; place 
your picture in position, spring back board in, 
and then place a sheet of strong paper (brown) 
on the table, damp it, and paste round back of 
frame, lay it on to the paper, leave to dry, cut 
level. If this does not answer, there will be no 
help for it, but dust off as the mould accumu- 
lates. Do not brush on surface with the alum 
if the engraving is colored, but several coats 
on the back. 

7. It has been found that ozone bleaches 
paper perfectly without injuring the fiber in 
the least. It can be used for removing mildew 
and other stains from engravings that have 
been injured by hanging on the walls of damp 
rooms. The engraving should be carefully 
moistened and suspended in a large vessel par- 
tially filled with ozone. The ozone may be 
generated by putting pieces of clean phospho- 
rus in the bottom of the vessel partially cov- 
ered with water ; or by passing electric sparks 
through the air in the vessel. 

8. If the engravings are very dirty, take two 
parts of common salt and one part common 
soda, and pound them together until very fine. 
Lay the engraving on a board, and fasten it 
with drawing pins, and then spread the mix- 
ture dry equally over the surface to be cleaned. 
Moisten the whole with warm water and a little 
lemon juice, and, after it has remained about a 
minute, or even less, tilt the board up on its 
end, and pour over it a kettleful of boiling 
water, being careful to remove all the mixture, 
and avoid rubbing. If the engraving is not 
very dirty, the less soda used the better, as it 
has a tendency to give the engraving a yellow 
hue. 

Emery, to Cleanse after Using.— Boil with 
caustic potash, stirring constantly, then wash 
with acid, dilute and dry. 

To Remove Grease from Emery Wheels.— "Wash 
with bisulphide of carbon. 

Lightning Eradicator. — Strong ammonia 
water, 4 oz.; water, 2 qts.; saltpeter, 1 oz.; 
mottled soap, 2 oz.; the soap must be finely 
shaved. Mix thoroughly and allow the pre- 
paration to stand for several days before 
using. Cover any grease spot with this pre- 
paration, rub well and rinse with clean water. 

Feathers, to Clean.— 1. To clean feathers from 
their own animal oil, steep them in 1 gal. of 
water mixed with 1 lb. of lime, stir them well, 
and then pour off the water, and rinse the 
feathers in cold spring water. To clean feath- 
ers from dirt, simply wash them in hot water 
with soap. Rinse them in hot water. 

2. To Clean White Ostrich Feathers. — 4 oz. 
white curd soap cut small, dissolved in 4 pt. 
water, rather hot, in a basin. Make the solution 
into a lather by beating it with birch rods or 
wires. Introduce the feathers and rub well with 
the hands for five or six minutes. After the 
soaping, wash in clean water as hot as the 
hand can bear. Shake until dry. 

3. Slightly soften the soiled feathers with 
warm water, using a camel's hair brush. Next 
raise each feather with a flat piece of wood or 
paper knife, and clean them with spirits of 
wine. L)ry with plaster of Paris, and after- 
ward brush them carefully with a dry camel's 
hair brush, 

4. Make a strong solution of salt in water, 
saturate a large and thick cloth with it. Wrap 
the bird up in the damp cloth in as many folds 
as you can, not disarranging the plumage. Look 
at the bird in six hours, and if not long dried 
on the blood will be soft ; if not soft, keep it in 
the cloth longer, and rewet it. When soft, rub 
out with gentle pressure, ptitting something 
hard under each feather with blood on, and 
rubbing with the back of a knife. Of course 
each feather must be done separately. 



Cleansing. 



104 



Cleansing. 



5. Col. Wragge treated the soiled plumage of 
albatrosses, Cape petrel, etc., by simply wash- 
ing the feathers in rain water, after the pro- 
cess of skinning, and then laying a thick mix- 
ture of starch and water over the portion to 
be cleansed. Next he laid the birds aside, and 
left them till the plastering of starch had be- 
come thoroughly dry. He then removed the 
dry plaster by tapping it, and found that the 
feathers had become much cleaner. Old speci- 
mens may be cleaned in this way. Feathers 
may be set by just arranging them naturally 
with a needle or any pointed instrument. 

6. White.— Dissolve 4 oz. of white soap in 2 qt. 
of boiling water, put it into a large basin or 
small pan, and beat to a strong lather with a 
wire egg beater or a small bundle of birch 
twigs ; use while warm. Hold the feather by 
the quill with the left hand, dip it into the soap 
liquor and squeeze it through "the right hand, 
using a moderate degree of pressure. Continue 
this operation until the feather is perfectly 
clean and white, using a second lot of soap 
liquor if necessary. Rinse in clean hot water 
to take out the soap, and afterward in cold 
water in which a small quantity of blue has 
been dissolved . Shake well, and dry bef oi'e a 
moderate fire, shaking it occasionally, that it 
may look full and soft when dried. Before it 
is quite dry, curl each fiber separately with a 
blunt knife or ivory paper folder. 

To Purify Feathers for Beds, Pillows, etc. — 
Prepare a quantity of lime water in the follow- 
ing manner: Well mix 1 lb. of quicklime in 
each gal. of water required, and let it stand 
until all the undissolved lime is precipitated, as 
a fine powder, to the bottom of the tub or pan, 
then pour off the clear liquor for use. The 
number of gallons to be prepared will, of 
course, depend on the quantity of feathers to 
be cleaned. Put the feathers into a clean tub, 
pour the lime water on them, and well stir them 
i n it until they all sink to the bottom. There 
should then be sufficient of the lime water to 
cover them to a depth of 3 in. Let them stand 
in this for three or four days, then take them 
out, drain them in a sieve, and afterward well 
wash and rinse them in clean water. Dry on 
nets having a mesh about the same size as a 
cabbage net; shake the net occasionally, and 
the dry feathers will fall through. When they 
are dried, beat them well to get rid of the dust. 
It will take about three weeks to clean and dry 
a sufficient quantity for a bed. This process was 
awarded the prize offered by the Society of 
Arts. 

To Bender Feathers White and to Bemove the 
Gray Color.— Feathers must be cleansed by im- 
mersing for a short time in naphtha or benzine. 
Rinse in a second dish of the same and dry in 
the air. Then bleach by exposing in a box to 
the vapor of burning sulphur in a moist atmo- 
phere. 

Flannels, to Wash.— Shave a little white soap 
into a pail, and pour on it water nearly boiling 
hot to dissolve it, adding, if you choose, a table- 
spoonful of spirits of ammonia. Pour the hot 
suds upon the flannels in a tub, and use a good 
pounder or a machine, as the water needs to be 
of too high a temperature f or the hands. Wring 
the flannels, and put them into a second water, 
like the first, except with less soap, and use 
again the pounder or machine. Rub the soiled 
spots in the suds as hot as you can bear, but 
never rub soap on the spots. Wring the flannels 
as dry as you can with a good wringer, and put 
them on a line in a brisk, drying air. The hot- 
ter they are when wrung and the sooner they 
dry the better. Their color may be improved 
by a little bluing; and if they are well ironed 
before getting quite dry, fulling is prevented. 

Flannel Shrinking. — All flannel ought pro- 
perly to be shrunk before it is cut out and made 
up into garments. The process is quite simple. 
Soak the flannel for a few minutes in warm 
water, then rub some good laundry soap over 
every inch of it, din it in the water and knead 



it, or shake it up and down; do not scrub. After 
the washing, let the flannel be thoroughly 
rinsed in warm water. It must be remembered 
that boiling or hot water should never touch 
flannel. Wring carefully and dry slowly. On no 
account allow flannel to be dried in an over- 
heated drying closet or before a fire. 

Flannel Washing. — To wash flannel or flannel 
garments, prepare a good lather in hot water; 
when just warm throw in your flannel and work 
it up and down, backward and forward. Scrub- 
bing must be avoided, and no soap should be 
actually rubbed on it, as this will induce 
further shrinkage. Rinse in warm water, twice 
if necessary. Never wash or rinse in hot or 
cold water, as they both cause the flannel to 
shrink suddenly. 

Flannel Blankets, to Wash.— Put the soiled 
blankets to soak for fifteen minutes in plain soft 
warm water. Prepare a soft jelly with first class 
laundry soap and boiling water, 1 lb. of soap for 
every blanket. Pour this into a tub of warm 
water, let it melt and lather it up well with the 
hand. Wring the blankets from the soaking 
tub, and throw them into the lather; stir them 
about and leave to soak ten minutes, then hand 
rub every inch of the blankets, paying especial 
attention to stains. Take them out and wring, 
then rinse in warm water twice. Dry well, 
but do not expose them to great heat. When 
dry stretch them in every direction, and rub ah 
over with a piece of clean rough flannel. This 
makes them fluffy and soft. If very dirty, a 
little borax may be added to the water, but no 
soda or bleaching powder should ever be used. 

Flannels, to Iron.— Most flannels are the better 
for not being ironed, but in some cases it is 
necessary to do so. The proper way is to dry the 
flannels, then spread them on an ironing board, 
cover them Avith a slightly damp cloth, and iron 
over this, pressing down heavily. The iron 
must not be too hot. 

Fleckenwasser.— (Bronner.) Cleansing fluid (lit- 
erally spot or stain water) for the removal of 
grease and dirt spots. Benzine only. 

Fleckenwasser Englisches.— English cleansing 
fluid for removing acid, resin, wax, tar, and 
grease spots. A mixture of 95% alcohol, 100 
grm.; liq. ammon., sp. gr. 875, 30 grm.; benzine, 
4 grm.— Artus. 

Floors, to Scour.— Clean sand, 12 parts; soft 
soap, 8 parts; lime, 4 parts. Use a scrubbing 
brush and rinse. 

Fly Specks, to Bemove from Brass, etc.— If you 
cannot wash off the fly specks with soap and 
warm water on a cloth, there is no way that an 
amateur can refinish lampwork with any sat- 
isfaction. To do this, the lamp must be taken 
apart and the brasswork boiled in caustic soda 
to remove all oil and varnish; then rinse in hot 
water and dip in strong nitric acid for a few 
seconds only, when it will come out clean and 
bright; then rinse clean in boiling water. Dry 
in sawdust, brush off, and lacquer with thin 
shellac varnish. The metal must be warm and 
perfectly free from grease. 

Fly Specks from Bronze, to Bemove.— Laven- 
der oil, 1 drm.; alcohol, 1 oz.; water, 1\& oz. Use 
a soft sponge and proceed quickly with little 
rubbing. 

Fly Specks, to Bemove from Gilding.— Old ale 
is a good thing to wash any gilding with, as it 
acts at once on the fly dirt. Apply it with a 
soft rag. 

Frames, to Benovate.— You may improve them 
by simply washing them with a small sponge 
moistened with spirits of* wine or oil of tur- 
pentine, the sponge only to be sufficiently wet 
to take off the dirt and fly marks. They should 
not be wiped afterward, but left to dry of 
themselves. 

Fruit and Wine Stains.— 1. White cotton or 
linen, fumes of burning sulphur, warm chlorine 
water. Colored cottons or woolens, wash with 
tepid soapsuds of ammonia. Silks the same, 
with very gentle rubbing. 



Cleansing. 



105 



Cleansing. 



2. First rub the spot on each side with hard 
soap and then lay on a thick mixture of starch 
and cold water. Rub this mixture of starch 
well into the spot, and afterward expose it to 
the sun and air. If the stain has not disap- 
peared at the end of three or four days, repeat 
the process. 

3. Stains of wine may be quickly and easily 
removed from linen, by dipping- the parts 
which are stained into boiling milk. The milk 
to be kept boiling until the stain disappears. 

4. Most fruits yield juices which, owing to 
the acid they contain, permanently injure the 
tone of the dye; but the greater part may be 
removed without leaving a stain, if the spot be 
rinsed in cold water in which a few drops of 
aqua ammonia have been placed, before the 
spot has dried. Wine stains on white materials 
may be removed by rinsing with cold water, 
applying locally weak solution chloride of lime, 
and again rinsing in an abundance of water. 
Some fruit stains yield only to soaping with the 
hand, followed by fumigation with sulphurous 
acid; but the latter process is inadmissible with 
certain colored stuffs. If delicate colors are 
injured by soapy or alkaline matters, the stains 
must be treated with colorless vinegar of 
moderate strength. 

5. To remove fruit and wine stains from 
table linen moisten with dilute sulphuric acid 
and then rub with aqueous solution of sulphite 
or hyposulphite of soda in water, 

6. Spread the stained part over a bowl or 
basin, and pour boiling water through it; or 
rub on salts of lemon and pour boiling water 
through until the stain disappears or becomes 
very faint. 

Furniture, how to Improve the Appearance of. 
—Mr. G. J. Henkels, of Philadelphia, Pa., sug- 
gests that when the polish on new furniture 
becomes dull it can be renewed by the follow- 
ing process: Take a soft sponge, wet with 
clean cold water, and wash over the article. 
Then take a soft chamois skin and wipe it clean. 
Dry the skin as well as you can by wringing it 
in the hands, and wipe the water off the furni- 
ture, being careful to wipe only one way. Never 
use a dry chamois on varnished work. If 
the varnish is defaced and shows white marks, 
take linseed oil and turpentine in equal parts ; 
shake them well in a phial and apply a very 
small quantity on a soft rag until the color is 
restored ; then with a clean soft rag wipe the 
mixture entirely off. In deeply carved work 
the dust cannot be removed with a sponge. 
Use a stiff haired paint brush instead of a 
sponge. The cause of varnished furniture be- 
coming dull, and the reason why oil and tur- 
pentine restore its former polish, it will be ap- 
propriate to explain. The humidity of the 
atmosphere and the action of gas cause a bluish 
white coating to collect on all furniture, and 
show conspicuously on bright polished surfaces, 
such as mirrors, pianos, cabinet ware, and pol- 
ished metal. It is easily removed as previously 
directed. The white scratches on furniture 
are caused by bruising the gum of which var- 
nish is made. Copal varnish is composed of gum 
copal, linseed oil, and turpentine or benzine. 
Copal is not soluble in alcohol, as other gums 
are, but is dissolved by heat. It is the founda- 
tion of varnish, as the oil is used only to make 
the gum tough, and the turpentine is required 
only to hold the other parts in a bquid state, 
and it evaporates immediately after its applica- 
tion to furniture. The gum then becomes hard 
and admits of a fine polish. Thus, when the 
varnish is bruised, it is the gum that turns 
white, and the color is restored by applying the 
oil and turpentine. If the mixture is left on 
the furniture, it will amalgamate with the var- 
nish and become tough. Therefore the neces- 
sity of wiping it entirely off at once. To var- 
nish old furniture, it should be rubbed with 
pulverized pumice stone and water to take off 
the old surface, and then varnish with varnish 
reduced, by adding turpentine, to the consist- 



ency of cream. Apply with a stiff haired brush. 
If it does not look well, repeat the rubbing 
with pumice stone, and when dry, varnish it 
again. 

For a crack, a worm eaten hole, or a deep 
flaw, prepare the proper dust, by the admix- 
ture of brick dust in flour (also kept ready), or 
whiting or ocher, or any required tint. Then 
take well cooked glue, and on a house plate 
stir it in slowly while hot, Avith sufficient pow- 
der for your work. Dab the hole or crack with 
your glue brush, then with a putty knife stir 
about the mixture on the plate, taking care 
you have the right color. When sure on this 
point, take some of the cement on the end of 
the knife and insert it in the desired place. 
Then use as much pressure as you possibly can 
with the blade, and keep smoothing at it. 
Sprinkle a little of the dry powder on the spot. 
When thoroughly dry, sand paper the surface 
with an old used piece, so as not to abrade the 
joint. You can then varnish the mending. 
Where weevil and Avood worms haA*e devoured 
the furniture, cautiously cut out the part till 
a sound place be reached. Poison the wood 
with a solution of sulphate of copper injected 
into the hoUew. Let it dry. Cut an angular 
piece of same wood from your board, and with 
a sharp chisel make a suitable aperture for its 
reception. Fix it with glue. When thoroughly 
dry, Avork with casing tools or rasp and glass, 
scraping till the new bit of work exactly 
matches the old. 

Polish for Removing Stains from Furniture. — 
1 pt. of 98$ alcohol, ground resin Yz oz., gum 
shellac V/% oz. After the resin and shellac cut 
in the alcohol, mix in 1 pt. of linseed oil, and 
give the whole a good shaking. Apply with a 
cloth or newspaper, and polish with a flannel 
after applying the solution. 

Furs, to Clean Da rk.— Sable, chinchilla, squir- 
rel, fitch, etc. Heat a quantity of new bran in 
a pan, taking- care that it does not burn, stir 
constantly. When well heated rub thoroughly 
into the fur. Repeat two or three times. Shake 
the fur and brush briskly until free from dust. 

Furs, to Clean Light. — White furs, ermine, 
etc., may be cleaned in the following way : Lay 
the fur on a table and rub with bran, moistened 
with warm water. Rub until dry, then rub 
with dry bran. Use flannel for rubbing with 
the wet bran and book muslin for the dry. 
After using the bran, rub with magnesia. Dry 
flour may be used instead of wet bran. Rub 
against the Avay of the fur. 

Gilt Picture Frames, to Clean— 1. Fly marks 
can be cleaned off Avith soap and water used 
sparingly on end of finger co\'ered by piece of 
rag. When all cleared off, rinse with cold 
Avater, and dry Avith chamois leather ; next buy 
a pound of common size and two penny paint 
pans. Boil a little of the size in one of the pans 
Avith as much water as will just coA'er it. When 
boiled, strain through muslin into clean pan, 
and apply thinly to frames Avith camel hair 
brush (.called technically a "dabber"). Take 
care you do not give the frames too much water 
and ''elbOAV grease." On no account use gold 
size, as it is used only in regilding, and if put 
on over the gold avouM make it dull and sticky. 

2. Dissolve a Aeiy small quantity of salts of 
tartar in a Avine bottle of water, and with a 
piece of cotton wool soaked in the liquid dab 
the frames Aery gently, no rubbing on any ac- 
count or you will take off the gilt, then stand 
up the frames so that water Avill drain away 
from them conveniently, and syringe them 
Avith clean Avater. Care must be taken that the 
solution is not too strong. 

3. If ne\v gold frames are A*arnished with the 
best copal Aarnish it improA'es their appearance 
considerably, and fly marks can then be Avashed 
off carefully Avith a sponge. The frames also 
last many times longer. It also improA r es old 
frames to A'arnish them with it. 

4. Gilt frames may be cleaned by simply 
washing them with a smalL sponge, moistened 






Cleansing. 



106 



Cleansing. 



with hot spirits of wine or oil of turpentine, 
the sponge only to be sufficiently wet to take 
off the dirt and fly marks. They should not 
afterward be wiped, but left to dry of them- 
selves. 

5. Old ale is a good thing to wash any gilding 
with, as it acts at once upon the fly dirt. Ap- 
ply it with a soft rag ; but for the ins and outs 
of carved work, a brush is necessary ; wipe it 
nearly dry, and don't apply any water. Thus 
will you leave a thin coat of the glutinous isin- 
glass of the finings on the face of the work, 
which will prevent the following flies' faeces 
from, fastening to the frame, as they otherwise 
would do. 

Gilt Mountings, to Clean.— Gilt mountings, 
unless carefully cleaned, soon lose their luster. 
They should not be rubbed; if slightly tar- 
nished, wipe them off with a piece of Canton 
flannel, or, what is better, remove them if pos- 
sible, and wash in a solution of J^ oz. of borax 
dissolved in 1 lb. of water, and dry them with a 
soft linen rag ; their luster may be improved 
by heating them a little and rubbing with a 
piece of Canton flannel. 

Glass Cleaning Preparation.— Photographers 
will find the following a useful glass-cleaning 
preparation : Water, 1 pt.; sulphuric acid, £§ 
oz.; bichromate of potash, ^ oz. The glass 
plates, varnished or otherwise, are left for 10 
or 12 hours, or as much longer as desired, in 
this solution, then rinsed in clean water and 
wiped dry with soft white paper. The liquid 
quickly removes silver stains from the skin 
without any of the attendant dangers of 
cyanide of potassium. 

Glass, to Clean.— 1. To clean glass in frames, 
when the latter are covered or otherwise so 
finished that water cannot be used, moisten 
tripoli with brandy, rub it on the glass while 
moist, and when dry rub off with a silk rag ; to 
prevent the mixture injuring the cloth on the 
frame, use strips of tin bent to an angle; set 
these on the frame with one edge on the glass ; 
when the frames are of a character that will 
not be injured by water, rub the glass with 
water containing a little liquid ammonia and 
polish with moist paper. 

2. Glass Bottles.— If vessels are oily or other- 
wise greasy, they should not be washed with 
water, but wiped with dry tow, or a dry dirty 
cloth, so as to remove as much grease as pos- 
sible. By changing the cloth for one that is 
clean, the vessel can be wiped until all traces 
of grease disappear. 

3. A strong solution of an alkali such as pearl- 
ash may be used, whereby the removal of the 
grease is materially facilitated. 

4. If a vessel be soiled by resin, turpentine, 
resinous varnishes, etc., it should be washed 
with a strong alkaline solution, and rubbed by 
means of the wire and tow. 

5. If the alkali fail to act, a little sulphuric 
acid may be employed with advantage. The 
latter acid will also be found advantageous in 
removing pitch and tar from vessels of glass. 
Nitric or sulphuric acids may be employed to 
clean flasks which have contained oil. 

6. A correspondent of the Philadelphia* Pho- 
tographer says: " To clean a silver bottle, pour in 
a strong solution of cyanide; shake a few times, 
pour out, and rinse with water two or three 
times, and your bottle is perfectly clean. Keep 
the solution, and filter and strengthen when 
required. By doing this you can sun your 
bath better in two hours than in a week's 
exposure in the dirty black bottles photo- 
graphers appear to delight in." 

7. It would be easy for a practical brush 
maker to construct a brush in the form of a 
hollow cone, which would reach the bottom of 
bottles; but the difficulty would be to get it 
into the bottle without spoiling it (the brush). 
A brush composed of a single bundle of long 
hairs, something like a painter's sash tool, with 
the bristles cut somewhat tapering, should 
answer the purpose. The bottle must, of course, 



be turned round with the hand, to bring every 
part into contact with the brush. 

8. Lead shot, where so used, often leave car- 
bonate of lead on the internal surface, and this 
is apt to be dissolved in the wine or other 
liquids afterward introduced, with poisonous 
results ; and particles of the shot are some- 
times inadvertently left in the bottle. Fordos 
states that clippings of iron wire are a better 
means of rinsing. They are easily had, and the 
cleaning is rapid and complete. The iron is at- 
tacked by the oxygen of the air, but the ferru- 
ginous compound does not attach to the side of 
the bottle, and is easily removed in washing. 
Besides, a little oxidized iron is not injurious 
to health. Fordos found that the small traces 
of iron left had no apparent effect on the color 
of red wines ; it had on white wines, but very 
little ; but he thinks it might be better to use 
clippings of tin for the latter. 

9. Take a small piece of the very finest and 
softest flannel without crease or seam, or a few 
inches of superfine broadcloth, dip this in pow- 
der blue, and with it clean your plate glass, 
polishing with a rag of soft silk or fine chamois 
leather. 

Glassware, Laboratory, to Cleanse.— Labora- 
tory flasks which have contained oil or fatty 
matter may be easily cleansed by a solution of 
permanganate of potassa. To remove turpen- 
tine, petroleum, photogene, etc., wash with an 
ounce or so of sulphuric acid and rinse with 
water. 

To Clean Discolored Glass.— Apply dilute nitric 
acid. Water of ammonia is also good. 

Gloves, to Clean.— Ganteine.— A composition 
used to clean kid and other leather gloves. 
1. Curd soap (in small shavings), 1 part; water, 
3 parts ; mix with heat, and stir in essence of 
citron, 1 part.— M. Buhan. 

2. Saponine.— Duvignau soap in powder, 250 
parts; water, 155 parts; dissolve with heat, 
cool, and add of eau de Javelle, 165 parts ; solu- 
tion of ammonia, 10 parts ; and rub the whole 
to a smooth paste. A small portion of either of 
the above is rubbed over the glove with a piece 
of flannel (always in one direction) until it is 
sufficiently clean. 

Kid Gloves, to Clean.— 1. Put them together 
with a sufficient quantity of pure benzine in a 
large stoppered vessel, and shake the whole oc- 
casionally, with alternate rest. If, on removing 
the gloves, there remain any spots, rub them 
out with a soft cloth moistened with ether or 
benzole. Dry the gloves by exposure to the 
air, and then place smoothly between glass 
plates at the temperature of boiling water until 
the last traces of benzine are expelled. They 
may then be folded and pressed between paper 
with a warm iron. Another way is to use a 
strong solution of pure soap in hot milk beaten 
up with the yelk of one egg to a pint of the 
solution. Put the glove on the hand, and rub 
it gently with the paste, to which a little ether 
may be added, then carefully lay by to dry. 
"White gloves are not discolored by this treat- 
ment, and the leather will be made thereby 
clean and soft as when new. 

2. Damp them slightly, stretch them gently 
over a wooden hand of appropriate size, and 
clean them with a sponge dipped in benzole, re- 
cently rectified oil of turpentine, or camphine. 
As soon as they are dry, withdraw them gently 
from the stretcher, and suspend them in a cur- 
rent of air for a few days, or until they cease to 
smell of the cleaning liquid used. Heat must 
be avoided. The cleaning liquid should be used 
liberally, and the first dirty portion should be 
sponged off with clean liquid. 

3. Make a strong lather with curd soap and 
warm water ; lay the glove flat on a board, the 
bottom of a dish, or other unyielding surface ; 
dip a piece of flannel in the lather, and well rub 
the glove with it till all the dirt is out, turning 
it about so as to clean it all over. Dry in the 
sun or before a moderate fire. When dry they 



Cleansing. 



107 



Cleansing. 



will look like old parchment, and should be 
gradually pulled out and stretched. 

4. Have a small quantity of milk in a cup or 
saucer, and a piece of brown Windsor or gly- 
cerine soap in another saucer. Fold a clean 
towel or other cloth three or four times thick, 
and spread the glove smoothly on the cloth. 
Dip a piece of flannel in the milk, and rub it 
well on the soap. Hold the glove firmly with 
the left hand, and rub it with the flannel 
toward the fingers. Continue this operation 
until the glove, if white, appears of a dirty yel- 
low; or if colored, until it looks dirty and 
spoiled, and then lay it to dry. Gloves cleaned 
by this method will be soft, glossy and elastic. 

5. French Method.— Put the gloves on your 
hands, and wash them in spirits of turpentine 
until they are quite clean, rubbing them ex- 
actly as if washing your hands ; when finished, 
hang them in a current of air to dry and to 
take off the smell of the turpentine. 

6. Eau de Javelle, 135 parts; ammonia, 8 
parts; powdered soap, 200 parts; water, 150 
parts. Make a soft paste, and use with a 
flannel. 

7. Wash them with soap and water; then 
stretch them on wooden hands, or pull them 
into shape without wringing them ; next rub 
them with pipe clay or yellow ocher, or a mix- 
ture of the two in any required shade, made 
into a paste with beer ; let them dry gradually, 
and when about half dry rub them weU, so as 
to smooth them and put them into shape ; then 
dry them, brush out the superfluous color, 
cover them with paper, and smooth them with 
a warm iron. Other colors may be employed to 
miY with the pipe clay besides yellow. ocher. 

Glove Cleaner.- Castile soap, white,. 3 troy oz.; 
javelle water, 2 fl. oz.; water. 2 fi. oz.; water of 
ammonia, 1 drm. Dissolve the soap by the aid 
of heat in the water, and when nearly cold, 
add the Javelle water and the water of ammo- 
ma. The preparation should form a paste, to 
be rubbed on the soiled part of the glove with 
a piece of flannel. This receipt is in use in 
many large cleaning establishments, and can be 
recommended. 

Kid Gloves, to Clean without Wetting.— 1. Stale 
bread is sometimes used for this purpose. The 
gloves are put on and the softer part of the 
bread is broken up into crumbs and the hands 
are rubbed one over the other as in the act of 
washing, the crumbs being thus rubbed over 
all parts of the gloves. Spongy rubber is often 
used .for glove cleaning. It is applied in the 
same manner as in cleaning drawings, i. e., it is 
rubbed over the soiled parts of the glove. 

2. Lay the gloves upon a clean board, make a 

mixture of dried fuller's earth and powdered 

alum, and pass them over on each side with a 

I stiff brush. Then sweep the dust off and 

sprinkle them well with dry bran and whiting 

1 and dust them well. This, if the gloves be not 

exceedingly soiled, will effectually cleanse 

them- but if they are much soiled, take 

out the grease with crumbs of toasted bread 

and powder of burnt bone, then pass them 

j -over with a woolen cloth, dipped in fuller's 

1 earth or powdered alum. " 

Doeskin, Wash Leather (Chamois), and Un- 

dressed Kid.— 1. Wash them in lukewarm soft 

! water, with a little Castile or curd soap, oxgall 

or bran tea; then stretch them on wooden 

, hands, or pull them into shape without wring- 

; iner them; next rub them with pipe clay, yellow 

ocher, or umber, or a mixture of them in any 

required shade, made into a paste with ale or 

beer; let them dry gradually, and when about 

I half dry rub them well, so as to smooth them, 

I and put them into shape; when they are dry 

1 brush out the superfluous color, cover them 

with paper and smooth them with a warm (not 

' hot) iron. 

2. Take out the grease spots by rubbing them 
with magnesia or with cream of tartar. Then 
wash them with soap dissolved in water as 



directed for kid gloves, and afterward rinse 
them, first in warm water and then in cold. 
Dry in the sun, or before the fire. All gloves 
are better and more shapely if dried on glove 
trees or wooden hands. 

3. Stretch them on a hand or lay them flat on 
a table, and rub into them a mixture of finely 
powdered fuller's earth and alum; sweep it off 
with a brush, sprinkle them with a mixture of 
dry bran and whiting, and lastly dust them off 
well. This will not do if they are very dirty. 

Gold Bronze, to Clean. — Boil in a weak alkali 
prepared from an infusion of wood ashes. Then 
clean with a solution composed of equal parts 
nitric acid, water and alum. 

Gold Detergent.— {Upton.) Quicklime, loz.; 
sprinkle it with a little hot water to slake it, 
then gradually add 1 pt. boiling water, so as 
to form a milk. Next dissolve pearlash, 2 oz., 
in boiling water, 1^ pt. Mix the two solutions, 
cover up the vessel, agitate occasionally for 
an hour, allow it to settle; decant the clear, 
put it into flat \i pt. bottles, and cork them 
well. Use to clean gilding either alone or di- 
luted with water. It is applied with a soft 
sponge, and then washed off with clean water. 
It is essentially a weak solution of potassa and 
maybe extemporaneously prepared by dilut- 
ing solution of potassa with about five times its 
volume. 

Gold, Cleaning Dull.— A solution of 80 grm. 
chloride of lime, 80 grm. bicarbonate of soda, 
and 20 grm. common salt in 3 liters distilled 
water is prepared and kept in well-closed bot- 
tles. The article to be cleaned is allowed to 
remain some short time in this solution (which 
is only to be heated in the case of very obsti- 
nate dirt), then taken out, washed with spirit, 
and dried in sawdust. 

Gold and Silver, Removing Stains from.— Im- 
merse for some time in a solution of J^ oz. cy- 
anide of potassium to 1 pt. rain water, and 
brush off with prepared chalk. 

Gold Lace, to Wash. — It is placed over- 
night in urine or wine and washed. Take V/^ 
pt. water and 1% pt. whisky, and a little 
ground gum arabic and saffron. Applywith a 
brush when the laces are stretched on a table. 
' Granite, Removal of Stains from. — 1. A paste 
of 1 oz. oxgall, 1 gill of strong solution of caus- 
tic soda, \Y2 tablespoonful of turpentine, with 
enough pipe clay to make it thick and consist- 
ent, scour well, 

2. Mix together J4 lb. whiting, 34 lh- soft soap, 
1 oz. washing soda, and a piece of sulphate of 
soda as big as a walnut. Rub it over the sur- 
face you propose to treat, let it stand twenty- 
four hours, and then wash off. If it succeeds, 
try another portion. 

3. Smoke and soot stains can be removed 
with a hard scrubbing brush and fine sharp 
sand, to which add a little potash. 

4. Use strong lye, or make a hot solution of 
3 lb. of common washing soda dissolved in 1 
gal. of water. Lay it on the granite with a 
paint brush. 

Grass Stains, to Remove.— Wash the stained 
places in clean, cold, soft water, without 
soap, before the garment is otherwise wet. 

Grease, Removal of— I. It is impossible to 
classify all the receipts under this heading. 
Many additional ones will be found under Spots 
and Stains below, others under Oil Stains. 

2. Fatty oils have a greater surface tension 
than oil of turpentine, benzole or ether. Hence, 
if a grease spot on a piece of cloth be moist- 
ened on the reverse side with one of these sol- 
vents, the tension on the greasy side is larger, 
and therefore the mixture of benzole and fat 
or grease will tend to move toward the main 
grease spot. If we were to moisten the center 
of this spot with benzole, we should not re- 
move it, but drive the grease upon the clean 
portion of the cloth. It is, therefore, neces- 
sary to distribute the benzole first over a cir- 
cle surrounding the grease spot, to approach 
the latter gradually, at the same time having 



Cleansing. 



108 



Cleansing'. 



blotting- paper in contact with the spot to ab- 
sorb the fat immediately. 

3. Another method, namely, to apply a hot 
iron on one side, while blotting- paper is ap- 
plied to the other, depends upon the fact that 
the surface tension of a substance diminishes 
with a rise of temperature. If, therefore, the 
temperature at different portions or sides of 
the cloth is different, the fat acquires a ten- 
dency to move from the hotter parts toward 
the cooler.— Tlie Pharmacist. 

4. Grease and Oil.— For white linen or cotton 
goods, use soap or weak lye. For colored cali- 
coes, warm soapsuds. For woolens, soapsuds 
or ammonia. For silks, benzine, ether, am- 
monia, magnesia, chalk, yelk of egg, with 
water. 

5. Dissolve 1 oz. pearlash in 1 pt. water, and 
to this solution add a lemon cut into thin 
slices. Mix well, and keep the mixture in a 
warm state for two days, then strain and bottle 
the clear liquid for use. A small quantity of 
this mixture poured on stains, occasioned by 
either grease, oil or pitch, will speedily remove 
them. Afterward wash in clear water. 

6. Carbonate of magnesia— magnesia that has 
been previously calcined is best— is dried in an 
oven and mixed with sufficient benzine to form 
a soft, friable mass. In this state it is put into 
a wide mouthed glass bottle, well stoppered and 
kept for use. It is spread pretty thickly over 
the stains, and rubbed well to and fro with the 
tip of the finger. The small rolls of earthy 
matter so formed are brushed off, and more 
magnesia is laid on and left until the benzine 
has evaporated entirely. Materials that will 
bear washing are then cleaned with water ; on 
silks, alcohol or benzine should be used instead. 
The process may be applied to textile fabrics 
of every description, except those containing 
very much wool, to which the magnesia ad- 
heres very tenaciously. It may also be used 
for stains, old or new, on all sorts of fancy 
woods, ivory, parchment, etc., without risk of 
injury. Ordinary writing ink is not affected 
by it, but letterpress quickly dissolves, owing 
to the absorption of the fatty matter in the ink. 

7. A method of cleansing greasy woolen or 
cotton rags and waste. The rags are thrown 
into a closed revolving drum, with a quantity 
of perfectly dry and finely powdered plaster of 
Paris; when the plaster has absorbed all the 
grease, the whole is transferred to another re- 
volving drum, pierced with holes, by which 
means the greater portion of the greasy plaster 
is got rid of. The operation is finished by beat- 
ing the rags on a kind of wooden sieve. 

8. In the removal of grease from clothing, 
with benzol or turpentine, people generally 
make the mistake of wetting the cloth with 
the turpentine and then rubbing it with a 
sponge or piece of cloth. In this way the fat is 
dissolved, but is spread over a greater space 
and is not removed ; the benzol or turpentine 
evaporates, and the fat covers a greater surface 
than before. The way is to place soft blotting- 
paper beneath and on top of the grease spot, 
which is to be first thoroughly saturated with 
the benzol, and then well pressed. The fat is 
then dissolved and absorbed by the paper, and 
entirely removed from the clothing. 

9. Castile soap in shavings, 4 oz.; carbonate of 
soda, 2 oz. ; borax, 1 oz. ; aqua ammonia, 7 oz.; 
alcohol, 3 oz.; snlphuric ether, 2 oz. Soft water 
enough to make 1 gal. Boil the soap in the 
water until it is dissolved, and then add the 
other ingredients. Although it is not apparent 
what good 2 oz. of ether can do in 1 gal. of 
liquid, the mixture is said to be very efficient. 

10. Make a weak solution of ammonia by 
mixing the ordinary "liquor ammonias" of the 
druggist with its own volume of cold water; 
and rub it well into the greasy parts, rinsing 
the cloth in cold water from time to time until 
the grease is removed. The ammonia forms a 
soap with the fatty acias of the grease, which 
is soluble in water. 



11. On Paper.— Press powdered fuller's earth 
lightly upon the greasy spot, and allow it to 
soak out the grease. 

12. Hannett saj*s the spots may be removed by 
washing the part with ether, chloroform or 
benzine, and placing between white blotting 
paper, then passing a hot iron over. 

13. A more expeditious and thought by some 
the best way is to scrape fine pipe clay, mag- 
nesia, or French chalk on both sides of the 
stain, and apply a hot iron above, taking great 
care that it is not too hot. 

14. After gently warming the paper, take out 
all the grease you can with blotting paper and 
a hot iron, then dip a brush into essential oil of 
turpentine, heated almost to ebullition, and 
draw it gently over both sides of the paper, 
which must be kept warm. Repeat the oper- 
ation until all is removed, or as often as the 
thickness of the paper may render necessary. 
When all the grease is removed, to restore the 
paper to its former whiteness, dip another 
brush in ether, chloroform, or benzine, and 
apply over the stain, especially the edges of.it. 
This will not affect printers 1 or common writ- 
ing ink. 

15. Lay on a coat of I ndia rubber solution over 
the spot, and leave it to dry. Afterward re- 
move with a piece of ordinary India rubber. 
Any operation with ether, chloroform, or 
benzine should never be conducted by candle 
light, as their vapor is apt to kindle even at 
several feet from the liquid. No. 13 will remove 
grease from colored calf. Even if the spot be on 
the under side of the leather, it may thus be 
clearly drawn right through. 

16. Apply a solution of pearlash (in the pro- 
portion of 1 oz. pearlash to 1 pt. water) to oil- 
stained drawing paper. 

17. Grease can be removed from billiard or 
other cloths by a paste of fuller's earth and 
turpentine. This should be rubbed upon the 
fabric until the turpentine has evaporated, and 
a white powder remains. The latter can be 
brushed off, and the grease will have disap- 
peared. 

18. To Remove from Silk.— Use chloroform 
and a cotton cloth, finishing with a dry cloth. 
Benzine can also be used as well as French 
chalk. If chalk is used, place a hot iron over 
the spot until the grease is removed. 

19. Spots of Grease.— On white goods, soap 
water or alkalies; on dyed tissues of cotton, 
hot soap water; dyed tissues of wool, soap 
water or ammonia; on silk, benzine, ether, 
ammonia, magnesia, chalk, yelk of egg. 

Grease Extractor.— 1. Fuller's earth, 15 parts; 
French chalk, y%, part; yellow soap, 10 parts; 
pearlash, 8 parts; mix thoroughly and make 
it into paste with spirits of turpentine. Color, 
if desired, with j^ellow ocher. Form into cakes. 

2. An earthy compound for removing grease 
spots is made as follows: Take fuller's earth, 
free it from all gritty matter by elutriation 
with water; mix with }4 lb. of the earth so pre- 
pared y% lb. of soda, as much soap, and 8 yelks 
of eggs well beaten up, Avith y% lb. of purified 
oxgall. The whole must be carefully tritur- 
ated upon a porphyry slab, the soda with the 
soap in the same manner as colors are ground, 
mixing in gradually the eggs and the oxgall 
previously beaten together. Incorporate next 
the soft earth by slow degrees, till a uniform 
thick paste be formed, which should be made 
into balls or cakes of a convenient size and laid 
out to dry. A little of this detergent being 
scraped off with a knife, made into a paste with 
water and applied to the stain, will remo /e it. 

Crocks and Jars, to Remove Grease from.— Use 
hot water and sal soda. 

Guttapercha, io Clean.— This can be done by 
using a mixture of soap and powdered char- 
coal, polishing afterward with a dry clo^h with 
a little charcoal on it. 

Hats, to Clean White Manila.— Sprinkle with 
water and expose to the f umes of burning sul- 
phur in a tight box. 



Cleansing. 



109 



Cleansing. 



Hats, Felt, to Clean.— 1. Clean with ammonia 
and water ; if greasy, wash with fuller's earth. 
Size with glue size, and block while warm. 
Glue size made by diluting hot glue with hot 
water. Apply inside, not outside the hat. The 
thicker the glue, the stiffer the hat. 

2. The stains of grease and paint may be re- 
moved from hats by means of turpentine or 
benzine, and if the turpentine leaves a mark, 
finish with a little spirits of wine. 

3. To remove grease stains from silk hats, use 
first turpentine and then alcohol. 

4. Cleaning Panama Hats.— To renovate white 
straw hats the following method has been re- 
commended. Prepare two solutions as given : 

I.— Sodium hyposulphite G. 10 

Glycerine " 5 

Alcohol "10 

Water .=..., .... . . . " 75 

II —Citric acid G. 2 

Alcohol ...."10 

Water " 90 

First sponge the straw hat with solution No. 
I., and lay aside in a moist room (cellar) for 
twenty-four hours ; then apply solution No. II. 
and treat similarly as before. Finally the hat 
should be gone over with a flatiron, not too 
hot. If very dirty, the hat must be cleaned 
with some detergent and dried before begin- 
ning the bleaching operation. — Western Drug- 
gist. 

Alizarine Inks.— White goods, tartaric acid, 
the more concentrated the older are the spots. 
On colored cottons and woolens, and on silks, 
dilute tartaric acid is applied, cautiously. 

Ink and IronMould, to Remove.— 1. Equal parts 
of cream of tartar and citric acid, powdered 
fine, and mixed together. This forms the salts 
of lemon as sold by druggists. Directions for 
using i Procure a hot dinner plate, lay the part 
stained in the plate, and moisten with hot 
water ; next rub in the above powder with the 
bowl of a spoon until stains disappear; then 
rinse in clean water, and dry. 

2. Place the stained part flat in a plate or 
dish, and sprinkle crystals of oxalic acid upon 
it, adding a little water ; the stains will soon 
disappear, when the linen should be well wrung 
out in two or three changes of clean water. 

3. Dip the part in boiling water, and rub it 
with crystals of oxalic acid, then soak in a 
weak solution of chloride of lime— say 1 oz. to 
the quart Of water. Under any circumstances, 
as soon as the stain is removed, the linen should 
be thoroughly rinsed in several waters. 

4. The Journal de Pharmacie d'Anvers recom- 
mends pyrophosphate of soda for the removal 
of ink stains. This salt does not injure vegeta- 
ble fiber, and yields colorless compounds with 
the ferric oxide of the ink. It is best to first 
apply tallow to the ink spot, then wash in a 
solution of pyrophosphate until both tallow and 
ink have disappeared. 

5. Thick blotting paper is soaked in a concen- 
trated solution of oxalic acid and dried. Laid 
immediately on a blot, it takes it out without 
leaving a trace behind. 

6. Tin chloride, 2 parts ; water, 4 parts. To 
be applied with a soft brush, after which the 
paper must be passed through cold water. 

7. Hydrochloric acid and hot water, in the 
proportion of 8 of hot water to 1 of acid ; if not 
strong enough, add more acid ; when clear of 
stain, wash well and boil, to remove all traces 
of acid. 

8. A weak solution of chloride of zinc. 

9. To remove from clothes use a mixture of 
4 parts of tartar and 2 parts of powdered alum. 
This is not injurious to clothes. Other stains 
may be removed with it. 

10. To remove a blot, dip a camel hair brush 
in water, and rub over the blot, letting the 
water remain on a few seconds ; then make as 
dry as you can with blotting paper, then rub 
carefully with India rubber. Repeat the 
operation if not all removed. For lines, circles, 



etc., dip the ink leg of your instruments in 
water, open the pen rather wider than the line, 
and trace over, using blotting paper and India 
rubber, as for a blot. Applicable to drawing- 
paper, tracing paper, and tracing linen. If the 
surface is a little rough after, polish with your 
nail. 

11. Printer's Ink, to Remove.— Tut the stained 
parts of the fabric into a quantity of benzine, 
then use a fine, rather stiff brush, with fresh 
benzine. Dry and rub bright with warm water 
and curd soap . The benzine will not injure the 
fabric or dye. 

12. Iron Spots and Black Ink. — White goods, 
hot oxalic acid, dilute muriatic acid, with little 
fragments of tin. On fast-dyed cottons and 
woolens, citric acid is cautiously and repeatedly 
applied. Silks, impossible. 

Many additional receipts for removing ink 
stains will be found under Inks. See also 
Marble below. 

Iodine Stains on Paper.— 1. Apply solution of 
pure sodium hyposulphite, and then strong 
ammonia water, by means of blotting paper ; 
remove excess by pressing between sheets of 
bibulous paper moistened with water, and dry 
between clean warm ( dry ) blotting pads. 

2. Iodine stains may be removed by alcohol. 

Iron. See also Rust, in the general alphabet. 

Iron and Steel.— 1. Take a spongy piece of 
fig tree wood and well saturate it with a 
mixture of sweet oil and finely powdered 
emery, and with this well rub all the rusty 
parts. This will not only clean the article, but 
will at the same time polish it, and so render 
the use of whiting unnecessary. 

2. Bright iron or steel goods (as polished 
grates and fire irons ) may be preserved from 
rust in the following manner: Having first 
been thoroughly cleaned, they should be 
dusted over with powdered quicklime, and 
thus left until wanted for use. Coils of piano 
wire are covered in this manner, and will keep 
free from rust for many years. 

3. Dissolve % oz. camphor and 1 lb. hog's 
lard, and take off the scum ; then mix with the 
lard as much black lead as will give the mix- 
ture an iron color. Rub the articles all over 
with this mixture, and let them lie for 
twenty-four hours; then dry with a linen 
cloth, and they will keep clean for months. 

4. Table knives which are not in constant 
use should be put in a case containing a depth 
of about 8 in. of quicklime. They ai^e to be 
plunged into this to the top of the blades, but 
the lime must not touch the handles. 

5. Steel bits that are tarnished, but not 
rusty, can be cleaned with rotten stone, com- 
mon hard soap, and a woolen cloth. 

Iron, to Clean. — To clean iron parts of 
machinery, tools, etc., two to three cents, 
worth of paraffine chipped fine are added to 
one liter petroleum in a stoppered bottle, and 
during two or three days from time to time 
shaken up until the paraffine is dissolved. To 
apply it, the mixture is well shaken, spread 
upon the metal to be cleaned by means of a 
woolen rag or brush, and on the following day 
rubbed off with a dry woolen rag. 

Ii-on Mould. See Ink Stains above and also 
Spots and Stains below. 

Yellow stains, commonly called iron mould, 
are removed from linen by hydrochloric arid 
or hot solution of oxalic acid. Wash well in 
warm water afterward. 

Iron Bust, to Remove— 1 . This may be removed 
by salt mixed with a little lemon juice. 

2. Salts of lemon, mixed with warm water 
and rubbed over the mark, will, most prob- 
ably, remove the stains. 

3. Throw on the stain a small quantity of the 
dry powder of magnesia, rubbing it slightly in 
with the finger, leaving it there for an hour or 
two, and then brushing it off, when it will be 
found that the stain has quite disappeared. 

4. Fresh ink and the soluble salts of iron pro- 
duce stains which, if allowed to dry, and esp< - 



Cleansing. 



110 



Cleansing. 



cially if afterward the material has been 
washed, are difficult to extract without 
injury to the ground. When fresh, such 
stains yield rapidly to a treatment with moist- 
ened cream of tartar, aided by a little friction, 
if the material or. color is delicate, iftbe 
ground be white, oxalic acid, employed in the 
form of a concentrated aqueous solution, will 
effectually remove fresh iron stains. 

Ivory, Removal of Smoke Stains from.— Im- 
merse' in benzine ; if burned, there is no rem- 
edy. 

Jet, to Clean.— Remove all dust with a very 
soft brush, touch tbe jet with a bit of cotton, 
moistened with a little good oil, polish with 
wash leather. Clean with great care, as the jet 
is often brittle. 

Kerosene Oil, to Remove from Carpets.— Spread 
over the stain above and below warm pipe clay, 
and allow it to remain twenty-four hours; then 
brush it off and beat out the carpet. 

Knives, Stains to Remove.— Cut a solid potato 
in two, dip one of the pieces in brick dust, such 
as is usually used for knife cleaning, and rub 
the blade with it. 

Lace,to Wash.—l. Cover an ordinary wine bot- 
tle with fine flannel, stitching it firmly round the 
bottle. Tack one end of the lace to the flannel, 
then roll it very smoothly round the bottle and 
tack down the other end, then cover with a piece 
of very fine flannel or muslin. Now rub it 
gently with a strong soap liquor, and, if the 
lace is very much discolored or dirty, fill the 
bottle with hot water and place it ina kettle or 
saucepan of suds and boil it for a tew minutes, 
then place the bottle under a tap of running 
water to rinse out the soap. Make some strong 
starch, and melt in it a piece of white wax and 
a little loaf sugar. Plunge the bottle two or 
three times into this and squeeze out the super- 
fluous starch with the hands; then dip the bot- 
tle in cold water, remove the outer covering 
from the lace, fill the bottle with hot water and 
stand it in the sun to dry the lace. When 
nearly dry take it very carefully off the bottle 
and pick it out with the fingers. Then lay it in 
a cool place to dry thoroughly. 

2. First rip off the lace, carefully pick out the 
loose bits of thread, and roll the lace very 
smoothly and securely round a clean black bot- 
tle, previously covered with old white linen, 
sewed tightly on. Tack each end of the lace 
with a needle and thread to keep it smooth, and 
be careful in wrapping not to crumple or fold in 
any of the scallops or pearlings. After it is on 
the bottle, take some of the best sweet oil, and 
with a clean sponge wet the lace thoroughly to 
the inmost folds. Have ready in a wash kettle 
a strong - , cold lather of clear water and Castile 
soap. Fill the bottle with cold water, to pre- 
vent its bursting, cork it well and stand it up- 
right in the suds, with a string round the neck 
secured to the ears or handle of the kettle, to 
prevent its knocking about and breaking while 
over the fire. Let it boil in the suds for an hour 
or more, till the lace is clean and white all 
through. Drain off the suds and dry it on the 
bottle in the sun. When dry, remove the lace 
from the bottle and roll it round a wide ribbon 
block, or lay it in long folds; place it within a 
sheet of smooth white paper, and press it in a 
large book for a few days. 

Lace, to Clean Gold and Silver.— 1. Sew the lace 
in a clean linen cloth, boil it in 1 qt. of soft 
water and H lb. of soap, and wash it in cold 
water. If tarnished, apply a little warm spirits 
of wine to the tarnished spots. 

2. A weak solution of cyanide of potassium 
cleans gold lace well. 

Lace, to Revive Black.— I. Make some blacktea 
about the strength usual for drinking and 
strain it off the leaves. Pour enough tea 
into a basin to cover the quantity of lace, let it 
stand ten or twelve hours, then squeeze it 
several times, but do not rub it. Dip it fre- 
quently into the tea, which will at length 
assume a dirty appearance. Have ready some 



weak gum water, and press the lace gently 
through it; then clap it for a quarter of an 
hour; after which, pin it to a towel in any 
shape which you wish it to take. When nearly 
dry, cover it with another towel and iron it 
with a cool iron. The lace, if previously sound 
and discolored only, will after this process look 
as good as new. 

2. Wash the lace thoroughly in some good 
beer; use no gum water; clap the lace well, and 
proceed with ironing and drying, as in the for- 
mer recipe. 

Leather, Wash (Chamois Skin), to Cleanse.— 1. 
A German optical journal recommends washing 
soiled polishing leather in a weak solution of 
soda and warm water, then rubbing a good deal 
of soap in the leather and letting it soften for 
two hours. It is afterward thoroughly washed 
until perfectly clean, and rinsed ina weaksolu- 
tion of warm water, soda, and yellow soap. It 
must not be washed in clean water, or it will 
become so hard when dry that it cannot be used 
again. It is the small quantity of soap remain- 
ing in the leather which penetrates its smallest 
particles and makes the leather as soft as silk. 
After the rinsing it is wrung out in a coarse 
hand towel and dried quickly. It is then 
pulled in every direction and well brushed, 
after which it is softer and better than most 
Avash leather when first bought. If rough lea- 
ther is used to finish highly polished surfaces, 
it will often be observed that the surface is 
scratched or injured. This is caused by particles 
of dust and even grains of hard rouge that 
were left in the leather. As soon as they are 
removed with a clean brush and rouge, a per- 
fectly bright and beautiful finish can be ob- 
tained. 

2. Use a weak solution of soda and warm 
water, rub plenty of soft soap into the leather, 
and allow it to remain in soak for two hours, 
then rub it sufficiently, and rinse in a weak 
solution of warm water, soda, and yellow soap. 
If rinsed in water only, it becomes hard when 
dry and unfit for use. After rinsing, wring out 
in a rough towel, and dry quickly, then pull it 
about and brush it well. 

Leather, to Clean.— Mix well together 1 lb. of 
French yellow ocher and a dessert spoonful of 
sweet oil; then take 1 lb. pipe clay and J4 lb. 
starch. Mix with boiling water; when cold lay 
on the leather; when dry, rub and brush well. 

Lens, Removing Rust from a.— A lens some- 
times acquires a brown, rusty stain "on the sur- 
face, which no amount of rubbing or cleaning 
will remove. By applying a paste composed of 
putty powder, or very fine rouge, and water to 
the stains, and then rubbing briskly with either 
the point of the finger or the side of the hand, 
every spot of rust or stain will be removed in a 
few minutes. This applies to photographic or 
other lenses, except the object glass of a tele- 
scope, which would be irreparably damaged by 
such treatment. 

Lenses, to Clean.— A very soft chamois skin is 
best; if greasy, wipe with a little tissue paper 
wet with weak alkali. Lenses should be cleaned 
as rarely as possible ; use old linen, not silk. 

Lime, Lues, Alkalies.— On white goods, simple 
washing in water. On dyed tissues of cotton 
and wool, and on silk, weak nitric acid pov »*ed 
drop by drop, and rub with the finger the spot 
previously moistened. 

Linen, to prevent blistering in.— Blistering is 
almost always due to bad starching, but occa- 
sionally to ironing the articles when too wet. 
Each article must be well starched through, and 
when about to iron damp it evenly, but do not 
wet it. Use a hot iron. Collars and cuffs that 
have to be turned down should be fixed in the 
proper shape immediately after each one is 
ironed, for then the starch is still flexible. 

Linen, to Restore Whiteness to Scorched.— }& 
pt. of vinegar, 2 oz. of fuller's earth, 1 oz. of 
dried fowl's dung, 3^ oz. soap, the juice of 2 
large onions. Boil all these ingredients to- 
gether to the consistency of paste; spread the 



Cleansing. 



Ill 



Cleansing. 



composition thickly over the damaged part, 
and if the threads be not actually consumed, 
after it has been allowed to dry on, and the 
place has subsequently been washed once or 
twice, every trace of scorching- will disappear. 

Machinery, to Clean. — To clean iron parts of 
machinery, tools, etc., about 10 grin, paraffin 
chipped fine are added to 1 liter petroleum in a 
stoppered bottle, and during" two or three days 
from time to time shaken up until the paraffin 
is dissolved. To apply it the mixture is well 
shaken, spread upon the metal to be cleaned by 
means of a woolen rag or brush, and on the 
following day rubbed off with a dry woolen 
rag. 

Mahogany, Spots on.— Stains and spots may 
be taken out of mahogany with a little aqua- 
fortis and water, or oxalic acid and water, rub- 
bing the part by means of cork, till the color 
is restored, observing afterward to wash the 
wood well with water, and to dry and polish as 
usual. 

Marble, to Bem&ve Grease from.— I. Apply a 
little pile of whiting or fuller's earth saturated 
with benzine, and allow it to stand some time. 

2. Or apply a mixture of 2 parts washing soda, 
1 part ground pumice stone, and 1 part chalk, 
all first finely powdered and made into a paste 
with water ; rub well over the marble, and 
finally wash off with soap and water. 

Marble, to Clean.— 1. Mix with water 5 parts 
soda, 2i4 parts powdered chalk, 2]4 parts pum- 
ice stone (powdered). Wash the spots with this 
mixture ; then wash off with soap and water. 

2. To extract oil from marble or stone, soft 
soap, Vrft part; fuller's earth, 3 parts; potash, 
Impart, boiling water to mix. Apply to the 
grease spots and let it remain two or three 
hours. 

3. Marble, to Remove Oil Stains in.— Stains in 
marble caused by oil can be removed by apply- 
ing common clay saturated with benzine. If 
the grease has remained long enough it will 
become acidulated, and may injure the polish, 
but the stain will be removed. Boil }/% lb. soft 
soap in 1 qt. water, very slowly, until the water 
is reduced to 1 pt. Apply this in the same 
manner as the preceding. 

4. Take 2 parts common soda, 1 part pumice 
stone, and 1 part finely powdered chalk; sift it 
through a fine sieve and mix with water ; then 
rub it well all over the marble, and the stains 
will be removed; then wash the marble over 
with soap and water, and it will be as clean as 
it was at first. 

5. A bullock's gall, 1 gill soap lees, J^ gill tur- 
pentine. Mix into a paste with pipe clay. Ap- 
ply to the marble, allow it to remain two or 
three days, then rub off. 

6. Cover the soiled part with a paste of quick- 
lime, moistened with a strong aqueous solution 
of sal soda for several hours ; then remove the 
paste, wash the parts thoroughly, and polish if 
necessary. 

7. Common soda, 3 parts; pumice stone, 114 
part ; finely powdered chalk, iy 2 part ; sift very 
fine, and mix with water. Rub all over the 
marble. Wash well with soap and water. 

8. If the marble is white, coat it with gum 
arabic and expose to the sun. When it peels 
off wash with water, or make a paste with ful- 
ler's earth and hot water, cover the spots 
therewith, let it dry on, and next day scour 
off with soft soap. The luster can be restored 
by rubbing with a dry cloth. 

9. Be sure that the dust is all brushed from 
the marble. Rub with the following: Whiting, 
6 oz.; soft soap, t> oz.; soda, V/%, oz.; a piece of 
stone blue size of a large walnut. Mix and rub on 
the marble with a flannel cloth. Let it remain 
for twenty-four hours. Wash off and polish 
with a piece of flannel. 

10. To take Stains from White Marble.— Tur- 
pentine, 2"4 tablespoon!' uls ; lye, 1^ gills; ox- 
gall, \]4 oz.; pipe clay, q. s. to make a paste. 
Apply the paste to the stain and let it remain 
for several days. Iron mould or ink spots may 



be taken out by dissolving in V/ 2 pt. rain- 
water, V& oz. oxalic acid, % oz. butter anti- 
mony, flour sufficient to make the mixture of 
a proper consistency. Put on with a brush, 
let it remain a few days, wash off. Grease 
spots may be removed by applying common 
clay saturated with benzine. 

11. Ink Stains on Marble.— Dissolve 1 oz. anti- 
mony trichloride and 2 oz. oxalic acid in 1 qt . 
of water. Add flour enough to make a paste. 
Leave on the spot for a few days until the spot 
is removed. 

12. Iron Stains in Marble.— Boil your marble 
in a strong solution of caustic soda, then take 
out, and rub well. Soon all the stains will 
come out. 

13. Matches, to Remove Marks made by. — 
Spots from sulphur and phosphorus caused by 
lucifer matches can be extracted from marble 
by carbon disulphide; or take 2 parts of com- 
mon soda, 1 part of pumice stone and 1 part 
of finely powdered chalk; sift it through a fine 
sieve and mix it with water: then rub it well 
all over the marble, and the stains will be re- 
moved, then wash the marble over with soap 
and water, and it will be as clean as it was at 
first. 

Matting, to Clean.— Wash with water in which 
bran has been boiled, or in weak salt and water. 
Dry it well with a cloth. 

Mildew. — 1. Well mix together a spoonful of 
table salt, 2 of soft soap, 2 of powdered starch, 
and the juice of a lemon. Lay this mixture on 
both sides of the stain with a painter's brush, 
and then lay the article on the grass, day and 
night, until the stain disappears. 

2. Get a piece of flannel, dip it into whisky, 
and well rub the place marked; then iron on 
the wrong side, taking care to put a piece of 
damp cotton cloth between the iron and silk, 
and iron on the cotton cloth, which will pre- 
vent the silk assuming a shiny glazed appear- 
ance. 

3. Wash clean and take every particle of soap 
off, then put the linen into a galvanized bath 
or tub full of clean cold water, procure a little 
chloride of lime, and tie it up in a muslin bag 
or piece of muslin, dissolve the lime in luke- 
warm water by squeezing the bag, then pour 
the water among the clothes. Stir and leave 
them for 24 hours, but do not put too much 
lime in, or you will rot the clothes ; then well 
rinse in clean cold water. 

4. Hypochlorite of alumina is said to be one 
of the best remedies. Moisten with water, rub 
well into the cloth, moisten again with dilute 
sulphuric acid (1 to 20), and, after half an hour, 
rinse thoroughly in soft water and then in 
water containing about an ounce to the gallon 
of sulphite or hyposulphite of soda. A stiff 
brush may be advantageously employed in 
applying the hypochlorite. 

Mildew, to Prevent.— Housekeepers are often 
greatly troubled and perplexed by mildew from 
damp closets and from rust. By putting an 
earthen bowl or deep plate full of quicklime 
into the closet, the lime will absorb the damp- 
ness and also sweeten and disinfect the place. 
Rats, mice, and many bugs that are apt to 
congregate in damp places have a dislike to 
lime. As often as the lime becomes slaked 
throw it on the compost heap if in the coun- 
try, or into the ash barrel if in the city. 

Mildew, to Prevent in Canvas, etc.— Dissolve 
1 lb. zinc sulphate in 40 gal. water, and then 
add 1 lb. sal soda. When dissolved, 2 oz. tar- 
taric acid are added. This* holds the partially 
separated zinc carbonate without neutralizing 
the excess of alkali used. The canvas, etc., 
should be soaked in this solution for 24 hours, 
and then dried without wringing. 

Mildew, to Remove from Brickwork.— Build- 
ers' acid (hydrochloric acid) is often used for 
removing white stains from brickwork. Its 
efficacy in the case of mildew would be doubt- 
ful. A coat of linseed oil on the perfectly 
dry brick would have a good preventive ten- 



Cleansing. 



112 



Cleansing. 



dency. Melted paraffin applied hot, and worked 
in with a paint burner would also be efficacious. 
Perhaps either of the last named applications 
would destroy the mildew or white stain also. 
Acid used by an experienced man would not 
injure the joints. 

Canvas, Rendering it Mildew-proof .—1. Satu- 
rate the cloth in a hot solution of soap (% lb. 
to a gal. of water); wring out and digest it for 
twelve hours in solution of y% lb. alum to 1 gal. 
of water. 

2. Treatment with strong aqueous solution of 
alum or lead acetate answers very well. 

Use the following: Alum, 2 lb., dissolved in 
60 lb. water; blue vitriol, 2 lb., dissolved in 8 lb. 
water; to which is added gelatine, 1 lb. dis- 
solved in 30 lb. water; lead acetate, ^ lb. dis- 
solved in 30 lb. water. The solutions are all 
hot, and separately mixed, with the exception 
of the vitriol, which is added. See also receipts 
for waterproofing cloth. 

To Remove from Canvas. — Wash with solu- 
tion of calcium hypochlorite (bleaching pow- 
der) in cold water or vinegar. Use plenty of 
cold water afterward. 

Cotton Goods, to Remove from.— If the goods 
are colored, soak for twenty-four hours or 
more in sour milk or buttermilk, then rinse 
in water, and wash in strong soapsuds. If the 
goods are white, moisten the spots repeatedly 
with Javelle water, diluted with volumes of 
water; rinse well, then wash in strong soap- 
suds, not too hot. 

Gold Lace, to Remove Mildew from.— For this 
purpose, no alkaline liquors are to be used; for 
while they clean the gold, they corrode the silk, 
and change or discharge its color. Soap also 
alters the shade, and even the species, of cer- 
tain colors. But spirit of wine may be used 
without any danger of its injuring either color 
or quality, and in many cases proves as effectual 
for restoring the luster of the gold as the cor- 
rosive detergents. But though the spirit of 
wine is the most innocent material employed 
for this purpose, it is "not in all cases proper. 
The golden covering may be in some places 
worn off, or the base metal, with which it has 
been alloyed, may be corroded by the air, so as 
to have the particles of gold disunited, while 
the silver underneath, tarnished to a yellow 
hue, may continue of a tolerable color; so it is 
apparent that the removal of the tarnish would 
be prejudicial, and make the lace less like gold 
than it was before. 

Linen, Mildew from. — 1. Take soap and rub 
it well; then scrape some fine chalk, and rub 
that also in the linen; lay it on the grass; as it 
dries, wet it a little, and it will come out at 
once. 

2. Two tablespoonfuls of soft soap and the 
juice of a lemon. Lay it on the spots with a 
brush, on both sides of the linen. Let it lie a 
day or two till the stains disappear. 

Nets, to Prevent from Rotting.— The follow- 
ing treatment is said to preserve nets for a 
long time in a good condition : Soften 1 lb. good 
glue in cold water; then dissolve it in 10 gal. of 
hot soft water, with 3^ lb. curd soap. Wash the 
nets in soft water, then boil them in this*' for 
two hours, press out excess of the liquid and 
hang up overnight. The second bath consists 
of alum, 2 lb.; water, 5 gal.; heat nearly to 
boiling, and immerse the nets in this for about 
three hours, then press and transfer to a strong 
decoction of oak bark or a solution of sumac 
in warm water (water, 5 gal.; sumac, 8 lb.>, and 
let them remain immersed in this for forty- 
eight hours, or longer, if convenient. 

Paper, to Remove Mildew from.— Soak 1 oz. of 
gelatine for some hours in 1 pt. of water, and 1 
oz. of white soap scraped, in the same quantity 
of water; mix the two solutions and boil till 
dissolved. Dissolve 1 drm. of alum in 2 oz. of 
water, and add it to the above. When the mix- 
ture is cold, decant the solution from all sedi- 
ment. Spread the above over the damaged 
paper with a stout feather. If the paper be in 



a very bad state, a second coat may be applied, 
A little spirits of wine added to the solution 
tends to keeps it good. 

Ropes, the Preservation of.— The ropes should 
be dipped, when dry, into a bath containing 20 
grm. of sulphate of copper per liter or water, 
and kept in soak in this solution for four days, 
afterward being dried. The ropes will thus 
have absorbed a certain quantity of sulphate of 
copper, which will preserve them from the at- 
tacks of animal parasites and from rot. The 
copper salt may be fixed in the fiber by a coat- 
ing of tar or by soapy water. For tarring the 
rope it is best to pass it through a bath of boiled 
tar, hot, drawing it through a thimble to press 
back the excess of tar, and suspending it after- 
ward on a staging to dry and harden. In the 
second method, the rope is soaked in a solution 
of 100 grm. of soap per liter of water. The copper 
soap thus formed in the fiber of the rope pre- 
serves it from rot even better than the tar, 
which acts mechanically to imprison the sul- 
phate of copper, Avhich is the real preservative. 
It is not stated whether the copper treatment 
is equally serviceable with dressed as with plain 
hemp ropes. 

Ropes, to Prolong the Life of .—To prolong the 
duration of ropes, steep them in a solution of 
sulphate of copper, 1 oz. to 1 qt. of water, and 
then tar them. 

Stone, Mildew or Mould, to Remove from.— Try 
a little strong aqueous solution of caustic soda. 
It should remain ten minutes in contact with 
the stone, which, after washing with water, 
should be well rubbed with a stiff brush or 
broom. 

Milk and Coffee Stains, to Remove. — These 
stains are very difficult to remove, especially 
from light colored and finely finished goods. 1. 
From woolen and mixed fabrics they are taken 
out by moistening them with a mixture of 1 
part glycerine, 9 parts water, and }4 part aqua 
ammonia. This mixture is applied to the 
goods by means of a brush, and allowed to re- 
main for twelve hours, occasionally renewing 
the moistening. After this time, the stained 
pieces are pressed between cloth, and then rub- 
bed with a clean rag. Drying, and if possible a 
little steaming, is generally sufficient to tho- 
roughly remove the stains. 

2. Stains on silk garments which are dyed 
with delicate colors, or finely finished, are more 
difficult to remove. In this case 5 parts glycer- 
ine are mixed with 5 parts water,*and 34 part 
of ammonia added. Before using this mixture 
it should be tried on some part of the garments 
where it cannot be noticed, in order to see if 
the mixture will change the color. If such is the 
case, no ammonia should be added. If, on the 
contrary, no change takes place, or if, after 
drying, the original color is restored, the above 
mixture is applied with a soft brush, allowing 
it to remain on the stains for six or eight 
hours, and is then rubbed with a clean cloth. 
The remaining dry substance is then carefully 
taken off by means of a knife. The injured 
places are now brushed over with clean water, 
pressed between cloths and dried. If the stain 
is not then removed, a rubbing with dry 
bread will easily take it off. To restore the 
finish, a thin solution of gum arabic, or in many 
cases beer is preferred, is brushed on, then 
dried and carefully ironed. By careful mani- 
pulation these stains will be successfully re- 
moved. 

To Remove Nitric Acid Stains.— 1. According to 
Rcimann's haerhcr Zeituny, these yellow stains, 
so familiar to the chemist and druggist, can be 
removed either from the skin or from brown 
or black woolen garments by moistening the 
spots for a Avhile with permanganate of potash 
and rinsing Avith Avater. A brownish stain of 
manganese remains, which may be remOA 7 ed 
from the skin by washing with aqueous solu- 
tion of sulphurous acid. If the spots are old,, 
they cannot be entirely removed. 



Cleansing. 



113 



Cleansing. 



2. Nitric Acid Stains, to Remove from the 
Hands.— Touch the stains with solution of per- 
manganate of potassium ; wash, rinse in dilute 
hydrochloric acid, and wash again. 

Oil Cloths, to Renovate.— Dissolve 2}^ lb. 
paraffin and 1 gal. oil of turpentine by the aid 
of a gentle heat, and apply with a spong;e or 
piece of flannel, while warm. Let it remain on 
the oil cloth twenty-four hours ; tben polish 
with flannel. This solution not only renovates 
but preserves the cloth. It has been used on oil 
cloths which have been down four years, and 
they look as good as new. The same prepara- 
tion may also be used on painted floors. When 
rubbed with flannel, it will have a beautiful 
gloss, equal to varnish. 

Oil Cloth, to Clean.— I. Wash with a large soft 
woolen cloth and lukewarm or cold water, dry 
thoroughly with a soft cloth, and afterward 
polish with milk, or a weak solution of beeswax, 
in spirits of turpentine. Never use a brush, or 
hot water, or soap, as either will be certain to 
bring off the paint. 

2. Wash with equal quantities of milk and 
water. Once in several months a little linseed 
oil may be used. It must be well rubbed in 
and polished with a piece of silk. 

Oil Colors, Varnish and Resins,— On white or 
colored linens, cottons, or woolens, use recti- 
fied oil of turpentine, alcohol lye, and their 
soap. On silks, use benzine, ether, and mild 
soap, very cautiously. 

Oil Stains on Paper.— Use pipe clay mixed 
with water. Allow it to remain on the spot for 
several hours. 

Floors, Oil Stains, to Remove from.— Use oxalic 
acid and water, then wash well with soda and 
soap. 

- For additional receipts for removing oil stains, 
see also Grease, above. 

Paint Brushes, to Clean.— 1. When a paint brush 
is stiff and hard through drying with paint on 
it, put some turpentine in a shallow dish and 
set on fire. Let it burn for a minute until hot, 
then smother the flame and work the pencil 
in the fingers, dipping it frequently into hot 
spirits. Rinse all paint brushes, pencils, etc., 
in turpentine, grease with a mixture of sweet 
oil and tallow, to prevent them from drying- 
hard, and put them away in a close box. 

2. To soften brushes that have become hard, 
soak them twenty-four hours in raw linseed 
oil, and rinse them out in hot turpentine, re- 

{)eating the process till clean ; or wash them in 
lot soda and water and soft soap. 

Paint, to Clean.— 1. To clean paint, provide a 
plate with some of the best whiting to be had ; 
have ready some clean warm water and a piece 
of flannel, which dip into the water and squeeze 
nearly dry; then take as much whiting as will 
adhere to it, and apply it to the painted surface, 
when a little rubbing will instantly remove any 
idirt or grease. After which, wash the part well 
with clean water, rubbing it dry with a soft 
chamois. Paint thus cleaned looks as well as 
when first laid on, without any injury to the 
most delicate colors. It is far better than using 
soap, and does not require more than half the 
time and labor. 

2. To clean paint, take 1 oz. pulverized borax, 
1 lb. small pieces best brown soap, and 3 qt. 
water; let simmer till the soap is dissolved, 
stirring frequently. Do not let it boil. Use 
with a piece of old flannel, and rinse off as soon 
as the paint is clean. This mixture is also good 
tor washing clothes. 

3. Dissolve Vz oz. glue and a bit of softsoap 
the size of a walnut in about 3 pt. of warm 
water, and with a well-worn whitewash brush 
well scrub the work, but not sufficient to get 
off the paint, and rinse with plenty of cold 
clean water, using a wash leather; let dry itself. 
Work done in this manner wili often look equal 
to new. 

4. First takeoff all the dust with a soft brush 
and a pair of bellows. Scour with a mixture 
of soft soap and fuller's earth, and use luke- 



warm water. If there are any spots which are 
extra dirty, first remove these by rubbing with 
a sponge dipped in soap and water. Com- 
mence the scouring at the top of the door or 
wainscot, and proceed downward; and dry 
with a soft linen cloth. When cleaning paint, 
it is always better to employ two persons, one 
to scour and the other to rub dry. 

Paint, to Remove.— 1. Scraping or burning 
it off is extremely laborious, and too slow for 
general purposes. A more thorough and ex- 
peditious way is by chemical process, using for 
that purpose a solution of soda and quicklime 
in equal proportions. The solution may be 
made as follows: The soda is dissolved in water, 
the lime is then added, and the solution is ap- 
plied with a brush^to the old paint. A few mo- 
ments are sufficient to remove the coats of 
paint, which maybe washed off with hot water. 
The oldest paint may be removed by a paste of 
the soda and quicklime. The wood should be 
afterward washed with vinegar or an acid solu- 
tion before repainting, to remove all traces of 
the alkali. 

2. Wet the place with naphtha, repeating as 
often as is required ; but frequently one appli- 
cation will dissolve the paint. As soon as it is 
softened rub the surface clean. Chloroform, 
mixed with a small quantity of spirit ammonia, 
composed of strong ammoniac, has been em- 
ployed very successfully to remove the stains 
of dry paint from wood, silk, and other sub- 
stances. 

3. To Remove from Floors. — Take 1 lb. 
American pearlash, 31b. quick stone lime, slake 
the lime in water, then add the pearlash, and 
make the whole about the consistence of paint. 
Lay the mixture over the whole body of the 
work which is required to be cleaned, with an 
old brush ; let it remain for 12 or 14 hours, 
when the paint can be easily scraped off. 

To Soften Putty and Remove Old Paint.— 1. 
Take 3 lb. of quick stone lime, slake the lime in 
water, and then add 1 lb. of American pearlash. 
Apply this to both sides of the glass, and let it 
remain for twelve hours, when the putty will 
be softened, and the glass may be taken out 
without being broken. To destroy paint apply 
it to the whole body of the work which is re- 
quired to be cleaned; use an old brush, as it 
will spoil a new one ; let it remain about twelve 
or fourteen hours and then the paint may be 
easily scraped off. 

2. To remove paint from old doors, etc., and 
to soften putty in window frames, so that the 
glass may be taken out without breakage or 
cutting, take 1 lb. of pearlash and 31b. of quick- 
lime ; slake the lime in water, and then add the 
pearlash, and make the whole about the con- 
sistence of paint. Apply it to both sides of the 
glass, and let it remain for twelve hours, when 
the putty will be so softened that the glass 
may be taken out of the frame without being 
cut and with the greatest facility. To destroy 
paint, lay the above over the whole body of the 
work which is required to be cleaned, using an 
old brush (as it will spoil a new one) ; let it re- 
main for twelve or fourteen hours, when the 
paint can be easily scraped oil. 

3. Paint Stains on Glass.— American potash, 3 
parts; unslaked lime, 1. Lay this on with a 
stick, letting it remain for some time,, and it 
will remove either tar or paint. 

4. Common washing soda dissolved in water. 
Let it soak awhile— if put on thick, say 30 
minutes- and then wash off. If it does not re- 
move, give it another application. 

Paint, Varnish and Resin Stains on Clothes — 
1. For white or colored cotton and woolen 
goods, oil of turpentine or benzine, followed 
by soapsuds. For silk, benzine, ether, soap; 
hard rubbing is to be avoided. For all kinds 
of fabrics chloroform is best, but must be care- 
fully used. 

2. Stains of paint or varnish, after being sot t- 
ened with olive oil or fresh butter, may gener- 



Cleansing, 



114 



Cleansing. 



ally be removed by the same means as ordinary 
grease spots. 

3. Saturate the spots with a solution of equal 
parts turpentine and spirits of ammonia ; wash 
out with strong- soapsuds. 

4. Paint stains that are dry and old may be 
removed from cotton or woolen goods with 
chloroform. First cover the spot with olive oil 
or butter. 

Paintings, to Clean.— 1. Dissolve a little com- 
mon soda in urine, then add a grated potato 
and a little salt; well rub this over the paint- 
ings till clean. "Wash off in spring water and 
dry with a clean cloth. 

2. First rub the picture well with good 
whisky, which will make the varnish come off 
in froth, then wash well with cold water, and 
when dry varnish again; this will restore the 
picture to its original color unless very old. 
Keep the picture covered from dust until the 
varnish is dry. 

Papier Mache Goods, Renovation of.—l. \i pint 
linseed oil, y% pint old ale, the white of an egg, 
1 oz. spirits of wine, 1 oz. hydrochloric acid; well 
shake before using. A little to be applied to 
the face of soft linen pad, and lightly rubbed 
for a minute or two over the article to be 
restored, which must afterward be polished 
off with old silk handkerchief. This will keep 
any length of time if well corked. Invaluable 
for delicate cabinet work.— Dustpan. 

2. Wash with water, dredge with flour, and 
polish with a dry flannel cloth. 

Paraffin Oil, to Extract from Floor.— A strong 
hot solution of oxalic acid applied, and by the 
after use of the scrubbing brush, you will re- 
move all the stain from your boards.— ^4. E. B. 
Smi'h. 

Parchment, to Clean.— Immerse the parch- 
ment in a solution of acetic acid, and gently 
rub the stained parts while wet on a flat board 
with lump pumice, then bleach it with chloride 
of lime. This process was recommended in the 
English Mechanic. It is not very successful, but 
it makes it white enough for bookbinding. It 
has, however, the objectionable qualities of not 
making the parchment flexible, and when dried 
it is as hard as a board, and it has no gloss like 
the virgin parchment. On no account must 
the parchment be washed in very hot water, or 
held before a fire, as it will shrivel up in a most 
provoking manner. 

Pearls, to Clean.— Soak them in hot water in 
which bran has been boiled, with a little cream 
of tartar and alum, rubbing gently between 
the hands when the heat will admit of it. 
When the water is cold renew the application 
till any discoloration is removed, rinse in luke- 
warm water; lay them on white paper in a dark 
place to cool. 

Piques and Colored Muslins.— French method : 
Make a strong lather with best white soap 
dissolved in soft water, and use while rather 
warm, but not hot. Wash the dress in this, 
but do not soak it previously. As soon as the 
lather appears soiled squeeze out the dress, 
throw away the lather, and wash the dress 
again in a second lot, and so continue until the 
dress is thoroughly clean. Then well rinse it 
in cold water, and afterward in cold water 
slightly blued. Squeeze all the water out of 
the dress, but do not wring it, and hang in a 
shady place to dry, or, if the weather be wet, 
dry it before the Are. When dry they are to 
be starched. It is in this operation that the 
failures in getting up muslins and piques more 
often occur than in the washing. Use a large 
basin and have plenty of starch, and dissolve 
in the starch, according to the quantity of it, 
3 or 4 in. of composite or wax candle. Squeeze 
the starch well out of the dress, and while it is 
still wet put it between some old sheets or 
table cloths, and pass it between the rollers of 
a wringing machine or under a mangle; by this 
means all lumps of starch will be removed. 
Finish by ironing. Piques should be ironed on 
the wrong side, as lightly as possible. 



Plush, to Clean. See Velvets below. 

Plush, to Renovate.— Clean i t with the usual 
solvent, for which see table. Then, to restore 
the plush, hold the wrong side over steam aris- 
ing from boiling water, until the pile rises ; or 
dampen lightly the wrong side of the plush, 
and hold it over a pretty hot oven, not hot 
enough to scorch, however, or make a clean 
brick hot; place upon it a wet cloth, and hold 
the plush over it, and the steam will raise it. 

Pots, Iron, to Clean.— Put a few ounces of 
washing soda (sodium carbonate) into the pot, 
fill with water, and boil until the inside looks 
clean. 

Lightning Renovator.— Castile soap, 4 oz.; hot 
water, 1 qt. When the soap is dissolved, add 
water, 4 qt. ; water of ammonia, 4 fl. oz.; sulph- 
uric ether, 1 fl. oz. ; glycerine, 1 fl oz. ; alcohol, 
1 oz. Medical Brief states that this is an excel- 
lent preparation for removing grease. 

Rugs, Goatskin, to Clean.— One washing with 
warm (not hot) suds will not materially hurt 
the skin itself. The skin may not seem quite 
so soft after the washing, but if the washing is 
done quickly, the skin well rinsed in cold water, 
and dried with only moderate warmth, being 
frequently turned and shaken, the difference 
will hardly be perceptible. 

Rust Spots, to Remove.— By adding 2 parts 
cream of tartar to 1 part oxalic acid ground 
fine and kept dry in a bottle, you will find, by 
applying alittle of the powder to rust stains 
while the article is wet, that the result is much 
quicker and better. Wash out in clear warm 
water to prevent injury to the goods. 

Rust, Black Ink.— On white goods, warm solu- 
tion oxalic acid ; weak muratic acid. On dyed 
tissues of cotton, repeated washings with citric 
acid if the color is well dyed. Ditto of wool, 
same ; weak muratic acid if the wool is of the 
natural color. On silk, no remedy. 

Satins, to Clean.— 1. Satins may be cleansed 
with a weak solution of borax or benzine when 
greasy. Care should be taken to sponge mode- 
rately and lengthwise, not across, the fabric; 
iron on the wrong side only. White, cream, and 
pink satins may be treated in the same way as 
cream colored silks. 

2. To Clean Black.— Boil 3 lb. potatoes to a 
pulp in a quart of water; strain through a 
sieve, and brush the satin with it on a board or 
table. The satin must not be wrung, but folded 
down in cloths, for three hours, and then ironed 
on the wrong side. 

Scouring Liquid.— (M. Le Clerc.) For scouring 
and removing grease from tissues of all kinds 
and worn clothes. To take out spots the liquid 
is used pure, but for general scouring it is 
mixed with 4 or 5 times its own quantity of 
water. In 23 gal. hot water dissolve 15^ lb. 
white Marseilles soap; l T 3 <y lb. carbonate of pot- 
ash ; or 15 or 18 lb. soft soap. To the solution 
add extract of Panama, 1 T V lb. In another ves- 
sel mix ox or sheep gall, 15 qt.; and ammonia 
at 22°, 3 pt. Heat. this mixture, skim it, let it 
cool, and then add alcohol at 90°, S^gal.; decant 
and filter. Take y§ part of the soap mixture 
and § part of the gall mixture, and add some 
aromatic essence. 

Scouring Preparation for Removing Grease. — 

1. 1 oz. camphor dissolved in 3 oz. alochol. 
Add 4 oz. essence of lemon. 

2. Camphine, 8 oz.; alcohol, 1 oz.; sulphuric 
ether, 1 oz.; essence of lemon, 1 drm. 

3. Alcohol, 8 oz.; white soap, 114 oz.; ox gall, 
V/z oz.; essence of lemon, 34 to M oz. 

Scouring Paste.— See also J»utz Powder.— 
Oxalic acid, 1 part; iron peroxide, 15 parts; 
powdered rotten stone, 20 parts; palm oil, 60 
parts ; petrolatum, 4 parts. Pulverize the ox- 
alic acid and addj-ougeand rotten stone, mixing 
thoroughly, and sift to remove all grit; then 
add gradually the palm oil and petrolatum, 
incorporating thoroughly. Add oil of myrbane 
or oil of lavender to suit. By substituting your 
red ashes from stove coal, an inferior represent- 
ative of the foregoing paste will be produced. 



Cleansing. 



115 



Cleansing. 



Removal of Stains and Grease Spots, 

The following table gives at a glance the best means of cleansing all Kinds of fabrics from any stain 

whatever. 



KIND OF STAIN, 


FROM LINEN. 


FROM COLORED GOODS. 




COTTON. 


WOOLEN. 


FROM SILKS. 


Sugar, glue, blood 
and albumen. 


Simple washing with water. 




Grease. 


Soapsuds, alkaline 

lyes. 


Lukewarm soap- 
suds. 


Soapsuds, ammonia. 


Benzine, ether, 
ammonia, pot- 
ash, magnesia, 
chalk, yelk of 

egg. 


Varnish and oil 
paints. 


Turpentine, or benzine, and soap. 


Benzine, ether, 
soap ; rub care- 
fully. 


Stearine. 


Very strong alcohol, 95°. 




Vegetable colors, 
red wine, fruit, 
red ink. 


Sulphur vapors ; 
warm chlorine 
water. 


Wash out with warm soapsuds or 
ammonia water. 


The same ; rub 
gently and care- 
fully. 


Alizarine ink. 


Tartaric acid ; the 
older the stain the 
stronger the solu- 
tion. 


Dilute tartaric acid if the stuff will 
bear it. 


The same ; with 
care. 


Iron rust and ink 
made of galls. 


Warm oxalic acid 
solution ; dilute 
hydrochloric acid, 
then tin turnings. 


Repeated washings 
with a solution of 
citric acid, if the 
colors will bear it. 


The same ; dilute 
hydrochloric acid 
if the wool is dyed 
naturally. 


Nothing can be 
done; and all 

attempts o n 1 y 
make it worse. 


Lime, lye, or al- 
kalies. 


Simply wash with 
water. 


Drop dilute nitric acid upon it. The stain previously moist- 
ened can be rubbed off with the finger. 


Tannin, green nut 
shells. 


Jayelle water,warm 
chlorine water ; 
concentrated so- 
lution of tartaric 
acid. 


Alternate washing with water and with more or less dilute 
chlorine water, according to the colors. 


Coal tar, wagon 
grease. 


Soap, oil of turpen- 
tine, alternating 
with a stream of 
water. 


Rub with lard, then soap it well. After 
a time wash alternately with water and 
turpentine. 


The same ; but use 
benzine instead 
of turpentine, 
and the water 
must fall on it 
from s o m e 
height. 


Acids. 


Red acid stains are destroyed by ammonia, followed by thorough Avashing with 
water. Brown stains of nitric acid are permanent. 



With the above table, a few simple chemicals, and a good deal of care and perseverance, any 
one may set up a chemical cleaning establishment. Great pains must be taken when ether and 
benzine are employed to avoid their taking fire, the vapor of which when mixed witli air is highly 
explosive. An open bottle of ether will take fire at a distance of several feet from an open Dame, 
as a heavy invisible vapor issues from the bottle ; when the vapor reaches the flame of a lamp the 
whole mass of vapor takes fire.— Muster Zeit. 



Cleansing. 



113 



Cleansing. 



Scouring Bricks.— Scouring- brick may be 
made by mixing sand with a small percentage 
of clay and baking. The quantity and heat re- 
quired may be easily ascertained by trial. 
Mucilage and gums may be used, but they are 
not equal to clay as a cement for scouring brick. 
A very small portion of Portland cement might 
be made available, to avoid the baking process. 
Shawls, to dean.— White woolen shawls will 
not always stand washing successfully. A safe 
way to clean such an article is to brush all the 
dust out, spread it on a table, then sprinkle 
over it a quantity of finely ground white starch 
(rice or potato, not wheat); fold up the shawl 
into a square, powdering liberally between each 
fold. The shawl should be put away for sev- 
eral hours, and then be opened and dusted . The 
starch will have absorbed all the grease that 
may have been present and collected the dust. 
If such shawls are very dirty, they may be 
pressed between two damp blankets before the 
starch is put on. Gray and light blue woolen 
shawls may be treated in the same way, only 
using slightly blued starch instead of pure 
white starch. The shawls must be well shaken 
to get rid of the powder. 

Shirts, Laundrying of.— (Chinese Method.) A 
rather thick starch paste is prepared by first 
beating up a handful of raw starch, usually 
corn starch, and a teaspoonful of fine rice flour 
with about 1 qt. of water, making a liquid of 
creamlike consistence. A certain quantity (de- 
termined alone by personal experience) is 
poured into a quantity of boiling water, while 
the latter is violently stirred with a short 
wooden spatula. With this the portions of the 
linen to be dressed are well smeared, the linen 
moist from wringing and the starch quite hot. 
Thus smeared the pieces are laid aside for a few 
minutes, then rubbed well between the hands, 
so that the paste is well distributed in the 
fabric. The linen is then usually dried by ar- 
tificial heat. When ready for ironing, the 
starched portions are dampened by means of a 
cloth dipped in raw starch water, to which has 
been added a small quantity— about y% an oz. to 
the qt. of blood albumen— clarified serum of bul- 
lock's blood. The proportion of starch in this 
water is usually about as 1 to 50 of water. In 
ironing the irons are first made very hot, and 
cooled somewhat externally just before using by 
momentarily.plunging them into a pail of water. 
The ironsi commonly employed are what are 
termed polishing irons— they have the posterior 
edge rounded instead of angular, as in the ordi- 
nary smoothing or sadiron. Much of the fine 
gloss observed on shirts laundried by Chinamen 
is accomplished by the skillful manipulation of 
this ''rounded edge" over the work— a manip- 
ulation very difficult to describe in words. It 
is most laborious work for those not accus- 
tomed to it. It not only renders the surface 
glossy, but imparts easy flexibility to the heav- 
ily starched fabric otherwise not attainable. 
Custom made shirts are usually- laundried be- 
fore delivery in trade at the factory, the ironing 
in these cases being largely performed by steam 
mangles, though some are hand finished. The 
f ollowing receipt for a laundry starch is said 
to produce a very fine and lasting gloss on linen 
without the expenditure of the amount of labor 
in ironing usually requisite to produce a fair 
appearance : 

Corn starch 1 oz. 

Water, boiling 1% pt. 

Bluing q. s. 

To this when it has cooled somewhat is added 
and thoroughly mixed in about half an ounce 
of the following preparation : 

Gum arabic 8f parts. 

Sugar, loaf 2*4 " 

Soap, white curd M " 

Water glass (" A " sirup) 1 

Egg albumen 4 

Water, warm 20 " 

In preparing this the first three ingredients 
are dissolved together in the water at boiling- 



heat, the water glass is then added, and when 
the mixture has cooled down to about 15l)° Fah. 
the egg albumen is put in and the whole well 
beaten together. 

2. Starch, loz.; paraffin, about 3drm.; white 
sugar, tablespoonf ul; table salt, tablespoonf ul ; 
water, q. s. Rub up the starch with soft water 
into a thick smooth paste. Add nearly or quite 
a pint of boiling water, with the salt and sugar 
dissolved in it, and, having dropped in the par- 
affin, boil for at least half an hour, stirring to 
prevent burning. Strain the starch and use 
while hot. Sufficient bluing may be added to 
the water, previous to the boiling, to overcome 
the yellowish cast of the starch, if necessary. 
Spermaceti may be used in place of paraffin. 
Starched linen can only be properly finished by 
hard pressure applied to the iron. 

3. Glossed Shirt Bosoms. — Take 2 oz. of fine 
white gum arabic powder, put it in a pitcher 
and pour on a pint or more of water, and then, 
having covered it, let it stand all night. In the 
morning, pour it caref ully from the dregs into 
a clean bottle, cork, and keep it for use. A 
teaspoonful of gum water stirred in a pint of 
starch, made in the usual way, will give to 
lawns, white or piinted, a look of newness, 
when nothing else can restore them, after they 
have been washed. 

4. Melt 2)4 pounds of the very best Al par- 
affin wax over a slow fire. When liquefied, 
remove from the fire and stir in 100 drops oil of 
citronella. Have some new round pie tins; 
place them on a level table, coat them slightly 
with sweet oil, and pour about six tablespoon- 
f uls of the enamel into 'each tin. The pan may 
be floated in water to cool the contents suffi- 
ciently to permit the mixture to be cut or 
stamped out with a tin cutter into small cakes 
about the size' of a peppermint lozenge. Two 
of these cakes added to each pint of starch will 
cause the smoothing iron to impart the finest 
possible finish to muslin or linen, besides per- 
fuming the clothes. 

5. Take of white wax, 1 oz. ; spermaceti, 2oz.; 
melt them together with a gentle heat. When 
you have prepared a sufficient amount of 
starch, in the usual iway, for a dozen pieces, put 
into it a piece 1 of the polish about the size of a 
large pea; using more or less, according to 
large or small, washings. Or thick gum solution 
(made by pouring boiling water upon gum 
arabic) may be used. One tablespoonful to a 
pint of starch gives clothes a beautiful gloss. 

Shoes, to Clean. — Kid Boots, how to Renovate 
Tops of .—Defaced kid boots will be greatly im- 
proved by being rubbed well with a mixture of 
cream and ink. 

Shoes, White Satin, to Clean.— Put in the shoe 
something which will fill it out. Then rub the 
shoe gently with a piece of muslin dipped in 
spirits of wine. Do this several times. Then 
wipe the shoe carefully with a piece of dry 
muslin. 

Show Windows, to Clean.— A good cleaning 
powder for show windows and mirrors is pre- 
pared by moistening calcined magnesia with 
pure benzine, so that a mass is formed suffi- 
ciently moist to let a drop form when pressed. 
The mixture has to be preserved in glass bot- 
tles with ground stoppers, in order to retain 
the easily volatile benzine. A little of the mix- 
ture is placed on a wad of cotton and applied to 
the glass plate. Do not use near a fire or light, 
as the benzine vapor is very inflammable and 
explosive. 

Silk Cleaner.— Soft soap, Yz lb. ; brandy, 2 tea- 
spoonfuls ; proof spirit, 1 pt. ; water, 1 pt. ; 
mix well together. Apply with a sponge on 
each side of the silk, taking care not to crease 
the silk. Rinse 2 or 3 times and iron on the 
wrong side, putting a piece of thin muslin be- 
tween the silk and the iron. 

Silk, to Clean.— No silks look well after wash- 
ing, no matter how carefully it may be done, 
and, therefore, it should never be resorted to, 






Cleansing. 



117 



Cleansing. 



without absolute necessity. It is recommend- 
ed to sponge faded silks with warm water and 
soap, and then to rub them with a dry cloth on 
a flat board, after which, to iron them on the 
inside with a smoothing iron. Sponging a little 
with spirits will also improve old black silks. 
The ironing may be done on the right side, 
with thin paper spread over them to prevent 
glazing. 

Silk, White, to Clean.— White silk is best 
cleaned by dissolving curd soap in water as hot 
as the hand can bear, and passing the silk 
through and through, handling it gently, and 
rubbing any spots till they disappear. The 
silk should then be rinsed in lukewarm water, 
and stretched by pins to dry. 

Black, to Clean.— To bullock's gall add boil- 
ing water sufficient to make it warm, and with 
a clean sponge rub the silk well on both sides ; 
squeeze it well out, and proceed in like manner. 
Rinse it in spring water, and change the water 
until perfectly clean. Dry it in the air, and pin 
it out on a table ; but first dip the sponge in 
glue water, and rub it on the wrong side ; then 
dry before a fire. 

Silk, Black, to Renovate.— The French process 
is to use a weak solution of coffee water. Do 
not wet the silk ^ too much, and restore the 
luster by caret uf rubbing with a soft silk 
handkerchief. White silks can be cleaned with 
a dry powder formed of fine starch and a little 
laundry blue. Rub over the tissue and dust 
out thoroughly. Bread crumbs or chalk should 
be used for pink or cream colored silks. Silks 
may be ironed on the wrong side with a moder- 
ately hot iron, or on the right side (to give the 
fine luster) if well protected by two folds of 
slightly damped muslin. 

■ Silver, to Clean.— 1. Silver articles discolored 
by sulphureted hydrogen may be cleaned by 
rubbing them with a boiling saturated solution 
of borax. Another good preparation is a solu- 
tion of caustic potash with some bits of metal- 
lic zinc. 

2. Silver which has become much tarnished 
may be restored by immersion in a warm solu- 
tion of 1 part cyanide of potassium to 8 parts of 
water. <This mixture is extremely poisonous.) 
Washing well with Avater, and drying, will pro- 
duce a somewhat dead- white appearance, which 
may be quickly changed to a brilliant luster by 
polishing with a soft leather and rouge. 

3. Wash in hot soapsuds (use the silver soap 
if convenient); then clean with a paste of whit- 
ing and whisky. Polish with buckskin. If 
silver was always washed in hot suds, rinsed 
well, and wiped dry, it would seldom need any- 
thing else. 

4. A fresh concentrated solution of hyposul- 
phite of soda will dissolve at once the coat of 
sulphide of silver, which is the cause of the 
blackness produced by mustard, eggs, etc., or 
anything containing sulphur. 

5. Add gradually 8 oz. of prepared chalk to a 
mixture of 2 oz. of spirits of tui-pentine, 1 oz. of 
alcohol, ]4, oz. of spirits of camphor, and 2 drm. 
of aqua ammonia. Apply with a soft sponge, 
and allow it to dry before polishing. 

Silver Cleaning Compounds.— 1. Ammonium 
carbonate, 1 oz.; water, 4 oz.; Paris white, 16 
oz.; mix well, and apply by means of soft 
leather. 

2. Rouge (very fine) and prepared chalk, 
equal parts; use dry. 

3. Whiting (fine), 2 pt.; white oxide of tin, 
1 pt.; calcined hartshorn, 1 pt. 

Silver Spoons, to Remove Yellow Coating from. 
— 1. Dissolveloz. cyanide of potassium in 1 qt. 
of soft water and you will have a dip in which 
you can wash your spoons and instantly re- 
move the sulphide of silver. The solution must 
be kept in a bottle that is tightly corked and 
labeled "poison. 1 ' 

2. Egg spoons get tarnished by the sulphur in 
the egg uniting with the silver. This tarnish is 
a sulphuret of silver, and may be removed by 
rubbing with wet salt or ammonia. 



3. It may be exposed to uniform heat, and 
then boiled in strong alum water. 

Silver, to Remove Ink Stains f rom.— Make a 
paste of chloride of lime and water and rub 
upon the stains. 

Silver Jewelnj (Filigree), to Restore the Color.— 
How can the original white color of silver fili- 
gree jewelry be restored when tarnished bv 
wear or shop worn? A. First wash the articles 
in a solution of 1 fl. oz. of liquid potassa in 20 
of water, rinse, and then immerse in a mix- 
ture of salt, 1 part; alum, 1 part; saltpeter, 2 
parts: dissolved in 4 parts water. Let them 
remain for five minutes; wash in cold water and 
dry with chamois leather. 

Skeletons, to Prepare and Bleach.— It is impos- 
sible to extract the oily material from the 
bones except by a very slow process. Boiling 
in any amount of alkali, say washing soda, will 
not accomplish it, and all the oil must be ab- 
solutely removed before you can do anything 
toward the bleaching. Very long maceration 
in water alone or in soda and water will even- 
tually effect it, but a much better material is 
benzine. Make a tin box into which you 
pack your skeleton, solder on the cover, leaving 
only a round hole for fining. Pour in benzine 
till the box is filled, stop the hole closely, and 
leave it undisturbed for three months. The 
skeleton will come out clean, and can be 
bleached perfectly by sunlight. Chlorine will 
do the bleaching quicker, but it injures the 
bones; never use it. Any shorter process will 
give you a skeleton that is always nasty. 

Silver Nitrate Stains, to Remove.— 1. In the 
manipulation of the nitrate of silver bath solu- 
tions in photograph y, the operator frequently 
receives stains* of the salt upon his clothing, 
which are not very attractive in appearance. 
Stains or marks of any kind made with the 
above silver solution or bath solution may be 
promptly removed from the clothing by simply 
wetting the stain or mark with asolution of 
bichromate of mercury. The chemical result 
is the change of the black-looking nitrate of 
silver into chromate of silver, which is whiter 
or invisible on the cloth. Bichromate of mer- 
cury can be obtained at the drug stores. 

2. Sodium sulphite, 1 oz.; chloride of lime, % 
oz.; water, 2 oz. Mix. Use a nail brush. 

3. Dip the fingers into a strong solution of 
cupric chloride. In about a minute the silver 
will be converted into a chloride, and may then 
be washed off with hyposulphate of soda solu- 
tion. 

4. The immediate and repeated application of 
a very weak solution of cyanide of potassium 
(accompanied by thorough rinsings in clean 
water) will generally remove these without in- 
jury to the colors. 

How to Remove Nitrate of Silver Stains from 
the Fingers. — 5. Paint the blackened parts with 
tincture of iodine ; let remain until the black 
becomes white. The skin will then be red, but 
by applying ammonia the iodine will be 
bleached, leaving white instead of black stains 
of nitrate of silver. 

6. Nitrate of silver stains may be removed by 
rubbing them with a weak solution of sul- 
phydrate of ammonium or strong solution of 
iodide of potassium. 

Soaps for Cleaning. See Soaps. 

Stains, Soap for Removing.— Take 22 lb. of the 
best white soap and reduce it to thin shavings. 
Place it in a boiler, together with water, 8*8 lb.; 
oxgall, 18*25 lb. Cover up and allow to remain at 
rest all night. In the morning heat up gently 
and l-egulate it so that the soap may dissolve 
without stirring. When the whole is homo- 
geneous and flows smoothly, part of the water 
having been vaporized, add turpentine, 0"55 
lb.; benzine, best clear, 0*44 lb.; and mix well. 
While still in the state of fusion color with 
green ultramarine and ammonia, pour into 
moulds and stand for a few days before using. 
The product will be found to act admirably. 



Cleansing. 



118 



Cleansing. 



and the yield is very good indeed.— Moniteur de 
la Teinture. 

Sponges, to Clean— "In a large basin mix 
about a pint of water and 2 tablespoonf uls of 
sulphuric acid (common oil of vitriol), then 
steeped the sponge about two hours, wring it 
out several times in the acid, and finally well 
washed out the acid in clean water; it was 
then just like new, having regained its former 
size, color and elasticity, with not the slightest 
trace of its former sliminess. It was a large 
bath sponge, and in an extremely bad condi- 
tion."— English Mechanic. 

Spots and Stains, to Remove.— Taking out 
grease and other spots from clothes is an appli- 
cation of chemistry which has a practical in- 
terest for everybody. It demands a certain 
acquaintance with solvents and reagents, even 
though we may not understand the laws of 
chemical affinity on which their action depends. 
The general principle is the applying to the spot 
a substance which has a stronger affinity for the 
matter composing it than this has for cloth, 
and which shall render it soluble in some liquid, 
so that it can be washed out. At the same 
time it must be something that will not injure 
the texture of the fabric or change its color. 
The practical hints we shall give are condensed 
from a variety of foreign sources. 

The best substances for removing grease or 
oil are ; 1. Benzine. 2. Soap. 3. Chalk, fuller's 
earth, steatite, or "French chalk." These 
should be merely diffused through a little 
water to form a thin paste, which is spread 
upon the spot, allowed to dry, and then 
brushed out. 4. Oxgall and yelk of egg, which 
have the property of dissolving fatty bodies 
without affecting perceptibly the texture or 
colors of cloth. The oxgall should be purified 
to prevent its greenish tint from degrading 
the brilliancy of dyed stuffs or the purity of 
whites. Thus prepared it is the most effective 
of all substances known for removing this 
kind of stains, especially from woolen cloths. 
It is to be diffused through its own bulk of 
water, applied to the spots, rubbed well into 
them with the hands till they disappear, after 
which the stuff is to be washed with soft water. 
5. The volatile oil of turpentine. This will 
take out only recent stains ; for which purpose 
it ought to be previously purified by distilla- 
tion over quicklime. 

Various other receipts for removing stains 
will be found under grease, etc., under the same 
heading, Cleansing'. The preceding table and 
the receipts which follow afford a ready means 
of determining the proper method of proced- 
ure, but the reader should not fail to look up 
both the name of the article and the nature of 
the spot, stain, etc. 

The following receipts deal especially with 
the garment dyer : 1. Steam has the property 
of softening fatty matters, and thus facilitating 
their removal by reagents. 

2. Sulphuric acid may be employed in certain 
cases, especially to brighten and raise greens, 
reds, and yellows; but it must be diluted with 
at least 100 times its weight of water and more, 
according to the delicacy of the shades. 

3. Muriatic acid is used with success for re- 
moving spots of ink and iron mould upon a 
great number of colors which it does not sensi- 
bly affect. 

4. Sulphurous acid is only used for bleaching 
undyed goods,straw hats, etc., and for removing 
iruit stains upon white woolen and silk tissues 
The fumes of burning sulphur are also em- 
ployed for this object, but the liquid acid (or a 
solution of the bisulphite— not bisulphate— of 
soda or magnesia) is safer. 

5. Oxalic acid serves for removing spots of 
ink and iron and the residues of mud spots, 
which do not yield to other cleansing agents. 
It may also be employed for destroying the 
stains of fruit and of astringent juices, and 
stains of urine which have become old upon 
any tissue. Nevertheless, it is best con- 



fined to undyed goods, as it attacks not merely 
fugitive colors, but certain of the lighter fast 
colors. The best method of applying it is to 
dissolve it in cold or lukewarm water, and to 
let a little of the solution remain upon the spot 
before rubbing it with the hands. 

6. Citric acid serves to revive and raise cer- 
tain colors, especially greens and yellows; it 
destroys the effect of alkalies and any bluish 
or crimson spots which appear upon scarlets. 
In its stead acetic acid may be employed. 

7. Liquid ammonia is the most energetic and 
useful agent employed for cleaning tissues and 
silk hats, and for quickly neutralizing the 
effects of acids. In the latter case it is often 
sufficient to expose the goods to the fumes of 
this alkali in order to remove such spots en- 
tirely. Ammonia gives a violet cast to all 
shades produced with cochineal, lac, the red- 
woods or logwood, and all colors topped with 
cochineal. It does not deteriorate silks, but at 
elevated temperatures it perceptibly attacks 
woolens. It serves to restore the black upon 
silks damaged by damp. 

8. The carbonate of soda (soda crystals) 
serves equally in most of the cases where am- 
monia is employed. It is good for hats affected 
by sweat. 

9. Soda and potash only serve for white goods, 
of linen, hemp, or cotton; for these alkalies 
attack colors and injure the tenacity and sup- 
pleness of woolen and silk. For the same rea- 
son white soap is only to be recommended for 
cleaning white woolen tissues. 

10. Mottled soaps serve for cleaning heavy 
stuffs of woolen or cotton, such as quilts; for 
such articles which do not require great supple- 
ness or softness of feel the action of the soap 
may be enhanced by the addition of a small 
quantity of potash, 

11. Soft potash soaps may be usefully em- 
ployed in solution, along with gum arabic or 
other mucilaginous matters, for cleaning dyed 
goods, and especially self-colored silks. This 
composition is preferable to white or marbled 
soaps, as it removes the spots better and at- 
tacks the colors much less. 

12. Oxgall, which can be obtained from the 
butchers in a sort of membraneous bag (the 
so-called gall bladder), has the property of dis- 
solving the majority of fatty bodies without 
injuring either the color or the fiber. It may be 
used preferably to soap for cleaning woolens; 
but it should not be employed for "cleaning 
stuffs of light and delicate colors, which it may 
spoil by giving them a greenish yellow, or even 
a deep green tint, it is mixed also with other 
matters, such as oil of turpentine, alcohol, 
honey, yelk of egg, clay (fuller's earth), etc., 
and in this state is used for cleaning silks. 

13. To obtain a satisfactory result gall ought 
to be very fresh. To preserve it a simple 
method is to tie the neck of the gall bladder 
well with a string, and hold the bladder in boil- 
ing water for some time. This being done, it is 
taken out and let dry in the shade. 

14. Yelk of egg possesses nearly the same 
properties as oxgall, but is much more costly. 
It must be used as quickly as possible, for it 
losses its efficacy with keeping. It is some- 
times mixed with an equal bulk of oil of tur- 
pentine.— Moniteur de la Teinture. 

Stearin, Sperm Candles, to Remove Spots Made 
by.—l. For all kinds use 95$ alcohol. 

2. Scrape off as much as possible with a knife, 
then lay a thin, soft, white blotting paper upon 
the spots and press with a warm iron. By re- 
peating this the spermaceti will be drawn out. 
Afterward, rub the cloth where the spots have 
been with some very soft, brownish paper. 

Stones, to Clean. — To remove grease from 
stone steps or passages, pour strong soda and 
water boiling hot over the spot, lay on it a 
little fuller's earth made into a thin paste with 
boiling water, let it remain all night, and if 
the grease be not removed, repeat the process. 
Grease may sometimes be taken out by rubbing 



Cleansing:. 



119 



Cleansing;. 



the spot with a hard stone— not hearthstone- 
using sand and very hot water, with soap and 
soda. 

Spots of Sugar, Glue, Blood, Albumen.— On 
white goods, on dyed tissues of cotton and 
wool, and on silk, simple washing- with water. 

Tallow, to Cleanse and Bleach.— Dissolve 1 lb. 
of alum in 2 gal. of water; the water should be 
boiling. Now add 20 lb. of tallow and continue 
to boil for about an hour, skimming frequent- 
ly. Strain through stout muslin and allow it 
to harden. 

Tannin from Chestnuts, Green Walnuts, etc., 
or Leather.— White goods, hot chlorine water, 
and concentrated tartaric acid. Colored cot- 
tons, woolens, and silks, apply dilute chlorine 
water cautiously to the spot, washing it away 
and reapplying it several times. 

Tannin, Walnut Shells. — White cottons and 
linens, Javelle water (liquor sodse chlorinatse), 
warm chlorine water, concentrated solution of 
tartaric acid. Colored goods or silks, chlorine 
water, diluted according to the tissue and 
color, each application to be followed by wash- 
ing with water. 

Tar and Pitch Stains.— Tar and pitch produce 
stains easily removed by successive applications 
of spirits of turpentine, coal tar naphtha and 
benzine. If they are very old and hard, it is 
well to soften them by lightly rubbing with a 
pledget of wool dipped in good olive oil. The 
softened mass will then easily yield to the 
action of the other solvents. Resins, varnishes 
and sealing wax may be removed by warming 
and applying strong alcohol. Care must always 
be taken that, in rubbing the material to re- 
move the stains, the friction shall be applied 
the way of the stuff, and not indifferently, 
backward and forward. 

Tar, Cart Wheel Grease, Mixtures of Fat, 
Rosin, Carbon and Acetic Acid.— l. On white 
goods, soap and oil of turpentine, alternating 
with streams of water. Colored cottons and 
woolens, rub in with lard, let lie, soap, let lie 
again, and treat alternately with oil of turpen- 
tine and water. Silks the same, more carefully, 
using benzine instead of oil of turpentine. 

2. Freshly made tar stains can be removed by 
rubbing with lard and washing with soap and 
water. 

Tapestry, Ancient.— Dissolve a bar of soap in 
1 gal. of boiling water, when cold put 1 qt. of 
this dissolved soap into 1 gal. of cold water. 
Have ready at hand some pieces of soft flannel, 
a soft brush, a piece of wash leather, and some 
clean, dry sheets. First, well brush with a hard, 
long-haired clothes brush, taking care to re- 
move all the dust from the corners ; for this 
latter purpose it is better to use a small pointed 
brush and a pair of bellows. If the tapestry is 
on the wall begin to clean it at the top, but do 
not clean more than one square yard at a 
time. 

Dip a piece of flannel into the soap liquor, 
squeeze it out gently, and well rub it into the 
tapestry to make it lather, and well brush with 
a soft brush. Then wring the flannel out of 
the soap liquor, and dry the square with the 
soapy flannel and the wash leather, and after- 
ward dry with the sheets. The tapestry is to 
be dried with the soap in it, for on no account 
must it be rinsed. Dissolve 4 oz. of tartaric 
acid in a pint of boiling water, and put it into 
a pan containing 2 gal. of cold water. Dip a 
clean sponge into this acid water, squeeze it, 
and then well rub it into the spot you have just 
cleaned and dried. When this has been done it 
must be again well dried with the sheets before 
being left. And so proceed, a square yard at a 
time, until the whole is cleaned. The soap 
liquor must be thrown away, and a fresh lot 
mixed, as often as it becomes dirty. When the 
tapestry has all been cleaned, and it is quite 
dry, take a lump of pipe clay and well rub it 
into it, and then brush it with a clean -clothes 
brush. This last process takes out the soap and 
spirits, and also brightens the colors. Keep 



a good fire in the room while you are cleaning 
the tapestry. 

Tea and Coffee.— When any article has had tea 
or coffee spilled over it be careful not to allow 
soap to touch it till the stains are removed, for 
the alkali in the soap will make the coloring 
matter turn into fast dyes. Spread the stained 
part over a basin, and pour clean, soft boiling- 
water through it. If the stains prove obsti- 
nate, rub in a little powdered borax, and pour 
on more boiling water, then place the article to 
soak. 

Tiles, Dirty, to Clean.— They must first be well 
rubbed with smooth brick or pumice, to re- 
move the injured surface, and then, after an 
addition of red ocher to give uniform color, 
when clean, dry, and free from holes, etc., pour 
over the floor a sufficiency of common oil of 
olives, such as they use in Italy everywhere 
for this purpose, seeing that the floors of all 
houses in that country are composed of tiles, 
which are either oiled simply or cemented 
smoothly, and painted over with patterns in 
imitation of carpet or mosaic. 

Tins, to Clean.— AH kinds of tins, moulds, 
measures, etc., may be cleaned by being well 
rubbed with a paste made of whiting and well 
water. They should then be rubbed with a 
leather, and any dust remaining on them 
should be removed by means of a soft brush. 
Finally, they must be polished with another 
leather. Always let the inside of any vessel 
be cleaned first, since in cleaning the inside the 
outside always becomes soiled. For very dirty 
or greasy tins, grated bath brick and water 
must be used. 

Tobacco Pipes.— A very simple and effective 
plan. Cut y% in. from the end of an ordinary 
cork, and fit it tightly into the bowl of the pipe. 
Then with a knife cut a hole through the cork 
wide enough to admit the nozzle of a water 
tap with a little pressure, turn on the water 
gently until the flow through the stem is suffi- 
ciently strong, and let it run until the pipe is 
clean. 

To Clean Varnish.— Mix powdered chalk with 
soda or potash lye. 

Colors of Varnish, Resins.— On white goods, 
and on dyed tissues of cotton and wool, tur- 
pentine, benzine, then soap. On silk, benzine, 
ether, soap ; rub with care. 

Vegetable Colors, Wine and Fruit Stains, Red 
Ink.— On white goods, vapors of sulphurous 
acid; hot bleaching powder solution, weak. 
On dyed tissues of cotton and wool, wash with 
warm soap water or ammonia. On silk, same; 
rub softly and carefully. 

Veils, Black, to Clean.— 1. Pass them through 
a warm liquid of bullock's gall and water; rinse 
in cold water ; then take a small piece of glue, 
pour boiling water on it, and pass the veil 
through it ; clap it, and frame to dry. 

2. White, to Clean.— Put the veil in a solu- 
tion of white soap ; and let it simmer a quarter 
of an hour. Squeeze it in some warm water 
and soap, until quite clean. Rinse it from 
soap, and then in clean cold water in which is 
a drop of liquid blue. Then pour boiling water 
upon a teaspoonful of starch, run the veil 
through this, and clear it well by clapping it. 
Afterward dry it out, keeping edges straight 
and even. 

Vellum.— Benzine is applied with a sponge. 
It will remove almost every stain, and does not 
destroy the texture in the least. 

Velvets, Velveteens and Plush, to Clean— I. 
Silk and cotton velvets, velveteens and plush, 
when stained or generally soiled through wear 
and exposure, may be either cleaned or dyed. 
Slightly soiled fabrics should be brushed to get 
rid of dust, and then be sponged with a weak 
solution of borax or benzine. When very much 
soiled they will have to be dipped in a bath of 
benzine, weakened by the addition of a little 
water. The drying should not be too rapid, but 
thorough. The pile must be brushed quickly 
he right way. But previous to brushing the 



Cleansing. 



120 



Cleansing. 



pile the back of the fabric must be stiffened. 
Prepare a strong solution of gum arabic in 
warm water. On taking- the velvet or plush 
out of the bath dry it, and then brush the back 
all over with the gum. This stiffens the fab- 
ric, and prevents the pile getting loose. When 
dry turn over the velvet on the right side and 
brush it smartly, so that the pile lies upright, 
and in the proper direction. If this precaution 
of stiffening the back is not observed, the 
brushing will only do harm. If stiffened the 
pile remains firm, and can be easily brushed 
up. In the case of figured and parti-colored 
velvets, this precaution should never be omit- 
ted or the design will be spoiled. Velvet dress 
trimmings that are faded and greasy may be 
made to appear like new material by judi- 
ciously following the above directioms. 

2. Velvet, to Clean or to Take Grease from.— 
Hub the spots on the silk lightly and rapidly 
with a clean, soft cotton rag dipped in chloro- 
form, and the grease will immediately dis- 
appear without injuring the color of the silk. 
Repeat the operation if necessary. Be careful 
to rub the article rapidly and lightly, then 
finish with a clean, dry cloth. If these pre- 
cautions are not taken, a slight stain is apt to 
be the result. Very highly rectified benzine, 
such as is prepared by first-class druggists, 
will also immediately remove grease from the 
most delicate colored silks. 

Velvet, to Restore the Pile of. — Hold the 
wrong side of the velvet over boiling water, 
and the pile of velvet will be gradually raised, 

Violins, to Clean. — 1. Use soap and water, but 
avoid its running through the "/" holes. 
Clean the interior with dry rice. Do not use 
spirit. 

2. Moisten the soiled parts with salad oil, then 
mix same oil and spirits of wine together in a 
basin, trying its strength first on a part of the 
neck or scroll, then with a piece of white linen 
rag, dipped in the oil and spirit, rub the soiled 
parts, keep shifting the rag as it gets dirty; 
it will take several days to do, but keep the 
parts well soaked where dirty with oil after 
every rubbing; but by no means scrape it. 

3. Ordinary Paraffin Oil.— Slightly saturate a 
rag of soft silk, and proceed to wash your 
violin therewith. The effect is almost magical; 
the paraffin dissolves the crust of dirt and 
resin and cleans the varnish without injuring. 

4. For the outside, a strongish solution of 
washing soda applied with piece of flannel. 
If you find the soda removes the varnish (as it 
does with some oil varnishes), use soap and 
water, and then paraffin. When clean, rub with 
linseed oil; spirits of wine removes the old 
resin at once, but sometimes takes the varnish 
with it. For the inside, get a handful of rice, 
steep it in solution of sugar and water five 
minutes, strain off, and nearly dry the rice till 
just sticky. Put in at soundholes and shake 
till tired. This will pick up all dirt, then turn 
out. 

Violin Bows. — 1. Take a small piece of flannel, 
wet it, cold process, well rub it with best yel- 
low soap, double it, holding the hair gently be> 
tween the finger and thumb, rub gently till 
clean, using plenty of soap, rinse flannel, wipe 
off, then wipe dry with a piece of calico or 
linen ; in an hour afterward it will be ready 
for the resin. 

2. A solution of borax and water. 

Wall Papers, to Clean.— 1. To remove all stains 
or marks where people have rested their heads, 
from wall papers, mix pipe clay with water to 
the consistency of cream, lay it on the spot, 
and allow it to remain till the following day, 
when it may be easily removed with a penknife 
or brush. 

2. If not very dirty, the paper of any room 
will be much improved by brushing it over in 
straight lines with a soft broom, covered with 
a clean, soft cloth; if, however, the paper be 
much soiled, very stale bread is the best thing 
to clean it with. Cut a very stale quatern 



loaf into slices, and, in the lightest manner 
possible, wipe the paper with it in a downward 
direction. Clean about a yard at a time, all 
one way, and be careful to leave no marks. 
By this process very dirty paper hangings may 
be made to look almost like new. 

Walls, to Clean Smoky.— Brush well, wash with 
a strong solution pearlash, rinse at once with 
clear water. Then give the walls when dry a 
thin coat of fresh slaked lime, with consider- 
able alum dissolved in hot water added. After 
this has dried apply whiting and good size. 

Wash ing Co impound. Jack in a n's. — 1. 6 lb. 
sal soda, 1 lb. borax, dissolve in 1 gal. boiling 
water. When cold, add % lb. potassium car- 
bonate, 3 oz. liquid ammonia, 4 spoonfuls alco- 
hol. Boil for five minutes % lb. fresh, unslaked 
lime in 1 gal. water. Draw off the clear fluid 
when thoroughly settled. Add to this the 
other ingredients With 9 gal. cold water. 

Directions for using; Soak the clothes over- 
night, after rubbing soft soap on the dirty 
places. In the morning add 34 pt. of the com- 
pound, 34 Pt. soft soap, and 4 gal. hot water. 
Boil not more than five minutes, and turn into 
a tub, putting into your boiler the same mix- 
ture as before. Wring the clothes into this 
and boil again ten minutes, suds, blue, and 
hang them out to dry. Should the wrist- 
bands or parts that are very dirty need a little 
rubbing, it should be done while the mixture 
is boiling. 

2. Wash Mixture.— Take 5 lb. bar soap, shave 
fine, add 1 qt. lye, 34 oz. pearlash, dissolved 
over a slow fire. When dissolved, put into a 
vessel prepared for it to stand in; then add 34 
pt. turpentine, 1 gill hartshorn; stir well, and 
it is ready for use. 

3. Dissolve 34 lb. soda in 1 gal. boiling water, 
and pour upon it 34 lb. lime. After this has 
settled, cut up 10 oz. of common bar soap, and 
strain the solution upon it and mix perfectly. 
Great care must be taken that no particles of 
lime are poured upon the soap. Prepare the 
mixture the evening before washing. 

Directions : To 10 gal. water add the above 
preparation when the water is boiling. Each 
lot of linen must boil half an hour, and the 
same liquid will answer for three batches of 
clothes. The white clothes must be put in 
soak overnight, and if the collars and wrist- 
bands are soaped and rubbed slightly, so much 
the better. Clean cold water may be used for 
rinsing. Some prefer boiling them for a few 
moments in clean bluing water, and after- 
ward rinse in cold water. 

4. The following compound is said greatly to 
facilitate the washing of clothes : Dissolve 2 lb. 
bar soap in about 3 gal. of water as hot as the 
hand can bear. Add 1 tablespoonful of tur- 
pentine and 3 of ammonia. Stir, and steep 
the clothes in this for three hours, keeping the 
vessel tightly covered. Then wash the clothes 
in the usual way. The soap and water may be 
used a second time, in which case a teaspoon- 
ful of turpentine and the same amount of am- 
monia must be added. This treatment is cal- 
culated to save much labor in cleansing sum- 
mer clothes stained by fruit, etc. 

5. The German washerwomen use a mixture 
of 2 oz. turpentine and 1 oz. spirits of ammonia 
well mixed together. This is put into a bucket 
of warm water, in which 34 lb. soap has been 
dissolved. The clothes are immersed for 
twenty-four hours and then washed. The 
cleansing is said to be greatly quickened, and 
two or three rinsings in cold water remove the 
turpentine smell. 

6. Borax is valuable for laundry use, instead 
of soda. Add a handful of it, powdered, to- 
about 10 gal. of boiling water, and you need 
use only half the ordinary allowance of soap. 
For laces, cambrics, etc., use an extra quantity 
of the powder. It will not injure the texture 
of the cloth in the least. 

Washing Powders.— Hager, in Phar. Central- 
halle, gives the following analyses • 



Cleansing;. 



121 



Clothing. 



1. The so-called English Washing Crystal is 
an impure, half efflorescent crystallized soda, 
containing a large proportion of sulphate of 
soda and common salt. 

2. Under the name of Washing Crystals sim- 
ply a filtered solution of borax and" soda has 
been introduced. 

3. The English Patent Cleansing Crystal 
Washing Powder is a half efflorescent soda, 
containing about 25^ of Glauber's salts. 

4. The Washing and Cleansing Crystals (Har- 
per Twelvetrees & Sons) are pare crystallized 
soda, with 1 to 2% of borax. 

5. Krimmelbein's Wool Washing Composition 
is a mixture of 35 parts of dried soda, 1U parts 
of soap powder, and 10 parts of sal ammoniac. 

6. Ward's Wool Washer is a mixture of 90 
parts of effloresced soda crystals with 10 parts 
of soap powder. 

7. The Universal Washing Powder (Henkel's) 
is a water glass containing soda, with a small 
percentage of tallow soap and starch powder. 

8. Hudson's Soap Extract is a mixture of 
crystallized soda and soda soap, containing 
water (soap 14*3, anhydrous soda 30, and water 
55). 

9. A washing powder for the finest white 
linen is a powdery mixture of 90 parts of efflo- 
resced soda with 10 parts of hyposulphite of 
soda and 2 parts of borax. 

10. The so-called Finest Brilliant Elastic 
Starch is a mixture of about 7 to 8 parts of 
stearine, with 100 parts of wheaten starch 
(melted stearine is mixed with about fifteen 
times its weight of starch, and after cooling 
powdered and combined with the rest of the 
starch). 

11. The Berlin Prepared Brilliant Dressing 
Starch is good wheaten starch, mixed with 2 
to 2y 2 % of borax. 

Wax, to Clean.— Melt the wax in a jar, and 
put into it powdered nitrate of soda (Chili salt- 
peter) in the proportion of 1 oz. to the lb. of 
wax; afterward add, by degrees, 2 oz. to the 
lb. of sulphuric acid, diluted with ten times its 
weight of water, keeping the wax warm and 
stirring the while. Let it stand a short time, 
and then fill up the jar with hot water, and 
allow the whole to cool. The wax should then 
be white. Afterward wash with water to re- 
move any nitric acid that may remain, as it 
would make the wax yellow. 

Windows, Washing of.— In washing windows 
a narrow-bladed wooden knife, sharply pointed, 
will take out the dust that hardens in the cor- 
ners of the sash. Dry whiting will polish the 
glass, which should first be washed with weak 
black tea mixed with a little alcohol. Save the 
tea leaves for the purpose. 

Window Glass, Removal of Paint and Putty 
from.— Put sufficient salerafus into hot water 
to make a strong solution, and with this satu- 
rate the paint which adheres to the glass. Let 
it remain until nearly dry, then rub it off with 
a woolen cloth. 

Windows, Powder for Cleaning.— 1. Calcined 
magnesia is moistened with benzine. Apply 
with a rag. Mix up for use, or keep in a glass 
stoppered bottle. 

2. Mix 1 part olive oil, 1 part ammonia, 2 
parts lime, and 1 part water to a thick paste. 

Wool, to Clean.— The Leipziger Muster-Zeitung 
fur Faerberei, which is likely to be good au- 
thority on such subjects, expresses its views on 
cleaning woolens as follows : 

1. The liquid used for washing must be as hot 
as possible. 

2. For the removal of greasy dirt, sweat, etc., 
borax is of so little value that its application 
would be mere waste. Soap lye alone is better, 
but the preference must be given to soap lye 
along with ammonia. This mixture works 
wonders by quickly dissolving dirt from par- 
ticular parts of underclothing which are hard 
to cleanse. It raises and revives even bright 
colors, and is altogether excellent. 



3. On the other hand, for cleaning white 
woolen goods, there is nothing Avhich even ap- 
proaches borax. Soap lye and borax, applied 
boding hot, gives white woolens a looseness 
and a dazzling whiteness which they often do 
not possess when new. 

4. If shrinking is to be entirelv avoided, the 
drying must be accelerated by repeatedly 
pressing the woolens between soft cloths. In 
no case should woolens be let dry in the sun, as 
in this case they become dry and hard. They 
are best dried in a moderate current of air, and 
in cold weather in a warm place, not too near 
the stove. 

5. For colored goods there should be pre- 
pared a lye of 7 qt. of soft water and 
2 oz. of the best soft soap, the quan- 
tities being, of course, modified according 
to judgment and the dirtiness of the articles. 
The soap is dissolved over the fire, and the lye, 
properly stirred up, is divided into two vessels, 
to one of which is added a teaspoonf ul of am- 
monia for each quart of lye. The woolens 
must be entered at a heat which the hand can- 
not bear, and the fabric must, consequently, be 
turned and pressed with smooth, wooden stir- 
rers. They are then pressed out as far as pos- 
sible, and transferred to the second lye, con- 
taining no ammonia, and which by this time 
has become so cool that the articles can be 
pressed by hand, but no twisting or wringing 
must take place. They are then pressed be- 
tween three or four soft dry towels, till the 
latter no longer become wet. 

6. For white woolens there is added, instead 
of ammonia, a teaspoonful of powdered borax 
to each qt. of soap lye, and the operation is 
otherwise conducted exactly as above de- 
scribed. If the second lye is too soapy, it may 
be diluted with a little hot water. 

7. After two or three lots of woolens have 
thus been washed, the lye must be heated 
again— the first lot being put aside to settle, 
the second being made first— with the addition 
of ammonia or borax, as the case may be, and 
fresh lye made for the second. 

Zinc, Cleaning.— To clean zinc, mix 1 part 
sulphuric acid with 12 parts water. Dip the 
zinc into it for a few seconds; then rub with a 
cloth. 

Zinc Vessels, to Clean.— Zinc articles, if small, 
can be cleaned by being pickled in hydrochlo- 
ric acid with water added, till the articles are 
nicely cleaned, in about three minutes, with- 
out being too strongly attacked, then washed 
and dried. Large articles like refrigerators 
are cleaned by being rubbed with a swab* 
dipped in raw spirits, then washed with water, 
and finished with whiting. 

Clearing Solutions. See Photo- 

graphy. 

Cliche Metal. See Alloys. 

Clochs and Watches, to Clean. See 
Cleansing. 

Clothing, Fireproof. See Fireproof- 
ing:. 

Clothing, Oiled.— To make them, with- 
out making them sticky, they must be dried 
at about 150° Fah. by artificial heat. The sun 
will do it on a hot day. Set as much boiled oil 
as is necessary, mix enough lampblack to 
blacken them, if for black work ; if yellow, use 
ground yellow ocher instead. Then lay the 
fabric on a smooth surface, and put the oil on 
with a brush— a shoe brush is the best, let the 
first coat get quite dry before putting on an- 
other. A little patent drier will make it dry 
quicker, say H lb. to a gal. of oil; if the last 
coat remains sticky after it is dry. give it a 
light coat of shellac dissolved in alcohol. Lay 
the oil on as thin as possible or it will not dry. 
Or dissolve 1 oz. beeswax (genuine) in 1 pt. 
boiled linseed oil, using a low heat. Kub it 
well in, and in general follow directions as 
above. 



Cloths. 



122 



Cocoa. 



Clotlis, Cement for. See Cements. 
Clotlis, to Remove Spots and Stains 
from See Cleansing. 

Cloths, to Waterproof. See Water- 
proofing. 

Cloth, Tracing. See Tracing Cloth. 

Cloth, to Prepare for Writing on.— 

Varnish the cloth with Canada balsam dis- 
solved in turpentine, to which may be added a 
few drops of castor oil, but do not add too 
much, or it will not dry. Try a little piece 
first with a small quantity of varnish. The 
kind of cloth to use is fine linen. Don't let the 
varnish be too thick. 

Clove Cordial. See Liquors. 

C o al, C aki ng . — Coal which has the property 
of giving off abundance of gas and hardening 
subsequently. The caking coal is largely used 
in smiths' fires and for gas making. 

Cobalt, to Plate 'with. See Electro- 
Metallurgy. 

Cobbler, Sherry.— 1. Put into a pint tum- 
bler a tablespoonf ul of pulverized sugar, 1 gill 
of sherry wine, a small slice of orange, the 
same of pineapple, and the sunny side of a ripe 
peach ; then fill to the brim with crushed ice. 
Invert another tumbler of exactly the same 
size upon this, being careful that the edges fit 
closely together ; grasp the two with both 
hands and shake rapidly together for at least 
one minute, then remove the upper tumbler, 
pile and heap ice crushed to a fine hail upon the 
cobbler ; make an incision in the top of this ice, 
in which place a sprig or two of mignonette, 
dust the ice slightly with rose colored sugar 
sand ; decorate the rim of the glass with two 
or three roses, and at one side of the glass slip 
down to the bottom a large rye straw, to which 
apply the lips and commence to imbibe— and 
so gratify the senses of sight, of smell, and of 
taste at one and the same time. 

2. One wineglass of sherry and teaspoonf ul 
of sugar, and one or two slices of orange. Fill 
a tumbler with shaved ice, shake well, and or- 
nament with berries in season. 

Coca and Calisaya.— Coca wine, 1 oz.; cal- 
isaya elixir, 1 oz.; orange sirup, 6 oz. 

Coca Tonic for Soda Fountains.— Coca 
wine, 1 oz.; orange sirup, 3 oz. 

Coca Wine. See Wines. 

Coccine.— An orange scarlet dye containing, 
along with aurantia (bromnitro fluoresceine), 
the ammoniacal salt of hexanitro diphenyla- 
mine. 

Cochineal.— A small insect, parasitical on 
the nopal, a species of the cactus, cultivated in 
Mexico and the Canary Islands. The females, 
which are by far the most numerous, have no 
wings, and the legs are very imperfectly de- 
veloped, which gives the insect the appearance 
of a shriveled berry. The coloring matter of 
cochineal appears to have acid properties, and 
is known as carminic acid. 

Cochineal Coloring.— The following is a good 
formula for preparing this coloring : Cochineal, 
alum, cream tartar, carb. potassa, each 3 drm.; 
water, 8 oz.; sugar, 6 oz. Rub the cochineal, 
alum and cream tartar with 8 oz. of boiling 
water, and when cold gradually add carb. po- 
tassa, and strain ; pour water on the strainer 
sufficient to measure 8 fluid oz., then add the 
sugar. 

Liquid Cochineal.— The following is from an 
exhaustive paper on the subject printed in The 
Chemist and Druggi-t, May, 1881, and is the sim- 
plest and best that has yet been given for co- 
chineal coloring : Finest silver grain cochineal, 
1 oz.; subcarbonate of potash, 1 oz.; potash alum, 
1 oz.; citric acid, ^ oz.; sugar, 1 oz.; water, a 
sufficient quantity. Boil the cochineal (bruised) 
in a glass or copper vessel of suitable capacity, 
in 8 oz. of water, to which the subcarbonate of 
potash has been added. Mix loosely the alum 



and citric acid in powder, and add gradually to 
the boiling liquid, and continue to boil until 
effervescence has entirely ceased. While still 
hot filter on to the sugar, and wash the filter 
with hot water sufficient to make the whole 
measure 12 oz. 

Cochineal Solution.— Dissolve 1 grm. of the 
cochineal in 75 c. c. of 20% alcohol. Alkalies red- 
den it, while acids bleach it. 

Cockroaches.— 1. Borax is the best cock- 
roach exterminator yet discovered. This 
troublesome insect has a peculiar aversion to it, 
and will never return where it has once been 
scattered. As the salt is perfectly harmless to 
human beings, it is much to be preferred for 
this purpose to the poisonous substances com- 
monly usedi 

2. Mixture of red lead, Indian meal and mo- 
lasses will be eagerly eaten by them and will 
soon exterminate them. Paris green, phos- 
phorus, or arsenic are sometimes used, but are 
very dangerous. Borax, to which cockroaches 
have a great antipathy, will drive them away. 

3. Scatter cucumber parings around the parts 
of the house troubled with these vermin. 

1. Take 2 oz. carbolic acid and 2 oz. powdered 
camphor. Place in a bottle and let it remain 
until it becomes a fluid. Put the mixture with 
a small brush on the places where the roaches 
hide, which will bring them out at once. Then 
kill them. 

5. Borax sprinkled about the parts where they 
hide will effectually drive them away. 

6. Corrosive sublimate sprinkled around the 
places which the roaches infest will kill them 
quickly. Be careful, however, with this sub- 
stance. 

7. Make a strong decoction of poke root. 
When the strength is extracted, remove the 
roots ; mix the liquor with molasses, and spread 
it on large platters in the places they frequent. 
They may thus be slain by thousands. The 
boiled roots laid on your closet shelves will as- 
sist in keeping them away. 

8. Scatter common wafers in the places they 
frequent ; they will eat greedily of them and 
be poisoned. 

Cocktail, Bottle.— To make a splendid 
bottle of brandy cocktail, use the following: 
One-half brandy, J4 water, 1 small glass of bit- 
ters (Bogart's is the best), 1 wineglass of gum 
sirup, J4 pony glass of curacoa. Whisky and 
gin cocktails, in bottles, may be made by using 
the above recipe, and substituting these liquors 
instead of brandy. 

Cocoa Flake.— This is formed by grinding 
the nibs in a mill, consisting of two cones, work- 
ing one inside the other. Pure flake cocoa is 
not a diluted or amalgamated article ; in other 
words it contains no sugar, and but a trace of 
starch. 

Cocoa Nibs.— The bruised roasted seeds, freed 
from husk and membrane. They ought to be 
of a dull red or grayish color, but are fre- 
quently given a bright red color by a coating 
of Venetian red. 

Cocoa, Soluble. — Cocoa nibs and sub- 
stances which are readily soluble or diffusible 
in water, ground together. Sugar, and sago or 
arrowroot, are the diluents used by respect- 
able makers, but all kinds of starches, colored 
with Venetian red, are used for the trashy 
articles. The following are the principal varie- 
ties of the so-called soluble cocoa. 

1. Cocoa, Granulated.— COcoa nibs, and suffi- 
cient sugar and arrowroot to keep the fatty 
particles from forming a pasty mass. 

2. Cocoa, Homeopathic— A kind of soluble 
cocoa, prepared with arrowroot, but without 
sugar. 

Cocoa, Maravilla.— This is stated to be the 
perfection of prepared cocoa. It consists of 
cocoa, sugar and sago flour, the last two being 
in great excess. No warm drink that we take 
approaches cocoa in its nutritive character, 
because while performing to a certain extent 



Cod. 



123 



Coloring. 



the exhilarating work of coffee or tea, it pre- 
sents to the stomach a very considerable quan- 
tity of nitrogenous and carbonaceous matter. 
This advantage is partly due to the fact that 
cocoa is taken in the form of an emulsion, 
instead of an infusion or decoction. 

Cod. Ldver Oil Mixture.— It makes a 
really delicious emulsion. Yelks of 2 eggs; 
powdered sugar, 4 oz.; essence oil almonds, 2 
drops; orange flower water, 2 oz. Mix care- 
fully, and add an equal bulk of cod liver oil.— 
Hcder. 

Coeruleine.— A green dye obtained from 
galleme, on heating with a large excess of sul- 
phuric acid. It is manufactured by Durant 
and Huguenin, of Bale, and yields in dyeing and 
printing exceedingly fast shades on cotton. 
Aluminous mordants give green, iron mor- 
dants, browns, and mixtures of the two olives 
The commercial paste contains 2Q% of the pure 
color. 

Coffee, Arabian.— To make it in Arab 
fashion proceed as follows : Roast some raw 
nibs, and pound them down ; when your water 
is boiling put in the coffee so treated, and stir 
it about. Next place the pot again on the fire, 
and carefully manipulate it, if occasion re- 
quires, till simmering sets in, when you must 
immediately remove it, and pour the contents 
into the cup. Milk or cream should never be 
added, but a little soft brown sugar may be 
used to suit the taste ; also a little cardamom 
seed. Smoking a pipe of Turkish tobacco is 
only needed to give additional flavoring to 
your sips, and to transport you temporarily to 
the delights of the Moslem's paradise. 

Coffee, Iced.— Make a strong infusion of 
Mocha or other good coffee ; put in a porcelain 
bowl, sugar it properly, and add to it an equal 
portion of boiled milk or one-third the quan- 
tity of rich cream. Surround the bowl with 
powdered ice. This beverage is recom- 
mended tor persons who have lost their appe- 
tite, or who experience general debility. 

Coffee, Substitutes for.— These are num- 
erous, but the principal are the following • 
nl" R u \ ^ ffee ,- lJiUeni us' ditto. Hunt's 
Breakfast Powder.— Rye roasted along with 
a ?S butter ' and ground to powder. A good 

oU* Do Lit, Ut0, 

2. German Coffee. Succory ditto. Chiccory ditto. 
-*rom succory as above. Used either "for or 
mixed with foreign coffee. The most common 
adulteration of the latter. 

3. Rice Coffee— From rice, as above. A good 

4. Currant Coffee.- From the seeds washed out 
ottlie cake left in making currant wine 

as the°last 6n ' y Co ^ ee ~ From gooseberry seeds, 

6. Holly Coffee.-From the berries. 

t. Egyptian Coffee— From chickpeas. 

o. Rosetta Coffee.— From fenugreek seeds 
moistened with lemon juice U ° 1W * seeQ s, 

knee C hoU Can Co ^ ee - -From the seeds of the 
10. Sassafras Coffee.-From the fruit or nut 
?^i he , sassafras tree, or from the wood cut 
into ch.ps. Very wholesome. Much recom- 
mended in skin diseases, etc. 

,iL? a,spm!y,s -T The raspings of the crust of 
^oaves .procured at the baker's. Equal to rye 

™S; ' B e echma *t , Wee. -From beechmast or 
nuts. Very wholesome. 

+»3 A x co ?; n Coffee.-From acorns, deprived of 
SuSftufe 8 ' USk6d ' dried ' and roaste *- **<™* 

root S&?SS < S^ ee *rf rom the yellow beet 

with « nftt'if T d - n a kll ^ or oven ' and ground 
with a httle foreign coffee. A good "substi- 

wmi » C uttSu ffee -~ norse beans roasted along 
from th"£ h0ney ,<? r su ^ ar - When removed 
from the fire, a small quantity of cassia buds is 



frequently added, and the whole is stirred 
until cold. Said to be a good substitute. 

16. Almond Coffee.— Rye or wheat roasted 
along with a few almonds. A very small quan- 
tity of cassia buds improves it. A good sub- 
stitute. 

, c A ff ®?» , Tc8l: f °r«— Add basic acetate of 
lead to the decoction, filter, and precipitate the 
excess of lead by means of sulphide of hydrogen 
gas, which will precipitate sulphide of lead 
When evaporating the clear remaining liquid 
you may crystallize out the caffein, if the 
decoction contained real coffee. The easiest 
definite test to recognize the caffein is freshly 
made chlorine water ; if this is poured on the 
remnant of a dried-up solution, and this dried 
again, it will become red as blood ; as this test is 
very delicate, you can, if the dried-up decoc- 
tion does not show this color, be sure that no 
coffee at ail was used to make your boardin°- 
house coffee. 

Coignet Beton, See Cements. 
Coins, to Clean. See Cleansing. 

£ oke ,— 0n an average 50 lb. of cannel coal 
will yield a bushel of coke. 

Colcothar. — Another name for rouse 
which see. 

Cold Cream, See Creams. 

Cold Sore, Herpes labidlis, generally known 
as breaking out," attacks the margins of the 
lips, and most frequently accompanies a cold 
m the head. It is too well known to need de- 
scription. Treatment : Oxide of zinc, 10 parts- 
oxide of bismuth, 20 parts; powdered starch, 20 
parts; oxide of iron, 2 parts; silica, 20 parts; 
oxide of aluminum, 8 parts; oxide of mag- 
nesium, 10 parts; powdered chalk, 10 parts. The 
above should be mixed into a fine powder, and 
then be made into a paste with an equal quan- 
tity of glycerine ; this should be gently rubbed 
into and spread over the parts nightly. 

Collars and Cuffs, to, Wash. See 
Cleansing-, Shirts. 

Collodion.— Blistering Collodion— The ethe- 
real extract of cantharides, dissolved in collo- 
dion, forms a most convenient, active, and 
clearly blistering liquid. If the blister is opened 
at the side, the film of collodion remains un- 
broken; and, by thus protecting the sore, ob- 
viates the necessity of dressing it with oint- 
ment. 

Collodion Cement. See Cements. 

Colored Collodion.— 1. Take of collodion, 1 
oz.; annatto (pure), dragon's blood (genuine), 
ot each 3 gr.; digest, with agitation, in a stop- 
pered phial for 24 hours; and, if necessary, de- 
cant the clear portion. 

2. Take of collodion, 2 oz.; palm oil, 1 drm • 
alkanet root, q. s., 15 gr.; digest, etc., as before. 
This is the "Collodium Tinctum " of the 
Cutaneous Hospital. It dries of a good skin 
color; but it is not so strong as the product 
of the preceding formula. 

Collodion. See Photography. 

Glycerine Collodion.— Collodion, 150 parts; 
glycerine, 3 parts. Dissolve the glycerine in 
the collodion. 

Colloids.— In contradistinction to crystal- 
loids stand colloids or colloidal bodies, so named 
from glue, which is a familiar specimen. Bodies 
of this class, when reassuming the solid state, 
after solution, never take any regular specific 
geometrical form. Whether evaporated slowly 
or rapidly, they dry up in irregular masses, 
which, if struck, break up as rapidly in one 
direction as another. Familiar examples of 
colloid bodies are gelatine, gums, and albu- 
men. They are readily separated from the 
crystalloids by the process of dialysis. 

Cologne. See Waters. 

Coloring oi Metals. See the name of 
the metals, and also Blacking, Bluing, 
Browning, Lacquering, etc. 



Colza. 



134 



Compositions. 



Colza Oil. See Oils. 

Combs, to Clean. See Cleansing. 

Combs, Lacquer for. See Lacquers, 

Comedones. — 1. The black points, flesh 
worms, or comedones, wuich are found in the 
face, and especially near the nostrils, are not at 
all produced by the accumulation of the parti- 
cles of dirt or dust, as has generally been be- 
lieved, but by pigmentary matter which is solu- 
ble in acids. The following treatment has been 
recommended: Kaolin 4 parts, glycerine 3 parts, 
acetic acid 2 parts, with or without the addi- 
tion of a small quantity of some ethereal oil. 
With this pomade cover the parts affected in 
the evening, and, if need be, during the day. 
After several days all the comedones can be 
easily expressed; most of them even come out 
by washing the parts with pumice stone 
soap. The same results can be obtained by 
bandaging the parts affected for along time 
with vinegar, lemon juice, or diluted hydro- 
chloric acid. The acids act like cosmetics, as 
they transform the black color into a brown 
and yellow shade and destroy it gradually alto- 
gether. 

2. Make a pomade of kaolin, 2 parts; glycer- 
ine 3 parts ; acetic acid, 2 parts; with or with- 
out the addition of a small quantity of some 
ethereal oil. Apply it at night. See also 
Acne. 

Compositions. — Alcarezzas, Composition 
for.—l. Sandy marl, 2 parts ; brine q. s.; then 
knead in common salt in tine powder, 1 part. 
Bake the pieces slowly and lightly. 

2. Good clay, 2 parts; fine siliceous sand, 3 
parts; brine, q. s.; common salt, 1 to 2 parts, as 
before. Avoid over-firing. 

Carton Pierre. See Carton Pierre in gen- 
eral alphabet. 

Composition to Fill Holes in Castings.— I. Dry 
clay, 6 parts ; borax in solution, V/% part. Mix. 
2. Make a thick paste of pulverized binoxide 
of manganese and a strong solution of silicate 
of soda. 

Door Plates, Composition for.— The compo- 
sition is merely sealing wax run on the plates 
when they were hot, and then scraped off with 
a scraper. 

Flexible Insulating Mass.— Shellac, 40 parts by 
weight; dry, finely pulverized asbestos, flax 
cotton, wood, or paper, 40 parts ; wood tar, 25 
parts; mineral wax (paraffin, ozocerite) 134 
parts. Mix these ingredients together in a 
vessel at 100° to 200° Fah. Stir constantly. 
If a harder mass is desired, use less tar. For a 
very hard mass, put in less asbestos, and leave 
out the wax. Add about 30 parts ground slate 
or clay whicii does not contain iron. 

Mass for Artificial Flowers and Fruits. — Mix 
bread crumbs, magnesia, and finely powdered 
starch. When fermented it can be formed 
and colored to any pattern. Use the lakes to 
color, and a solution of gamboge in alcohol for 
a varnish. 

Gun Sights, Composition for. See Gun 
Sin bts. 

Gutta PercJm Composition.— A hard com- 
position is made of the following: Gutta 
percha,6 parts; ivory or bone dust, 2 parts; 
pipe clay, 1 part. It has a light color. 

Insulating Compounds ( Chatterton's ), for Join- 
ing the Layers of G.P. in Cable Core.— Stock- 
holm tar, 1 part ; resin, 1 part ; gutta percha, 
3 parts. 

Clark's, for Coating the Sheathing of Cables.— 
Mineral pitch, 65 parts ; sand, 30 parts ; tar, 5 
parts. 

Ornaments from Wood Mass. — To produce a 
cheap composition for moulding, mirror, and 
picture frames, rosettes, etc. 1. Take 12 parts 
whiting; 6 parts of fine sifted sawdust; V/% 
parts linseed oil cake. Knead this mass to a 
paste with a strong solution of glue. 



2. 8 parts pulverized litharge; 16 parts 
white lead ; 2 parts fine sawdust ; 20 parts 
plaster of Paris ; stir these ingredients into 26 
parts of glue dissolved in water q. s. 

3. Melt 2 parts black pitch in 4 parts oil of 
turpentine ; liquefy 4 parts glue in 4 parts of 
linseed oil. Mix the two together, add 4 parts 
of fine sifted sawdust, 4 parts whiting, and 4 
parts colcothar. 

4. Form a paste of the desired consistency 
by mixing plaster of Paris and sawdust with 
glue water q. s. 

The moulds should be oiled, and the mass 
pressed carefully into them. 

Pads, Composition for Padding. See Pads. 

Patterns, Composition for. — The following 
composition is commonly used : Soften 12 lb. 
good glue in water enough to cover it, then 
heat until the glue is dissolved. Melt 7 lb. resin* 
Yo, lb . pitch, and 2}4 pts. linseed oil together. 
Stir the hot glue solution into this and add 
enough whiting to thicken. It should be 
mixed in small quantities and used at once; 
otherwise it will require steaming before it 
can be used. 

Picture Frame Composition.— 1. Dissolve 1 lb. 
of glue in 1 gal. of water ; in another kettle boil 
together 2 lb. of rosin, 1 gill of Venice turpen- 
tine, and 1 pt. linseed oil : mix all together in 
one kettle, and continue to boil and stir them, 
together until the water has evaporated from, 
the other ingredients ; then add finely pulver- 
ized whiting till the mass is brought to the con- 
sistence of soft putty. This composition is 
hard when cold, but when warmed can be 
moulded to any shape. 

2. Mix 14 lb. of glue, 7 lb. rosin, }4 lb. pitch, 
2]4 pt. linseed oil, 5 pt. of water, more or less 
according to the quantity required. Boil the 
whole together, well stirring until dissolved, 
add as much whiting as will render it of a hard 
consistency, then press it into a mould which 
has been previously oiled with sweet oil. No 
more should be mixed than can be used before 
it becomes sensibly hard. Gold size is then put 
on, several coats being considered necessary, 
then the gold leaf itself, which is burnished in 
course of time, and finally covered with finish- 
ing size. 

3. 12 parts of glue ; 4 parts of litharge ; 8 parts 
of white lead ; plaster of Paris, 1 part ; fine 
sawdust, 10 parts. Pour into sectional moulds 
previously coated with olive oil. 

Plastic Composition.— By mixing pounded 
fragments of mica with a proper proportion of 
shellac, a composition is formed which can be 
moulded with ease.— Science Record. 187U. 

Rubber Composition. — Cooper's best glue, 8% 
lb. ; extra sirup, 2 gal. ; glycerine, 1 pt. ; Venice 
turpentine, 2 oz. Steep the glue in rain water 
until pliant and drain it well. Then melt it over 
a moderate fire, but do not "cook it." This 
will take 15 to 25 minutes. Next put in the 
sirup, and boil for three-quarters of an hour, 
stirring it occasionally and skimming off impu- 
rities rising to the surface. Add the glycerine 
and turpentine a few minutes before removing 
from the fire, and pour slowly. Slightly reduce 
or increase the glue as the weather becomes 
colder or warmer. 

Toys, Composition for. — Fine ground argilla- 
ceous slate, 50 per cent. ; rag paper paste, 20 per 
cent. ; and 30 per cent, of burnt plaster are 
mixed with the necessary volume of water to 
form a paste, which is then cast in moulds, the 
moulds having been previously daubed with 
finely ground slate, powdered plaster, or fat. 
A sufficiently thick crust will form in a few 
minutes, when the residuum of the mixture 
must be poured out of the mould. The mix- 
ture, which is unbreakable, hardens very rap- 
idly. The castings thus produced may be im- 
mersed in paraffin or stearine, or they can be 
japanned. In the latter case it is desirable, so 
as not to consume too much paint, to first 
apply a coat of quick-drying boiled oil, and 



Concentration. 



135 



Copying. 



when the oil has become hard, the article is to 
be painted. 

Unclassified Composition. — Five parts of 
sifted whiting mixed with a solution of one 
part glue, together with a little Venice turpen- 
tine to obviate the brittleness, makes a good 
plastic material which may be kneaded into 
figures or any desired shape. It should be kept 
warm while being worked. It becomes as hard 
as stone when dry. 

Concentration. — The evaporation or vol- 
atilization of a portion of a fluid by which the 
strength of the remainder is increased. In 
pharmacy the term concentrated is applied to 
any liquid possessing more than the usual 
strength. The operation can only be perf ormed 
on solutions of substances of greater fixity 
than the menstrua in which they are dissolved. 

Concrete. See Cements. 

Conductivity, Heat and Electrical.— 



Substances. 


Heat 
Conductivity. 


Electrical 
Conductivity. 


Silver 


1000 

73-6 

532 

23-6 

199 

145 

12 

119 

8-5 

64 

63 

1-8 


ICO'O 


Gold 

Brass 


73-3 
58-5 
21'5 


Tin 

Steel 

Platinum 

Bismuth 


22 : 6 

i3 : 6 

10-7 
10*3 

'i : 9 



— Scientific American Reference Book. 

Conductivity, Electrical, of*Metals.— 

According to Matthiessen, the electrical con- 
ductivity of the principal metals, under similar 
conditions, is as follows : 



Silver 100*0 

Copper 99*9 

Gold 80'0 

Aluminum 56"0 

Sodium 37*4 

Zinc 99*0 

Cadmium 23*7 

Potassium 20 8 



Platinum 18*0 

Iron 16'8 

Tin 13'1 

Lead 83 

German silver... 7*7 

Antimony .. 4*6 

Mercury 1.6 

Bismuth. 1*2 



Confectionery, Varnish for. See Var- 
nishes. 

Coopers' Metals. See Alloys. 

Copal Varnish. See Varnishes. 

Copal, Melted.— Obtained by holding the 
gum before a good fire, so that as soon as the 
copal melts it may drop into a pan of water; a 
kind of oil separates from it, and the copal be- 
comes soluble in spirits of wine, and still more 
so if the melting is repeated. 

Copal, Powdered.— Copal reduced to 
powder and exposed to the air in a thin stra- 
tum, on sieves covered with paper, for three or 
four months. Soluble in alcohol. 

Copper, Amalgam. See Amalgam. 

Copper, to Blacken. See Blacking 
Metals. 

Copper, to Bronze. See Bronzing. 

Copper, to Brown. See Browning. 

Copper, to Coat with Iron.— Prof, Bott- 
ger recommends the following solution for 
coating copper plates with iron: 10 parts of 
ferrocyanide of potassium and 20 parts of tar- 
trate of soda are dissolved in 220 parts of dis- 
tilled water, adding a solution of 3 parts of sul- 
phate of iron in 50 parts of water. Caustic soda 
solution is poured into the mixture until the 
Prussian blue formed is redissolved. 
Copper, Etching on, See Etching,, 
Copper, Fluxes for. See Fluxes. 



Copper, to Gild. See Gilding. 
Copper, Lacquer for. See Lacquers. 
Copper, to Oxidize. See Oxidizing. 

Copper Powder.— Copper powder used in 
making amalgams is prepared as follows : Mix 
equal parts of a saturated solution of copper 
sulphate with hydrochloric acid, in this place a 
strip of sheet zinc, the copper is thrown in fine 
powder; this is washed with alcohol and dried 
as quickly as possible. 

Copper, Solder for. See Soldering. 

Copper, Steel Gray on.— Dip the copper 
articles, which must be previously cleaned and 
pickled, into a heated solution of hydrochloric 
acid and antimony chloride. 

Copper Sulphate.— To clean and crystal- 
lize the blue vitriol which is found in the bot- 
tom of dip jars. Dissolve in small quantity of 
hot water, cool slowly, and evaporate by ex- 
posure to the air. 

Copper, to Weld. See Welding. 

Copperas, Calcined. —Green copperas 
heated in an unglazed earthen pot until it be- 
comes white and dry. Osedas an astringent 
and drier and in making ink and dyeing. 

Copperas Dip for Cast Iron.— Sulphate 
of copper, 1}4 lb.; dissolve and add 1 11. oz. sul- 
phuric acid. 

Copying Drawings. See also Photo- 
graphy.— 1. Copies of drawings or designs in 
black and white may be produced upon paper 
and linen by giving - the surface of the latter 
two coatings of : 217 gr. gum arabic, 70 gr. citric 
acid, 135 gr. iron chloride, J4 pt. water. The 
prepared material is printed under the draw- 
ing and then immersed in a bath of yellow 
prussiate of potash, or of nitrate of silver, the 
picture thus developed being afterward put in 
water slightly acidified with sulphuric or hy- 
drochloric acid. 

2. Joltrain's.— Black lines on white ground. 
The paper is immersed in the following solu- 
tion : 25 oz. gum, 3 oz. chloride of sodium, 10 
oz. perchlorideof iron (45° B.), 5 oz. sulphate of 
iron, 4 oz. tartaric acid, 47 oz. water. The de- 
veloping bath is a solution of red or yellow 
prussiate of potash, neutral, alkaline, or acid. 
After being exposed, the positive is dipped in 
this bath and the parts which did not receive 
the light take a dark green color; the other 
parts do not change. It is then washed with 
water in order to remove the excess of prussi- 
ate, and dipped in a bath containing acetic, hy- 
drochloric or sulphuric acid, when all the sub- 
stances which could affect the whiteness of the 
paper are removed. The lines have now an in- 
digo black color. Wash in water and dry. 

3. Blue figures on a white ground are changed 
into black by dipping the proof in a solution 
of 4 oz. common potash in 100 oz. water, when 
the blue color gives place to a sort of rusty 
color, produced by iron oxide. The proof is 
then dipped in a solution of 5 oz. tannin in 100 
oz. water. The iron oxide takes up the tannin, 
changing to a deep black color ; this is fixed by 
washing in pure water. 

4. Benneden states that paper, prepared as 
follows, costs but i as much as the ordinary 
silver chloride paper, is as well adapted to the 
multiplication of drawings and is simpler in its 
manipulation. A solution of potash bichrom- 
ate and albumen or gum, to which carbon, or 
some pigment of any desired shade, has been 
added, is brushed, as uniformly as possible, 
upon well-sized paper by lamplight, and the 
paper is dried in the dark. The drawing, exe- 
cuted on fine transparent paper (or an engrav- 
ing- or woodcut, etc.) is then placed beneath a 
flat glass upon the prepared paper and exposed 
to the light for a length of time dependent 
upon the intensity of the light. The drawing- 
is removed from the paper by lamplight, and 
after washing the latter with water, a negative 



Copying. 



136 



Corns. 



of the drawing remains, since the portions of 
the coating acted on by the light become in- 
soluble in water. From such a negative any 
number of positives can be taken in the same 
way.— Mechanic's Own Book. 

5. Letterpress or illustrations printed in 
printers 1 ink may be copied by simply wetting 
a piece of stiff paper or card and rubbing it 
over with an agate burnisher or old tooth- 
brush. If the ink has got dry through age or 
being kept in a hot room, moisten with spirits 
of wine or toilet vinegar. Have a soft blotting 
pad beneath. 

Copying Ink. See Inks. 

Copying Pad. See Hektograph. 

Coral, Artificial.— To 2 drm. vermilion add 
loz. resin, and melt them together. Have ready 
the branches or twigs peeled and dried, and 
paint them over with this mixture while hot. 
The twigs being covered, hold them over a 
gentle fire ; turn them round till they are per- 
fectly smooth. "White coral may also be made 
with white lead, and black with lampblack 
mixed with resin. 

Coral , to Clean. See Cleansing. 

Coralline, Peonine, Huri/ne. — Colors ob- 
tained from carbolic acid by treatment w th 
oxalic and sulphuric acids. They give certain 
deep reds verging on a scarlet, and are employed 
in silk and woolen dyeing and in printing. The 
shades produced are tolerably fast against air 
and light, but are readily turned yellow by 
acids. Peonine seems to differ from red coral- 
line in its behavior, and is probably an amide 
compound. Coralline lakes are extensively 
employed in paper staining. 

Cordage, to Protect. See Cleansing, 
Mildew, 

Cord, Gloss on. See Twine. 

Cordials. See Liquors and Cordials. 

Core Sand. — This sand should be coarse, 
porous, and very adhesive, such as rock sand, 
the fine material from abraded rocks; free 
sand from river banks, or from the seashore, 
and pounded blast furnace cinder, etc., are 
often mixed with fine, strong sand, and a little 
clay to make it adhesive. In each case fresh 
sand must be used for a core, as old sand, burnt 
sand, or sand mixed with coal is not advisable. 
1 part clay mixed with 9 parts free sand is suffi- 
ciently strong for small and simple cores, but for 
large and complicated ones a stronger sand is 
required. 

Coriander Water. See Liquors. 

Cork Paper. See Paper. 

Cork, to Work.— To work cork into sym- 
metrical shapes, as pen handles, etc., cut ap- 
proximately to shapes with a wet knife, using 
a drawing cut, and finish with a coarse emery 
wheel. 

Corks, Cement for. See Cements. 

Corks, Impervious (Bousquet's Patented 
Process).— The corks should be heated tq 212° 
Pah., in order to kill any spores which they 
might contain. While the corks are hot dip 
them in a solution of 1 part albumen (egg or 
blood albumen) in 200 parts water ; afterward 
dip in another solution composed of 1 part 
tannic acid, ^ part salicylic acid, and 200 parts 
water. Tannate of albumen is formed in the 
pores of the corks. Salicylic acid acts as an 
antiseptic. 

Corks, Rubber, to Cut and Bore.— 
1. Dip the knife, or cork borer, in solution of 
caustic potash or soda. The strength is of very 
little consequence, but it should not be weaker 
than the ordinary reagent solution. 

2. Alcohol is generally recommended, and it 
works well until it evaporates, which is gener- 
ally long before the cork is cut or bored 
through, and more has to bo applied; water 
acts just as well as alcohol, and lasts longer. 



When, however, a tolerably sharp knife is 
moistened with soda lye, it goes through the 
India rubber quite as easily as through com- 
mon cork ; and the same may be said of a cork 
borer, of whatever size. We have frequently 
bored inch holes in large caoutchouc stoppers, 
perfectly smooth and cylindrical, by this 
method. In order to finish the hole without 
the usual contraction of its diameter, the stop- 
per should be held firmly against a flat surface 
of common cork until the borer passes into the 
latter. 

Corn, to Can.— Among fruits, etc., green 
corn is one of the most difficult to preserve by 
canning. The following is the method in use 
by many of the large canning establishments. 
The corn, after removing from the cob, is filled 
into the clean cans so as to leave no air spaces. 
These are placed in a large oven, or other air- 
tight vessel, and subjected to hot steam under 
pressure. The harder the corn, the longer the 
exposure required to cure it ; it is said that in 
some cases as much as eight hours is requisite, 
but usually much less than this. A large vessel 
of boiling water, in which the cans are im- 
mersed, may be used instead of the steam oven, 
but is not so effective. On removal from the 
oven or water bath, as the case may be, each 
can (they must be filled to the cover with 
fruit) has the cap with a very small hole tapped 
in its center immediately soldered on. As soon 
thereafter as the can stops blowing, as the es- 
cape of steam and air through the vent is 
termed, the hole is quickly soldered. This must 
be done before the air begins to enter. Other 
fruit is cured and canned in like manner— to- 
matoes rarely require longer than fifteen to 
twenty minutes steam curing. Where the pits 
are left in fruit a longer time is requisite to 
completely destroy all fermentative germs. 

Corns.— A corn is an abnormal growth of the 
epidermis, which increases in two directions— 
outwardly forming a callosity ; inwardly dip- 
ping into the true skin. There are two kinds, 
hard and soft. The h ard generally form over 
some pro jecting point of bone; the soft form 
between the toes. Causes: Irritation by pres- 
sure or friction, as from wearing tight shoes. A 
piece of cotton wool should be placed betAveen 
or under the toes, as the case may be, to relieve 
the spot from friction. 

1. Salicylic acid 30 grn. 

Cannabis Indica (Indian hemp) 5 " 

Castor oil y% drm. 

Collodion ... y% oz. 

Mix and apply morning and evening for four 
days. Then soak the feet in warm water. If 
this be done faithfully, the corns are removed 
without any difficulty. The result is a clear, 
light green solution. There should be no diffi- 
culty in its preparation. To prevent it from . 
evaporating, keep the solution in a stoppered 
bottle. Be sure and use the Indian hemp, and 
not the American article ; the latter is not 
easily soluble. 

2. Pomades for Corns ; Corn Salves. - Savine 
ointment, 1% oz.; verdigris (in fine powder), y± 
oz. Mix. 

3. Dried carbonate of soda, Yz oz.; lard, 1 oz., 
smalts (to color), q. s. Mix. The above are 
applied on a piece of rag, and renewed night 
and morning. Sold under various names. 

4. Solvents for Corns; Corn Solvents (Liquid). 
—A saturated solution of salt of tartar or 
pearlash. It is commonly obtained by expos- 
ing the article, contained in a jar or wide- 
mouthed bottle, in a damp place, until it forms 
an oil-like liquid. 

5. Caustic potassa, 1 drm. ; alcohol, 1 fl. oz. 
Mix, in a stoppered phial, and agitate until 
solution is complete. The corns are either 
moistened with the above, or a small piece of 
lint, or rag, of the size of the corn, is moistened 
with them and then bound on, care being taken, 
particularly with the last one, that the liquid 
does not touch the surrounding parts. 



Corns. 



127 



Cosmetics*. 



Caustics for Corns. — 6. Liquid terchloride of 
antimony, 2 drm. ; tincture of iodine, 2 drm.; 
protiodide of iron, 7 grn. Mix, and preserve in 
a well stoppered phial. Apply with cai*e. Two 
to four applications are said to effect a cure. 

Canquoiix's.—l. a. Chloride of zinc (powdered), 
1 drm.; flour (well dried), 3 drm. Mix, and keep 
it in a stoppered bottle. For use, a little is 
made into a dough with a drop or two of warm 
water, which is then foraied into a thin cake of 
the proper size and the thickness of a letter 
wafer and bound on the corn, where it is kept 
for three to six hours. After its removal, a 
poultice or a dressing of simple cerate should 
be applied. Its employment requires caution, 
as if left on too long it is apt to produce pain- 
ful eschars, b. As the last, but substituting 
recently baked plaster of Paris for the flour. 
A very 'little, made into a paste with water, is 
spread over the corn, and, as soon as it has hard- 
ened, bound on with a piece of rag. 

Lotions for Corns.— 8. Sal ammoniac crushed 
small, 34 oz.; proof spirit, 1 fl. oz. ; essence of 
musk, 2 or 3 drops. Mix. The corns are to be 
moistened with it night and morning. 

Plasters for Corns ; Corn Plasters. — 9. The ad- 
vertised corn plasters commonly consist of resin 
plaster, galbanum plaster, or pitch plaster, 
with or without the addition or verdigris or 
sal ammoniac, or both of them, spread on linen, 
leather, or paper; the spread plaster being 
afterward cut into pieces of appropriate size, 
and " put up " in small flat boxes. The follow- 
ing are a few examples : Resin plaster, 5 parts; 
melt it by a gentle heat, stir in of sal ammoniac 
(in very fine powder), 1 part; and at once spread 
it on linen or white sheepskin. 

10. Galbanum plaster, 1 oz.; verdigris (in fine 
powder), 1 drm ; as the last. 

11. Resin plaster, 2 oz. ; black pitch, 1 oz. ; 
verdigris, 1 drm.; sal ammoniac, 1 drm. 

12. Argentine Corn Plaster.— Resin plaster, 7 
parts ; fused nitrate of silver (in fine powder), 1 
part, as before. Intended as a substitute for 
the direct application of lunar caustic, and to 
be applied to the corn only. 

13. Anodyne Corn Plaster.— Galbanum plaster 
or resin plaster, or the product of either Nos. 
(5 or 7, to each oz. of which 1 drm. of opium, 
in fine powder, has been added. Recommended 
tor painful corns and bunions. 

14. Beamish's Corn Plaster.— Said to consist 
of about equal parts of resin plaster and gal- 
banum plaster, melted together by a gentle 
heat. 

15. De Gros' Corn Plaster. — Resin plaster (re- 
cent), 5 drm.; melt it by a gentle heat, stir in 
of sal ammoniac (in fine powder), 1 drm.; and 
at once spread it on linen or soft leather. The 
next day, lightly brush over the surface with 
strong tincture of benzoin. 

16. Dupret's Corn Plaster.— Resin plaster (re- 
cent), 2 oz.; beeswax (genuine), Y> oz.; olive 
oil, 3^>oz.; melt, stir in of Croton oil, 34 oz., and 
spread it before it cools. 

17. French Corn Plaster; Verdigris Plaster.— 
Beeswax, 4 parts; Burgundy pitch, 2 parts; 
melt, add of Venice turpentine, 1 part; verdi- 
gris (in fine powder), 1 part; and stir the mass 
until nearly cold. This is the old form of ver- 
digris plaster (emplastrum oeruginis) of the 
Paris Codex. For use, it is spread on leather. 

18. German Corn Plaster.— Galbanum plaster, 
2oz.; pitch, 1 oz.; lead plaster, Yz oz.; verdigris 
(in fine powder), 34 oz.; sal ammoniac (in fine 
powder), 14 oz.; and proceed as before. 

19. Kennedy's Corn Plaster.— Beeswax, 3 
oz.; melt, add of Venice turpentine, 1 oz.: ver- 
digris (in fine powder), 3 drm.; and spread it 
on cloth. After a few hours the spread plas- 
ter is cut into pieces, and polished. Of these 
pieces, 1 dozen is put into each box. 

20. Le Foret's Corn Plaster. — Galbanum 
plaster, 2 oz.; melt by a gentle heat; add of 
camphor (powdered), 2 oz.; sal ammoniac (in 
hue powder), Y2 oz.; saffron (in fine powder), Yz 
oz.; mix thoroughly, and, when nearly cold, 



stir in of liquor of ammonia, 2 fluid oz.; and at 
once put it into bottles. It is applied, spread 
on leather, to the corn only, as it will blister 
the thin skin surrounding its base. This is the 
original formula. It is an improvement to use 
another 1 or \Yt, oz. of galbanum plaster, or to 
add to it 1 oz. of olive oil; and also to omit one 
half of the camphor. 

21. Mineral Corn Plaster.— Resin cerate (dry), 
7 drm.; chloride of zinc (in fine powder), 1 
drm.; mix, spread, and preserve the spread 
plasters from the air and damp. To be applied 
to the corn only. 

22. Saxon Corn Plaster. — Galbanum plaster, 
1 oz.; pitch, Yz oz.; lead plaster, 34 oz.; melt, by 
a gentle heat; stir in of verdigris (in fine pow- 
der), 1 drm.; sal ammoniac (in fine powder), 1 
drm.; and at once spread the mass on linen or 
soft leather, or form it into a roll ready for 
future use. This is the formula of the " Saxon 
Ph." 

Corrosive Sublimate. — Murcuric chlo- 
ride. It is a deadly poison and should be used 
with caution. It forms an excellent extermin- 
ator of vermin. 

Cosmetique (Simple).— White soft soap, Yz 
lb.; olive oil, 3 oz.; melt them together, add of 
fine sand, a small teacupful; and mould or form 
the mixture into cakes or balls. Shelly sea sand, 
sifted from the shells, washed, and dried, is the 
best for this purpose. Used to soften and 
blanch the hands, and to remove roughness 
and coarseness occasioned by exposure to the 
weather, or by gardening or other dirty work. 

Cosmetics. — The following subjects and re- 
ceipts are more or less directly connected with 
Cosmetics, and they will be readily found by 
reference to them in the general alphabet. Ab- 
rasion, Bandoline (See Hair), Balsams, Bay Bum, 
Boils, Burns and Scalds, Bruises, Baths, Breath 
Smokers\ Blisters, Bites and Stings, Cold Sores, 
Court Plaster, Collodion,Curling Fluid (SeeHair), 
Chilblains, Chaps, Cosmetique, Creams Cold, Al- 
mond, Cologne (See Waters), Corns, Dandruff 
(See Hair), Depilatories (See Hair), Escharotics, 
Extracts, Essences, Eyes, Eyelashes, Hair and 
Hair Dye, Hands, Moles, Neavus? Nails, Oils 
Hair (See Hair), Potvders, Pomades, Pastes, 
Pastils Fumigating, Poultices, Perspiration^ 
Rouges, Smelling Salts (See Salts), Small Pox 
Pitting, Scalp, Tenderness of; Sachet Powders 
(See Powders), Skin, Sweating (See Perspiration), 
Teeth and Tooth Powders, Tattoo Marks, Warts, 
Wrinkles. 

Almond Balls, Almond Cakes. — Boules d'Am- 
ande.— 1. These are used to soften the skin, and, 
in winter, to prevent chaps and chilblains : 1. 
spermaceti, 2 oz.; white wax, pure, 4 oz.; oil of 
almonds, pale, Yz Pt- Melt them together in a 
glazed earthenware pipkin, or an enameled 
iron capsule, by the heat of a water bath, and 
when the mixture has cooled a little, add essen- 
tial oil of almonds, 1 drm.; expressed oil of 
mace, IY2 drm. Stir the mixture assiduously 
until it begins to cool, then pour it into slightly 
warmed moulds, which may be ounce gallipots 
or egg cups, Avith smooth bottoms. It will 
then assume the form of beautiful hemispheri- 
cal cakes. Very fine. 

2. Hard clarified suet, 14 oz.; white wax, 2 
oz.; melt; and add essential oil -of almonds, 1 
drm.; oil of cloves, or of pimento, Yz drm., and 
otherwise proceed as bef ore. Inferior to the 
last, but cheaper. In using these balls, a little 
is well rubbed into the skin, previously washed 
clean and wiped dry, preferably at bedtime. 

Almond Meal.— Ground almonds, 1 lb.; wheat 
flour, 1 lb.; orris root powder, 34 lb.; otto of 
lemon, Yz oz.; otto of almonds, 34 drm. 

Almond Paste, Bitter Paste.— 1. Bitter al- 
monds and sweet almonds, equal parts; rose 
water, q. s. and proceed as before. No scent 
need be added. Both the preceding are occa- 
sionally diversified by the addition of either 
powdered spermaceti, in weight equal to about 
3>6 part of that of the almonds, or of Yz this 



Cosmetics. 



138 



Cosmetics. 



weight of white soap. Sometimes the white of 
an egg is added. 

2. Almond Paste, Oriental.— Peeled bitter al- 
monds, 12 oz.; rice flour, 7oz.; bean flour, 3 
oz.; fine orris powder, 1 oz.; pulverized car- 
bonate potassa, 4 drm.; alcoholic essence jas- 
mine*, 3 oz.; essential oil rhodium, 2 drops; 
essential oil neroli, I drop. Powder the 
almonds, and to prevent the separation 
of the oil add a little water during - the tri- 
turation. The almonds being reduced to a hom- 
ogeneous mass, mix in the rice and bean flours 
and powdered orris. Rub up well until the 
mixture is uniform. Dissolve the carbonate of 
potassa in a little water, add to the mass a 
little at a time, then add the jasmine and the 
essential oils, previously joined and well shaken 
together. If there is not enough liquid to 
make the paste of proper consistence add q. s. 
of rose water. 

Amandine. — A preparation used to whiten 
and soften the skin, and also to prevent its 
chapping. There are three kinds, and each of 
these is sometimes diversified by the addition 
of coloring matter. 1. Transparent.— Take of 
finest pale honey, 4 oz.; white soft soap, 2 oz.; 
mix them thoroughly in a marble or Wedgwood 
ware mortar, adding, if necessary, liquor of 
potassa, 2 or 3 teaspoonfuls, so as to produce 
a perfectly homogeneous paste or cream. To 
this add and rub in, by degrees, and very grad- 
ually oil of almonds, 3J^ lb., previously mixed 
and scented with essential oil of almonds, 3 
drm.; essence oil of bergamot, 3 drm.; oil of 
cloves, 13^ drm.; balsam of Peru, 1^ drm.; and 
continue the trituration until the whole as- 
sumes the appearance of a rich transparent 
jelly. Lastly, put the product into pots, or 
dumpy, wide-mouthed bottles. 

2. Opaque.— White soft soap, 3 oz.; gum muci- 
lage, thick, clear, 4 oz.; pale honey, finest, 6 oz.; 
proceed as before ; add the yelks of 5 large 
eggs, previously beaten and strained through 
gauze; and again thoroughly mix. Next add, 
very gradually, oil of almonds, 234 lb., scented 
with half of the preceding oils, etc., or at will. 
When the whole is perfectly blended, further 
add pistaschio milk (thick, rich), 34 Pt-, and tri- 
turate until the union is complete. 

3. Glycerinated.— As either of the preceding, 
but adding, with the soap, % to 1 oz. of glycer- 
ine for every pound of oil intended to be sub- 
sequently added. In use, a portion of aman- 
dine, about half the size of a small filbert, is 
rubbed with a few drops of warm water, and 
the resulting rich white lather applied to the 
hands, arms, face and neck. In a short time, 
and while the water on it is still milky, the 
skin is gently wiped with a soft napkin. 

4. Almond oil, 3^j lb.; simple sirup. 2 oz. 
(made by dissolving 1% lb. sugar in 1 pt. water, 
boil and strain); soft soap (use the very best), 
Vyfi oz.; otto of almonds and bergamot, \i oz. 
each ; otto of cloves, 34 oz. Mix the soap and 
sirup, and mix in the oil gradually. Put the 
perfumes into the almond oil. Great care 
should be taken in mixing in the oil. For use, 
make a lather with hot water. 

Emulsions.— Compounds used as substitutes 
for soap. They should be kept as cool as pos- 
sible, and free from a damp atmosphere. 

Emulsion of Almonds; Milk of Almonds; 
Almond Milk. — 1. Sweet almonds, blanched, 
1 oz.; beat them to a smooth paste, avoiding 
causing them to " oil,' 1 add gradually, triturat- 
ing all the time, of distilled water, or clean 
soft water, y% pt., and strain the liquid through 
gauze. 

2. Blanched almonds, 5 drm.; white iump 
sugar, 2 drm.; gum arabic, in powder, 1 drm.; 
water, 8 n. oz.; proceed as before. 

3. To No. 1 add glycerine, I oz. 

The preceding are used to soften and whiten 
the skin, to remove and prevent roughness, 
sunburn, chaps, etc. The first formula, No. 1, 
produces the common milk of almonds of the 
perfumers; the last, No. 3, is the most power- 



ful as a cosmetic. They both keep well, and 
are the ones to be preferred when the emulsion 
is intended as a vehicle for any saline ingredi- 
ent. The second and third possess advantages 
when oils or balsams are to be added, and are 
those employed in medicine. The addition of 
2 to 6 bitter almonds, or of 1 to 2 oz. of rose 
water or orange flour water, may be made, 
at will, to impart odor, or, when intended for 
external use, to diversify the flavor, a cor- 
responding quantity of simple water being 
omitted. 

4. Honey and Almond Paste.— Bitter almonds 
blanched and ground, ^ lb.; honey, 1 lb.; 8 
yelks of eggs; almond oil, 1 lb.; otto of berga- 
mot, 34 oz.; otto of cloves, 34 oz. Rub the eggs 
and honey together first, then gradually add 
the oil, and finally the ground almonds, and 
the perfume. 

5. Emulsion au Jasmin.— Saponaceous cream, 
1 oz.; simple sirup, 1J^ oz.; almond oil, 1 lb.; 
best jasmine oil, 3^ lb. 

6. Emulsion a la Violette. — Saponaceous 
cream, 1 oz.; sirup of violets, 13i oz.; best 
violet oil, 13^ lb. 

Eyebroiv Pencil.— Suet, % lb.; curd soap, 34 lb.; 
ivory black, q. s. Put in a metal case or roll 
into spills. 

Freckles, Pomade for.—l. Citrine ointment, 
1 drm.; oil of almonds, 1 drm.; spermaceti 
ointment, % oz.; otto of roses, 3 drops; mix 
well, in a Wedgwood ware mortar, using a 
wooden or bone knife. 

2. Take of sulphate of zinc, levigated, 20 
grn.; elder flower ointment, 1 oz.; mix well in 
mortar. 

This ointment is recommended for either 
summer freckles, or cold freckles, a little being 
applied night and morning, preceded by soap 
and water. 

Freckles, Lotions for.—l. Bichloride of mer- 
cury, 6 grn.; hydrochloric acid (pure, sp. gr. 
P16) 1 fl. drm.; water, distilled, 34 Pt.; mix, and 
add of rectified spirit, 2 11. oz.; eau de rose, 2 
fl. oz.; glycerine, 1 oz. 

2. Lemon (citric) acid, 3 drm.; hot water, 12 
oz.; dissolve, add of red rose leaves, 1 oz.; 
infuse for an hour, strain with expression, and 
the next day decant the clear portion. 

3. Red rose leaves, 34 oz.; lemon juice, fresh, 
34 pt.; brandy or rum, 34 pt.; digest, in the 
cold, for 2 or 3 hours, and otherwise proceed 
as before. 

4. Kittoe's.— Sal ammoniac, powdered, 1 drm. 
troy; distilled water, lpt.; eau de cologne, or 
lavender water, 2 fl. drm.; mix. About 3^ fl. 
drm. of hydrochloric acid increases its efficacy. 

5. White soft soap, 3 oz.; gum mucilage thick 
and clear, 4 oz.; finest pale honey, 6 oz. Mix 
thoroughly in a mortar, add the yelks of 5 
eggs previously beaten and strained through 
gauze, add slowly oil of almonds, scented to 
taste, 234 lb. When perfectly mixed add pis- 
tachio milk, made from fresh peeled nuts and 
rose water, 34 pt., and rub up until completely 
mixed. This is corrosive, and acts by removing 
the outer cuticle. 

6. A Good Remedy for Removing Freckles.— 
Sulphocarbolate of zinc, 1 oz.; glycerine, 12 
oz.; rose water, 12 oz.; alcohol, 3 oz.; spirits of 
neroli, 3^ drm. Mix them. To be applied twice 
a day, leaving them on from half an hour to 
one hour. 

The following is recommended by the Drug- 
gists'' Circular as a preparation for this purpose 
which does not contain mercury: ammonium 
chloride, 1 drm.; distilled* water, 7 oz.; cologne 
water, 2 drm. 

Freckles, a Remedy for.—l. The following is 
quoted by Nexv Remedies from a German medi- 
cal journal : Sulphocarbolate of zinc, 2 parts; 
glycerine, 25 parts; rose water, 25 parts; spirits, 
5 parts. Dissolve and mix. 

The freckled skin is to be anointed with 
this twice daily, the ointment being allowed to 
stay on from one half to one hour, and then 
washed off with cold water. Anaemic persons 



Cosinetics. 



129 



Cosmetics. 



should also take a mild ferruginous tonic. In 
the sunlight a dark veil should be worn. 

2. Scrape horse-radish into a cup of cold sour 
milk, let stand twelve hours, strain, and apply 
two or three times a day. 
Hydrokinone Wash for the Skin.— 

Hydrokinone gr. xlviii. 

Acid phosphoric glac gr. xxx. 

Glycerine dr. ii. 

Aqua dest oz. vi. 

Misce. 
These two lotions are stated to give excellent 
results, especially the latter. They are to be 
applied to the skin of the face, etc., in the 
usual way atleast twice in the course^of twenty- 
four hours, after it has been washed and dried 
carefully. If the skin be of the nature known 
as "greasy," a preliminary wash with tepid 
water containing a few drops sal volatile or liq. 
ammon. fort, is advisable. 

Albadermine. — Under this empirical title, a 
process of removing "tan" and the milder 
variety of "freckles," a foreign surgeon has 
devised the following : 

Solution A. 

Potass, iodid drm. ii. 

Iodine pur gr. vi. 

Glycerine dr. hi. 

Infus. rosae oz. iv. 

Dissolve the iodide of potassium in a small 
quantity of the infusion and a drm. of the 
glycerine; with this fluid moisten the iodine in 
a glass mortar and rub it down, gradually 
adding more liquid until complete solution has 
been obtained; then stir in the remainder of 
the ingredients, and bottle the mixture. 
Solution B. 

Sodse hyposulph. thiosulphate . . oz. iss. 

Aqua rosae exot pt. i. 

Dissolve and filter. 
With a small camel's hair pencil or piece of 
fine sponge apply a little of A Albadermine A " 
to the tanned or freckled surface, until a 
slight but tolerably uniform brownish yellow 
skin has been produced. At the expiration of 
fifteen or twenty minutes moisten a piece of 
cambric, lint, or soft rag with " B," and lay it 
upon the affected part, removing, squeezing 
away the liquid, soaking it afresh, and again 
applying until the iodine stain has disappeared. 
Kepeat the entire process thrice daily, but 
diminish the frequency of the application if 
tenderness be produced. In the course of three 
to four days to as many weeks the freckles 
will either have disappeared entirely or their 
intensity will be greatly diminished. " Sum- 
mer freckles " yield very speedily to this treat- 
ment. 
Anti-Freckle Lotion.— 

Hydrarg. bichlor. gr. xii. 

Acid hydrochlor. pure drm. hi 

Fruct. amygd. amar oz. iss. 

Glycerini, Price's oz. i. 

Tinct. benzoin drmii. 

Aqua flor. aurant q. s. 

Dissolve the corrosive sublimate in 3 oz. of the 
orange flower water, add the hydrochloric acid, 
and set aside. Blanch the bitter almonds, and 
bruise them in a Wedgwood mortar, adding 
thereto the glycerine and using the pestle 
vigorously; a smooth paste is thus obtained. 
Then add gradually about 9 oz. of the orange 
flower water, stirring constantly, continuing 
this operation until a fine, creamy emulsion is 
the result. Subject this to violent agitation— 
preferably with the aid of a mechanical egg 
whisk— and allow the tincture of benzoin to fall 
into it the while drop by drop. Then add the 
mercurial solution, filter, and make up the 
whole to the measure of 1 imperial pt. with 
more orange flower water. 

This preparation is recommended to us by an 
eminent dermatologist as being invariably 
efficacious in the treatment of ephelis, and 
always greatly ameliorating lentigo, even if it 
does not entirely decolorize the patches in the 
latter case. A general whitening of the skin is 



produced by this lotion without any irritation. 
It is as well, however, not to apply it to any 
abraded surfaces. It has been found far su- 
perior in practice to a preparation— which it 
somewhat resembles— sold at a high price in 
Paris under the name of Lait Antiphelique. 

Bismuth Ointment for Freckles.— 

Bismuthi subnit drm. iii. 

Ung. simp oz. ii. 

Mat ung. 

Apply to face, etc., at night, and remove in 
the morning with a little cold cream previous 
to washing. This is from a private American 
source. 

Copper Oleatefor Freckles, etc.— This is a much 
more effective and reliable ointment for the 
purpose than the preceding, which is really 
only suited for the milder form of sunburn, 
while the oleate of copper will remove the 
more persistent and obstinate lentigo. It is 
thus prepared : 

Cupri oleas, ver oz. i. 

Petrogell. alb. Burgoyne's. . . . oz. hi. 
Incorporate thoroughly without heat. 

This is to be applied in the same manner as 
the preceding, washing the surface of the skin, 
however (after the cold cream), about every 
third morning, with a little weak ammonia 
water in order to prevent any inadvertent 
accumulation of copper. 

Cosmetic Gloves.— Mock kid or lamb skin 
gloves rubbed over, on the inside, with a com- 
position of the following kind: Spermaceti 
cerate (hardest, melted), 5 oz.; balsam of Peru, 
1 drm.; stir for five minutes, pour off the clear 
portion, add of oil of nutmeg, }4 drm.; oil of 
cassia, 12 to 15 drops; essense of ambergris, 12 to 
15 drops; and stir the whole until cold. Worn 
by ladies in bed, at night, to soften and blanch 
the hands, and to prevent and cure chaps and 
chilblains. 

Glycerine for Toilet Use, Solidified.— Trans- 
parent soap, l 1 ^ oz.; water, 6 oz.; inodorous 
glycerine, 36 oz. Dissolve the soap in the water 
by heat, add an equal weight of glycerine. 
When dissolved, add the rest of the glycerine, 
water q. s. to make up the weight. When 
nearly cold add any perfume desired. Put in 
glass jars. It is of a pale amber color, and is 
transparent. 

Lotions. — These preparations, popularly 
called "washes," are local external applications 
consisting of water, or some simple aqueous 
vehicle, holding in solution medicinal or 
cosmetic substances. Medicinal lotions are 
usually applied by wetting a piece of linen 
with them, and keeping it on the part affected; 
cosmetic lotions, by simply moistening the skin 
with them. 

Acetic Lotion.— Take of good strong vinegar, 
1 part; water, 2 or 3 parts; mix. In bruises, 
contusions, sprains, etc., and as a general re- 
frigerant wash or lotion to sound parts; also to 
remove freckles. 

Lotion of Acetate of Lead.— Take of sugar of 
lead, 34 oz.; distilled or soft water, 1 pint; dis- 
solve. Sometimes a little vinegar is added, a 
like quantity of water being omitted. Used in 
excoriations, burns, sprains, contusions, etc.; 
also as an occasional cosmetic wash by persons 
troubled with eruptions. 

Lotion of Acetic Acid for Baldness.— The 
following lotion is superior for a shampoo- 
ing liquid, for removing dandruff, and as a. 
useful and pleasant application for bald- 
ness. It is, of course, moderately stimu- 
lating, and in those cases in which the hair 
follicles are not destroyed, but have become 
merely inactive, it is likely to prove efficacious. 
Take of acetic acid, 1 drm.; Cologne water, 1 
oz.; water, to make in all 6 oz. 

Alum Lotion.— Take of alum (crushed), 1J4 
drm.; distilled or soft water, 1 pt.; dissolve. A 
little rose water mav be introduced to scent it. 

Arsenical Cosmetic Lotion.— 1. Take of arseni- 
ous acid (sohd or crystallized), 3 to 5 grn.; crush 
it to a fine powder, place it in a jug or basin. 



Cosmetics. 



130 



Cosmetics. 



pour on it of distilled or soft water (boiling), 
'% pt.; and promote solution by constantly stir- 
ring the liquid for some time with a small glass 
rod or a clean piece of wood. After repose, 
and when cold, pour off the clear solution into 
a clean bottle, carefully observing not to dis- 
turb the sediment or any undissolved portion, 
which must be entirely rejected. To the clear 
liquid add, of eau de rose (foreign),|loz.; glycer- 
ine (Price's), 1 oz.; and after mixture, by agita- 
tion, further add enough cold distilled water or 
pure soft water to make the whole measure 
exactly one pint. It should then be poured into 
5 oz. or 6 oz. bottles, only one of which, for 
safety, should be kept out for use. 

2. As the last, but adding, with the arsenious 
acid, an equal weight of carbonate of potas- 
sium. This addition facilitates the solution of 
the former, but the product is said to be slight- 
ly less effective as a cosmetic wash. 

3. Solution of arsenite of potassa, 1 fl. oz.; eau 
de rose, 1 fl. oz.; glycerine (Price's). J^ oz.; dis- 
tilled or pure soft water (cold), 1 pt.; mix. A 
convenient formula, but less esteemed than 
No.l. 

Lotion of Bichloride of Mercury. — Corrosive 
sublimate (in coarse powder), 10 grn.; distilled 
water, 1 pt.; agitate them together until solu- 
tion is complete. The addition of 5 or 6 grn. of 
pure sal ammoniac or 5 or 6 drops (not more) 
of hydrochloric acid, increases the solvent 
action of the water, and renders the prepara- 
tion less liable to suffer change, but it is not 
otherwise advantageous. When absolutely pure 
distilled water is not used, this addition of acid 
should be made to prevent decomposition. 
Some persons dissolve the sublimate in 2 or 3 
fluid drm. of rectified spirit before adding the 
water, to f acilitate the process ; but this also, 
though convenient, is unnecessary. This is a 
deadly poison. 

Lotion of Borax.— 1. Borax (powdered) 2)4 
drm.; distilled water, y% pt. Mix. An effective 
wash for sore gums, sore nipples, excoriations, 
etc., applied twice or thrice daily, or oftener. 

2. Borax (powdered), 3 drm.; glycerine, % oz. 
rose water or elder flower water, 12 oz. Mix. 

Cherry Laurel Lotion, Cherry Laurel Shaving 
"Wash.— Cherry laurel water (genuine, distilled), 
2 fluid oz.; rectified spirit, 1 fluid oz.; glycerine, 
y% oz.; distilled water, 7)4 flnid oz. Mix. Used 
to ally irritation of the skin, particularly after 
shaving, the part being moistened with it by 
means of the tips of the fingers ; also used as a 
wash for freckles and acne, and to remove ex- 
cessive moistness or greasiness of the hair. 

Lotion of Chlorate of Potassium.— Take of 
chlorate of potassium (powdered) )4 oz.; dis- 
tilled water, )4 pt.; rose water, 4 oz.; glycerine, 
1 oz. Dissolve. 

Face Lotion. — As a face lotion, oatmeal made 
in a paste with glycerine 2 parts, water 1 part, 
and applied to the face at night, with a mask 
worn over, will give in a short time, if faith- 
fully pursued, a youthful appearance to the 
skin. 

Freckles, Lotion to Remove.— Alum and lemon 
juice, of each 1 oz.; rose water, 1 pt. Bathe the 
face three or four times daily. 

Glycerine Lotion.— 1. Glycerine (pure), 1 oz.; 
distilled or pure soft water, 19 oz. Mix. A good 
strength for daily use as a cosmetic wash, or as 
a vehicle for other ingredients, for which pur- 
pose it is greatly preferable to milk of almonds; 
also as a lotion to ally itching and irritation of 
the skin, prevent chaps, excoriations, the effects 
of weather, climate, etc. It is likewise applied 
to the hair instead of oil. 

2. Glycerine, loz.; distilled water, 9 oz. Mix. 
A proper strength when more marked effects 
are desired ; as in chapped hands, lips, nipples, 
obstinate excoriations, abrasions, chafings, sun 
burns, persistent roughness or hardness of the 
skin, etc. 

Lotion, Emollient Glycerine.— Take of muci- 
lage of quince seeds, 6 fl. oz.; glycerine, 1 fl. oz.; 
orange flower water, 1 fl. oz. Make a lotion. 



Gowland's Lotion.— Jordan almonds 
(blanched), 1 oz.; bitter almonds (do.; say 7 to9), 
2to3drms.; distilled water, y 2 pt.; form them 
into an emulsion. To the strained emulsion, 
with agitation, gradually add of bichloride of 
mercury (in coarse powder), 15 grn.; previously 
dissolved in distilled water, )4 pt. ; after which 
further add enough distilled water (2 or 3 tea- 
spoonfuls) to make the whole measure exactly 1 
pt. 

Horse Radish Lotion (for the skin).— Horse 
radish root, 1)4 oz.; boiling water, 1)4 Pt."> borax, 
3 drm. Used for freckles, tan, etc. 

Lotion of Iodide of Potassium.— Iodide of 
potassium, 1 to 2 drm.; distilled water, 1 pt.; 
dissolve. 

Glycerine Lotion for Irritation of the Skin.- - 
Mix 1)4, oz. glycerine with l^pt. water. Allays 
itching, removes dryness, etc. For chapped 
hands or lips, add 3 or 4J^ drm. borax. 

Lemon Juice Solution.— Fresh lemon juice, 
2 oz.; glycerine, 1 oz.; rose water or i*ain water, 
with 3 or 4: drops otto of roses added, 1 pt. 
Anoint the hands and face three or four times 
daily, and allow to remain on several minutes 
before wiping. For clearing the complexion, 
and making the skin white and soft. 

Mosquito Lotion. — Aqua ammonia, 2 oz.; 
glycerine, 1 oz.; rose water, 8 oz. 

Sulphureted Lotion.— 1. Sulphuret of potas- 
sium, 1 drm.; distilled water, 1 pt.; dissolve. 
Used to render the skin soft, white, and smooth, 
particularly when there is a tendency to slight 
eruptions of a pustular or vesicular character. 
)4 to 1 oz. glycerine improves it for present use. 

2. Sulphide of potassium, 1)4 drm. ; water, 
J^pt.; dissolve. A cleanly and effective remedy 
for itch, used twice or thrice daily. It does 
not soil the linen and leaves very little smell. 

3. (Cazenave.) Sulphuret of potassium, 1 
drm.; white soft soap, 2 drm.; water, 8 oz.; dis- 
solve. Used as the last ; also to destroy pedi- 
culi. 

Sun Burn Lotion.— 1. 2 drm. tincture of ben- 
zoin and 2 oz. rose water. Mix and shake well. 
This is an excellent recipe for sun burns. 

2. Acid citric 1 drm. 

Ferri sulphas pur 18 grn. 

Camphora. q. s. 

Aq. flor. sambu 3 oz. 

The sulphate of iron must be in clear green 
crystals, unless the granulated form, which is 
preferable, be available, and in either case the 
salt should be fresh and free from oxidized 
portions, or " rustiness ; " it should be dissolved 
in half the elder flower water (all of which is 
better, if not quite recently distilled, for being 
quickly raised to the boiling point and cooled 
out of contact of air before use), the citric acid 
being also in solution in the other half, and the 
two fluids mixed, filtered if necessary, and bot- 
tled immediately, a lump of camphor about the 
size of a small peppercorn to be added to the 
contents of each bottle. 

Milk, of Roses.— English Milk of Roses.— 1. Al- 
monds (blanched), 1)4 oz. ; oil of almonds, 1)4 
oz. ; white soft soap, ldrm. ; rose water, % pt. ; 
make an emulsion; to the strained emulsion add 
a mixture of essence or spirit of roses, )4 fl- 
drm.: rectified spirit, 2)4 A. oz.; and, subse- 
quently, of rose water, q. s. to make the whole 
measure 1 pt. More spirit is often ordered and 
used ; but much of it is apt to cause the sepa- 
ration of the ingredients, In many samples, 
and in the inferior ones generally, it is omitted 
altogether. Some makers add a few drops of 
oil of bergamot, with 2 or 3 drops each of oil of 
lavender and otto of roses, dissolved in the 
spirit. 

2. Oil of almonds, 1 oz. ; white soft soap, 1 oz.; 
salt of tartar, y% drm. ; boiling water, J4 P*- » 
triturate and subsequently agitate until per- 
fectly united. When cold, further add, of rec- 
tified spirit, 2 fl. oz. ; spirit of roses, a few 
drops; rose water, q. s. to make the whole 
measure a pint. The above are used as cosme- 



Cosmetics. 



131 



Court Plaster. 



tic washes in a similar way to Gowland's lo- 
tion ; also to remove scurf, freckles, and acne 
and other pimples, and eruptions, in slight 
cases. 

French Milk of Roses.— 1 tincture of benzoin 
(simple), Y% fl. oz. ; tincture of styrax, J4 fl. oz. ; 
esprit de rose, 1 to 2 fl. drm. ; rectified spirit, 
2^6 fl. oz. ; mix, and add gradually, with agita- 
tion, of rose water. 16^ fl. oz. 

German Milk of Buses.— Dilute solution of 
diacetate of lead, ^ fl. oz. ; lavender water, 2 fl. 
drm. ; rectified spirit, 2Y% fl. oz. ; rose water, % 
pt. ; mix, with agitation. The spirit is often 
improperly omitted, or less is used. It is cool- 
ing and astringent, and is employed as a wash, 
like the preceding ; as also in moist eruptions, 
excoriations, etc.; but it is more active, and 
less fitted for very frequent use. 

Milk of Almonds.— Bitter almonds, blanched, 
10 oz. ; distilled (or rose) water, 1 qt. ; alcohol 
(60 over proof), %pt. ; otto of almonds, 34 drm.; 
otto of bergamot, 2 drm. ; wax, spermaceti, 
almond oil, curd soap, each \& oz. 

Milk of Dandelion.— Sweet almonds, 4 oz. ; 
rose water, 1 pt. ; expressed juice of dandelion 
root, 1 oz. ; esprit de tuberose, 8 oz. j green oil, 
wax, curd soap, each J£ oz. Let the juice of the 
dandelion be perfectly fresh pressed. 

Milk of Elder.— Sweet almonds, 4 oz. ; elder 
flower water, 1 pt. ; alcohol (60 over proof) 8 oz.; 
oil of elder flowers prepared by maceration, y^ 
oz. ; wax, sperm, soap, each y% oz. 

Olivine.— Gum acacia, in powder, 2 oz. ; honey, 
6 oz. ; 5 yelks of eggs ; white soft soap, 3 oz. ; 
olive oil, 2 lb. ; green oil, 1 oz. ; otto of berga- 
mot, 1 oz. ; otto of lemon, 1 oz. ; otto of cloves, 
% oz. ; otto of thyme and otto of cassie, each y>, 
drm. Rub the gum and honey together until 
incorporated, then add the soap and egg and 
mix the green oil and perfumes with the olive 
oil. 

Pastes.— In cosmetics, perfumery, and phar- 
macy the term paste is not confined to semi- 
solid and more or less tenacious, moist prepara- 
tions, but is very loosely applied to a variety of 
articles differing 1 widely from each other, in- 
cluding even certain powders. It is, therefore, 
impossible to class them correctly together, as 
the reader will perceive by reference to indivi- 
dual formulae bearing this general name in the 
subsequent portion of this work. 

Sunburn.— Often in exposed situations, as at 
the seaside, the skin may become not only sun- 
burned in the common sense of the word, but 
irritable and inflamed. ■ The following used 
twice daily as a wash will prevent this : Milk, 20 
oz.; carbonate of soda, 1 oz.; glycerine, 1 oz.; 
powdered borax, J^oz. Or the following : Car- 
bonate of soda, 1 oz.; oatmeal water, % pt.; milk, 
Hpt. 

Tan and Sunburn, to Remove. See also 
Fi'eckles. — The following is recommended : 6 
drm. avoirdupois powdered borax; Price's gly- 
cerine, % oz.; use water or elder flower water, 
12 oz.; mix. We doubt the efficacy of any 
application except such as will cause the outer 
layer of the skin to strip off, such as the extract 
of cashew nuts. Even such a violent application 
does little good if the skin is re-exposed to the 
sun, as sunburn and freckles are liable to re- 
turn as badly as ever. 

Sunburn.— Take 6 drm. avoirdupois powdered 
borax, pure glycerine, % oz., rose water or 
elder flower water, 12 oz.; mix. Its daily use as 
a cosmetic wash renders the skin beautifully 
soft and white, and prevents and removes 
chaps, sunburns, etc. 

See also Lotions above. 

Cosmolin.— Cosmohn and vaselin are vari- 
able mixtures of paraffin with volatile oils. It 
is the residue left from the distillation of pe- 
troleum purified by nitration over animal char- 
coal, says Miller. 

Cotton, Absorbent. See Absorbent 
Cotton. 

Cotton, to Dye. See Dyeing. 



Cotton, to Gild. See Gilding. 

Cottonseed Oil. See Oils. 

Cough Uledicines.— A few simple receipts 
for expectorants, useful for winter coughs. 
The first is particularly suitable for young 
children. 

1. Sirup of squills ; 1 fluid drm.; gum 
acacia, powdered, y% fluid drm.; ammonium 
chloride, 8 grn.; peppermint water, enough to 
make 2 fluid oz. Dose for a child, a teaspoon- 
f ul every two hours. 

2. Another formula, for older children and 
adults, consists of sirup of ipecac, 2 parts; sirup 
of squills, 4 parts; paregoric, 1 part. Dose, half 
to one teaspoonful, repeated as often as ne- 
cessary. 

3. The following was a favorite prescription 
of Prof. C. A. Lee, of Peekskill : Sirup of ipecac, 

1 oz.; sirup Of tolu, 1 oz.; paregoric, % oz.; sirup 
wild cherry, 1 oz. 

4. For hoarseness, Dr. Eichelberger gives the 
following, which he says is very good for 
hoarseness: Tincture chloride of iron, 2 drm.; 
glycerine, 4 drm.; water, 4 drm. Dose, half a 
teaspoonful, occasionally. 

5. (Draughts.) a. Sirup of poppies, 1 dessert- 
spoonful; antimonial wine, 20 drops; mix for a 
dose, to be taken in a little warm tea on going 
to bed. b. Laudanum, 30 drops; vinegar and 
honey, of each a dessertspoonful; ipecacuanha 
wine, 25 drops; mix for one dose, as last. 

6. (Emulsion.) Milk of almonds, 4 oz.; sirup 
of squills and tolu, of each 1 oz.; mix. Dose, a 
tablespoonf ul every two hours. 

7. (Mixtures.) Tincture of tolu, J4 oz.; par- 
egoric elixir and tincture of squills, of each ^ 
oz.; sirup of white poppies, 1 oz.; mix. Dose, 1 
teaspoonful in barley water, whenever the 
cough is troublesome. 

8. Milk of ammoniacum, 4oz.; sirup of squills, 

2 oz.; mix. A tablespoonf ul three or four times 
daily, for the cough of old persons. 

9. (Dr. Munro's.) Paregoric, J^ oz.; sulphuric 
ether and tincture of tolu, of each J4 oz.; mix. 
Dose, a teaspoonful night and morning, or when 
the cough is troublesome, in a little warm 
water. 

10. (Dr. Radeliff 's.) Sirup of poppies, sirup of 
squills, and paregoric, of each ££ oz.; mix. Dose, 
as last. 

Coughing, to Relieve.— In severe par- 
oxysms in coughing, either in coughs, colds, or 
consumptives, one or two tablespoonfuls of 
pure glycerine in pure rye whisky or hot rich 
cream will afford almost immediate relief; and 
to the consumptive a panacea is found by daily 
use of glycerine internally, with the proportion 
of 1 part of powdered willow charcoal and 2 
parts of pure glycerine. 

Court Plaster.— 1. Gold beater's skin, with- 
out any preparation, forms the very best 
court plaster that can be employed. A piece 
of it applied (dry) to the slightly moistened 
skin, and held there for a few seconds, with the 
hand, will adhere firmly for several days, or 
until the part be wetted; and, from being 
transparent and almost colorless, will, when of 
the finest quality and skillfully applied, be 
scarcely visible. 

2. Isinglass (best, genuine), 1 oz.; water, )4 pt. 
Dissolve by heating them together in a cov- 
ered vessel; strain the solution, and when only 
lukewarm add to it gradually, but quickly, a 
mixture formed of rectified spirit, 2 fl. oz.; 
tincture of benzoin, 2 fl. oz. Apply this com- 
position (still warm) by means of a flat camel 
hair brush, or any appropriate *' spreader," to 
the surface of silk, or sarcenet, stretched in a 
frame, repeating the application as soon as the 
preceding coating is dry, and again as often as 
necessary (six to twelve times). Lastly, when 
quite dry and hard, give the prepared surface a 
"finishing coat" with a solution of Chio tur- 
pentine, 1 oz.; dissolved in tincture of benzoin, 
2 fl. oz. Tincture of balsam of Peru, or of 
styrax, may be substituted for the tincture of 



Coverings. 



132 



Crayons. 



benzoin ; and a few drops of essence of amber- 
gris, or of musk, may be added to increase the 
fragrance of the compound. Some parties 
simply employ one or other of the above tinc- 
tures for the finishing; coat ; and others apply 
it to the unprepared side of the silk, by which 
the plaster is rendered partially waterproof, 
but the appearance of its exposed surface in- 
jured. Care should be taken that the first two 
or three applications of the gelatine composi- 
tion do not sink into the silk, so as to appear 
on the right side, which will not be the case if 
it be only sufficiently warm to remain liquid, 
and be applied very thinly and rapidly, and 
with a lig-ht stroke of the brush or spreader. 

3. Deschamp's.— Apply to the stretched silk a 
very thin coating of smooth, strained flour 
paste ; and over this, when dry, two or three 
coats of warm size, made with colorless gela- 
tine and water, to which some odorous tinc- 
ture or essence has been added. Said to be su- 
perior to the ordinary court plaster, and much 
of the court plaster of commerce is so prepared. 

4. Liston's.— Isinglass, 1 oz.; water, 2J^ oz. 
Keep them in a covered vessel, in a hot place, 
until the isinglass has swollen and absorbed all 
the water, and become quite soft ; then beat it 
to a uniform semifluid mass, strain it by 
squeezing it through muslin, and add of proof 
spirit, 3>£ fl. oz. Next expose the mixture, 
with frequent stirring, in a covered bottle or 
other vessel, until the union be complete. 
Lastly, with a brush, apply four coats of the 
solution to the surface of oiled silk stretched 
out and nailed on a board. A little of the tinc- 
tures or essences before noticed may be added 
to impart a slight odor to the plaster. 

Coverings for Boilers, See Boiler 
Coverings. 

Cracks in Metal. — A crack in a piece of 
metal is prevented from extending further by 
the well-known means of drilling a hole where 
the rent ends ; but when the hole is not bored 
on just that spot, the crack is apt to continue 
beyond the hole. To facilitate the search for 
the>exact point, Revue Inclustrielle recommends 
moistening the cracked surface with petro- 
leum, then wiping- it and immediately rubbing- 
it with chalk. The oil that has penetrated into 
the crack exudes, and thus indicates with pre- 
cision where the crack stops. 

Crape, to Clean. See Cleansing. 

Crayons.— Small cylinders or pencils of 
coloring" substances, used for drawing upon 
paper, etc. Prep. Crayons are commonly pre- 
pared by mixing the color with some substance 
that will dilute it to a proper shade, and give 
it the necessary softness and tenacity to ad- 
here readily to paper, when rubbed against it. 
The cylindrical form is generally given to them 
by means of a cylinder of 2 or 3 in. diameter, 
having" one end open, and the other firmly se- 
cured to a perforated plate having holes of the 
same size as the intended crayons. The crayon 
composition, in the state of a stiff paste, is intro- 
duced into the open end, and is driven down 
and through the holes, by means of a small 
plug or piston, that exactly fits the inside of 
the cylinder. To impart an equable motion, 
which is essential to the formation of well 
shaped crayons, a small screw is employed. 
The pieces that pass through the holes are cut 
into lengths and dried. All the materials em- 
ployed in making crayons are previously re- 
duced to the state of an impalpable powder, 
and those that are gritty are elutriated or 
washed over. The following are among- the 
best formulas for making crayons : 

1. Spermaceti, 3 oz.; boiling water, 1 pt.; agi- 
tate together till they form a species of emul- 
sion, with which mix up bone ashes 1 lb. (pre- 
viously reduced to an impalpable powder), and 
coloring matter as much as is required to give 
the proper tint. When half dry form the mass 
into crayons. 



2. Pipe clay, and the finest prepared chalk, 
equal parts; or pipe clay alone, q. s.; coloring 
a sufficient quantity. Make them into a paste 
with pale mild ale. 

3. Washed pipe clay and washed chalk equal 
parts, mix them into a paste with sweet ale 
made hot, and with a chip or two of isinglass 
dissolved in it. 

4. Take common pipe clay in powder, mix it 
up into a paste with very strong soapsuds, 
made thus: Cut up 1 oz. of white soap into 
small shavings, dissolve it over the fire in )4 pt. 
water, stir into the mixture while hot the pow- 
dered pipe clay as long as you can stir it. 
Spirits of wine added before the powders, to 
render the soap water transparent, is an im- 
provement. 

5. Melt 3 oz. of shellac in 2 oz. of spirits of 
wine; this will form a thick liquid; to this add 
6 parts of pipe clay and 1 part of oil of turpen- 
tine; grind all well together. The fighter the 
color of the shellac, the better; also if colors 
are to be added they should be ground up with 
the turpentine, before this is added to the rest. 

Crayons, Drawing.— Pale shellac, 5 parts; wood 
naphtha, 12 parts; dissolve and with this fluid 
mix up the coloring powder. Dry by stove 
heat. 

1. Black Crayons — Use black lead, ivory black,, 
lampblack. 

2. Blue— Indigo, Prussian blue or smalts. 

3. Brown — Umber or brown ocher. 

4. Green— Mix king's yellow, or 

5. Yellow ocher with blues. 

6. Purple — Use bright blue or carmine. 
7- Bed — From carmine or vermilion. 

8. White — From pure clay and chalk. 

9. Yellow — From Naples or king's yellow. 
Lithographic Crayons. — White wax, 4 parts? 

gum lac, 2 parts ; melt over a gentle fire ; then 
add dry soap shavings, 2 parts ; stir until dis- 
solved, and add white tallow, 2 parts; copal 
varnish and lampblack, each 1 part ; continue 
the heat and stirring until a cooled sample will 
bear cutting to a fine point. 

Lithographic Chalk.— Common soap, 1}4 oz.; 
tallow, 2 oz.; virgin wax, 2}£ oz.; shellac, 1 oz.; 
lampblack, 34 oz. Mix as for lithographic ink. 

Senef elder'' s Composition for Crayons, — 1. 
Black, 2 parts ; soap, 6 parts ; wax, 4 parts. 

2. Black, 2 parts ; soap, 4 parts ; wax 8 parts.. 

3. Black, 2 parts ; soap, 4 parts ; wax, 4 parts ; 
spermaceti, 4 parts. 

4. Black, 2 parts ; soap, 4 parts ; wax, 8 parts;, 
spermaceti, 4 parts. 

5. Black, 3 parts ; soap, 5 parts ; wax, 8 parts ;. 
shellac, 4 parts. 

6. Black, 3 parts; soap, 5 parts; wax, 8 parts; 
tallow, 2 parts ; shellac, 4 parts. 

7. Black, 3 parts; soap, 6 parts; wax, 8 parts; 
tallow, 4 parts. 

These are made in precisely the same manner 
as the ink, and may be made by the same mate- 
rials if they are burned sufficiently hard for use 
in drawing. These various recipes of Senef eld- 
er's will yield a great variety of crayons by burn- 
ing them more or less. Crayons may be cast in 
a flat cake, and then cut up with a saw or hot 
knife, into square pencils, but they are better 
cast in a grooved box similar to a druggist's 
pill machine, and pressure applied while hot. 

Crayons for Writing on Glass. — 1. French 
chalk cut 'into suitable pieces. Marks made 
with these crayons when obscured or rubbed 
out may be several times revived by simply 
breathing on the glass. • 

2. Spermaceti, 4 parts ; tallow, 3 parts ; vvax, 
2 parts, are melted together in a cup, and red 
lead, 6 parts, and carbonate of potassa (in fine 
powder), 1 part, stirred in ; the mass is kept 
melted and stirred for about half an hour 
longer, then poured into glass moulds (tubes) 
of the thickness of a common pencil, and 
cooled as rapidly as possible. The mass may 
be screwed up and down in the tube and cut to 
a point with a knife. A crayon is thus ob- 



Craze. 



133 



Creams, 



tained which, will readily write on clean, dry 
glass. 

Craze. — Terni applied to the cracking of the 
glaze of pottery and porcelain. 

Cream, Painters'.— Pale nut oil, 6 oz.; 
mastic, loz.; dissolve; add 34 oz. of lead acetate, 
previously ground in a small quantity of oil ; 
then further add water q. s. gradually until it 
acquires the consistency of cream. It is used 
by painters to cover work temporarily as it can 
he washed oft'. 

Creams.— Cream, Almond (Crenie d'Aman- 
des).— Lard, perfectly pure and fresh, 220 parts ; 
solution of potassa, containing- 2G% of caustic 
potash, 120 parts ; alcohol, 60$, 10 parts ; oil 
of bitter almonds, q. s. Triturate in a por- 
celain or Wedgwood mortar the lard and 
potassa solution and let it stand a few hours. 
Then add the alcohol and sufficient oil of bitter 
almonds to give it the proper flavor. Finally 
triturate until the mass is uniform and resem- 
bles mother of pearl. This cream has a hand- 
some look, but is not so bland as other varie- 
ties mentioned below. 

Camphor Cerate.— Olive oil, 34 lb.; white wax 
(pure), 34 lb.; spermaceti, 2 oz.; camphor, y 2 oz. 
Mix as directed under " camphor balls. 1 ' Used 
.as an application to chaps, chilblains, abrasions, 
excoriations, etc., also as lip salve in cold 
weather, as a hair cosmetic and as a mild 
stimulating and anodyne friction. 

Camphor Paste.— Almond oil, 34 lb.; purified 
lard, 34 lb. ; wax, spermaceti and camphor each 
1 oz. Beat up the ingredients as they cool be- 
fore pouring out. 

Creme du Cathay (Farina).— Mecca turpentine, 
Sgr.: oil of sweet almonds, 4 oz.; spermaceti, 2 
drms.; flowers of zinc, 1 drm.; white wax, 2 
drms.; rose water, 6 drms. Mix together over 
a water bath. Cosmetic for the skin. 

Circassian Cream.— 1. 4 oz. fresh mutton suet ; 
6 oz. good olive oil ; 2 oz. powdered gum ben- 
zoin ; 34 oz. alkanet root. Put these ingredi- 
ents in a jar with a cover and place the jar in a 
saucepan of boiling water, at the side of the 
fire. Let it digest for twenty-four hours. Strain 
away the fluid part through fine muslin, and 
stir till about cold. Perfume with 2 drm. es- 
sence of roses, almonds, or any perfume de- 
sired. 

2. Purified lard, 1 lb.; benzoin suet, 1 lb.; 
French rose pomatum, 34 lb.; almond oil colored 
with alkanet, 2 lb.; otto of rose, 34 oz. 

3. White wax, 166 parts ; olive oil, finest, 500 
parts; rose water, 100 parts; oil of bergamot, 
15 parts ; oil of bitter almonds, q. s. To be pre- 
pared as the preceding. 

Cream, Cold (Creme Celeste).— 1. Spermaceti, 
50 parts; white wax, 24 parts; oil of sweet al- 
monds, 168 parts, are melted together at a 
gentle heat, the melted mass poured into a 
warm porcelain or Wedgwood mortar, stirred 
until it begins to solidify and then intimately 
mix with rose water, 70 parts. After stirring 
until cold, there may be added for every 10 oz. 
of the mixture, oil of rose, 2 drops ; oil of bitter 
almonds, 3 to 4 drops. This cream is white. The 
following formula yields «, cheaper, slightly 
yellow, but still very good product : 

Cl ranulated Cream, Granulated Cold Cream. 
—Oil of almonds, M> pt.; spermaceti (pure), 3 
oz.; white wax (pure), 234 oz.; melt by a gentle 
heat and add of otto of roses, 12 drops. Pour 
the liquid into a marble or Wedgwood ware 
mortar containing about 134 pt. of lukewarm 
water, and agitate the whole briskly with the 
pestle until the oleaginous portion is well di- 
vided. Then throw the whole suddenly into a 
broad vesseL containing 1 or 2 gal. of cold 
water. Next throw the ''granulated cream" 
on a piece of muslin extended as a filter and 
shake and drain as much of the water out of 
it as possible. Lastly, put it into china or 
earthenware pots. It is used as ordinary cold 
cream. 



Cold Cream witli Borax.— White wax, loz.; oil 
almonds, 4 oz.; rose water, 2 oz.; borax, 34 drm.; 
otto of rose, 5 drops. Dissolve the borax in the 
rose water and (by the aid of heat) the wax in 
the oil. While still warm, mix gradually in a 
mortar, previously warmed. Add the otto, 
stirring constantly. 

Cosmolin Cream. — Cosmolin, 24 troy oz.; white 
wax, 12 troy oz. ; spermaceti, 12 troy oz. ; gly- 
cerine, 3 fl. oz. ; oil of rose geranium, 1 fl. drm. 
Melt the wax and spermaceti, add the cosmolin; 
then stir until nearly cold ; add the glycerine 
and oil, and stir until cold.— E. J. Davidson, in 
Amer. Jour. Phar. 

Cucumber Cold Cream. — Almond oil, 1 lb. ; 
green oil, 1 oz.; juice of cucumbers, 1 lb.; wax 
and sperm, each, 1 oz. ; essence of cucumber, 
2 oz. 

Fox's Cream. — Marrow pomatum, 2 oz.; oil of 
almonds, 2 oz.; melt them together, by a gentle 
heat; add of huile au jasmin, 1 drm.; oil of 
bergamot, 1 drm. ; and otherwise proceed as 
above. A popular and excellent hair [cosmetic 
of its class. 

Glycerine Jelly.— 1. The London Chemist and 
Di^uggist remarks : " Glycerine jelly is usually 
cold cream tinted with a little rose oil, and 
with some glycerine incorporated while it is 
warm. A more distinctive preparation is pro- 
duced as follows : Transparent soap lfoz., water 
4 oz., glycerine 24 oz., by weight. Dissolve the 
soap in the water by heat, adding an equal 
quantity of glycerine. When dissolved, and 
while still hot, add the remainder of the gly- 
cerine. When nearly cold, perfume according 
to choice, and pour into glass jars. This is a 
transparent jelly of a pale amber color." 

2. Glycerine Lime Cream.— Mix equal parts 
of lime water and oil of sweet almonds, add a 
small quantity of glycerine, and perfume to 
taste. If a cheaper article is required use olive 
oil. 

3. Olive oil, 4 oz.; essence of lemons, 34 drm.; 
mix. Lime water, 3% oz. ; rectified spirit of 
wine, 34 oz.; mix, and then add to the oil and 
shake. 

4. Cream, Glycerine (Creme de Glycerine). — 
Spermaceti, 60 parts ; white wax, 30 parts ; oil 
of sweet almonds, 250 parts; rose water, 10 
parts; glycerine, 20 parts. To be prepared 
like cold cream, and to be perfumed with oil 
of rose and oil of bitter almonds. 

5. Rose Glycerine Cream.— Spermaceti, 34 oz.; 
oil of sweet almonds, 2 oz.; white wax, 1 oz.; 
glycerine, 4 oz.; melt the spermaceti, white 
wax and oil of almonds together first ; then 
add the glycex-ine and stir the mixture until 
cool. Perfume with attar of rose. 

6. Glycerine Cream.— This recipe is excellent; 
take spermaceti, 4 drms.; white wax, 1 drm.; 
oil of almonds, 2 troy oz.; glycerine, 1 troy oz. 
Melt the spermaceti, wax, and oil together, 
and when cooling put in the glycerine and 
perfume. 

Cream, Ice. See Ice Cream. 

Lanolin Cold Creams and Cooling Ointments. — 
The following are a few iormulae suggested by 
Dr. Unna, the figures in the first columns being 
for ointments and in the second for creams. 

Cooling. 

Parts. 

Anhydrous lanolin 10 10 

Benzoated lard 20 20 

Rose water .. 30 60 

Cooling with lime water, use the same as 
above, but lime water instead of rose water. 

Goulard's Cerate and Cream. 

Parts. 

Anhydrous lanolin 10 10 

Benzoated lard 20 20 

Goulard's solution 30 60 

Cooling zinc ointment may be made like the 
rose perfumed ointment, using 20 parts of zinc 
ointment in place of the benzoated lard. 



Creams. 



134 



Crystallization. 



Cooling Pomade. 

Parts. 

Anhydrous lanolin 10 

Pomade 30 

Distilled water 30 

Any suitable perfume pomade may be used, 
and lime water may take the place of distilled 
water. 

Marrow Cream.— Purified lard, 1 lb.; almond 
oil, 1 lb.; palm oil, 1 oz.; otto of cloves, ^ drm.; 
otto of bergamot, \i oz.; otto of lemon, 1}4 oz. 

Mentholated Cream.— The mentholated cream 
frequently used by barbers as a cooling appli- 
cation to the face after shaving may be pre- 
pared, according to the Pharm. Era, as follows: 
Put 1 oz. tragacanth in 13 oz. of warm water, 
and allow to stand, with occasional agitation, 
for two or three days ; then add 3 drm. glycer- 
ine and 40 gr. menthol dissolved in ^ oz. alco- 
hol. Color pink with tincture of cudbear. 

Oriental Cold Cream.— Oil of almonds, 6 oz.; 
white wax and spermaceti, of each 3 drms.; 
melt and add 6 oz. of rose water ; 1^ oz. orange 
flower water. This cream will soften the skin. 
It should be applied with a cotton or linen cloth. 

Creme de Pistaehe.— Melt over a water bath 
pistachio nuts, 4H£ oz.; green oil, 1% oz.; palm 
soap, V/% oz.; wax, \% oz.; spermaceti, 1J4 oz.; 
add orange flower water, 4% pt.; essence of 
neroli, 18 oz. 

Shaving Paste.— 1. Naples soap, genuine, 4 oz.; 
card soap, air dried and powdered, 3 oz.; honey, 
finest, 1 oz.; essence of ambergris, or essence 
royale, 8 or 10 drops ; oil of cassia, 8 or 10 drops; 
oil of nutmeg, 8 or 10 drops ; beat them to a 
smooth paste with water or eau de rose, q. s., 
and put it into covered pots. 

3. White wax, J4 oz.; spermaceti, J4 oz.; 
almond oil, y% oz.; melt them together by a 
gentle heat, and beat in, of honey or Windsor 
soap, finest, J4 lb.; the soap having been pre- 
viously sliced and reduced to a paste, with rose 
water, q. s. When the whole has sufficiently 
cooled, further add of essence of musk, or 
essence royale, 10 or 13 drops ; and otherwise 
proceed as before. 

3. White soft soap, 4 oz.; honey soap, finest, 
sliced, 3 oz.; olive oil, 1 oz.; water, 1 or 3 table- 
spoonfuls; carbonate of soda, 1 drm.; melt 
them together, and form a paste, as before, 
adding a little proof spirit and scent, at will. 
Some persons melt with the soap about 1 drm. 
spermaceti. 

In use, a very little of one of the above pastes 
is rubbed on the beard, with the tip of the 
finger, when the wetted shaving brush is ap- 
plied. Produces a good lather with either hot 
or cold water, which dries slowly on the face. 

4. Shaving Cream.— Melt 30 lb.of lard in a steam 
bath at a temperature of 313°, and then letting 
5 lb. of caustic potash lye of 36° Baume run in 
very slowly during constant stirring with a 
wooden paddle ; when the paste becomes thick, 
5 lb. more of lye are added in the same man- 
ner. After several hours' stirring, the mixture 
becomes firm, and is finished. It is then trans-,, 
ferred to a mortar, and triturated until the 
soap becomes perfectly even throughout, and 
assumes a pearly appearance. Attar of almonds 
is the perfume for almond cream, and attar of 
rose for rose cream. They are dissolved in a 
little alcohol, and added during trituration. 

Snow Cream.— Spermaceti, 4^ oz.; white wax, 
3 oz.; fresh oil almonds, 18 oz.; melt over a 
water bath; pour in a marble mortar, and stir 
briskly to prevent granulation. When the 
mixture becomes of the consistency of butter, 
triturate until it has a white, creamy appear- 
ance. Add gradually a mixture of double water 
of roses, 1M oz.; odorless glycerine, 1^£ oz.; mix 
for 30 minutes, then add 15 drops essence of 
roses; beat for about half an hour. » 

Vaseline Cold Cream.— Dieterich gives the fol- 
lowing formula: 

White wax 2*4 oz. 

Spermaceti 2]4 oz. 

Oil of almonds 14^oz. 



White vaseline 6V£ oz. 

Distilled water 6J£ oz. 

Borax 150 grn. 

Coumarin % grn. 

Oil of rose 16 drops. 

Oil of bergamot 16 drops. 

Oil of geranium, French 5 drops. 

Oil of rhodium 2 drops. 

Oil of orris 1 drop. 

Essence of civet (1:10) 5 drops. 

Melt the wax, spermaceti, and vaseline in the 
almond oil, allow the melted mass to cool to a 
semi-liquid state, and beat it to a cream. Then 
add the distilled water in which the borax had 
previously been dissolved and finally add the 
perfumes, stirring constantly so as to produce 
a uniform cream. 

Violet Cold Cream.— Huile violette, lib.; violet 
water, 1 lb.; wax and spermaceti, each 1 oz.; 
otto of almonds, 5 drops. 

Cream, Substitute for.— Beat 3 eggs to a / 
stiff froth; gradually pour over them boiling 
hot tea, until of the thickness of cream. 

Creosoting.— The injection of timber, 
which is exposed to atmospheric influences, 
with creosote in order to increase its durability. 
The timber is first deprived of its moisture, 
which is then replaced with creosote. The 
durability of the wood is enhanced thereby 
fourfold. 

Creosoting Wood. See Wood, Preser- 
vation of. 
Creme des Barbades, etc. See Liquors. 
Creole Waters. See Waters. 

Crickets, to Destroy.— 1. Sprinkle alittle 
quicklime near to the cracks through which 
they enter the room. The lime may be laid 
down overnight and swept away in the morn- 
ing. In a few days they will most likely all be 
destroyed. But care must be taken that the 
children do not meddle with the lime, as a very 
small portion of it, getting into the eye, would 
prove exceedingly hurtful. In case of such 
an accident the best thing to do would be to 
wash the eye with vinegar and water. 

3. Put a little chloride of lime and powdered 
tobacco in their holes. 

Crocus.— The term, as employed in the me- 
chanic arts, usually refers to a preparation of 
the oxide of iron used for polishing metal and 
gems. But the term is generic and not spe- 
cific, and means, from the Greek, " saffron," a 
color. It is applied also to an oxide of copper 
and an oxide of antimony. It is coarser than 
rouge. Green vitriol, pulverized, is mixed with 
potassium nitrate and sodium chloride. The 
mixture is stirred up with water so that a thin 
paste is formed. The mixture should now be 
placed in an iron crucible and heated very 
gradually until dry. Then heat in a Hessian 
crucible until red hot, then pour out, cool, 
powder, boil with water and elutriate if neces- 
sary to purify. 

Croton Oil. See Oils. 

Croup Remedy.— Croup powder, from F. 
W. Gruse, in Berlin, contains 35 parts of com- 
mon salt, 10 of flowers of sulphur, 25 of foe- 
num graecum, 25 of juniper berries, 5 of gentian 
root, and 5 of fennel seed. 

Crucibles, Cement for. See Cements. 

Crucibles, Black Lead.— Mix 3 parts 
graphite and V& parts fire clay with water into 
a paste, press in moulds and dry ; but do not 
bake hard in a kiln. This compound makes- 
good small furnaces. 

Crystallization.— When a body in the act 
of passing from a liquid or gaseous to a solid 
state arranges itself in symmetrical forms, the 
process is termed crystallization and the parts of 
the body so aggregated are called crystals. The 
modes of crystallization are by fusion, sub- 
limation, solution, and chemical reaction. 



Crystal. 



135 



Decoctions. 



Crystal Ornament.- Ingredients : Alum, 
18 oz.; water, 1 pt. Dissolve the alum in the 
water, boiling it in a close tinned vessel over 
a moderate fire, keeping it stirred with a wooden 
spatula until the solution is completed. When 
the liquor is almost cold, suspend a small basket, 
ears of corn, moss rose, hyacinth, or almost 
any vegetable specimen, by means of a small 
thread or twine from a lath or small stick 
placed horizontally across the aperture of a 
deep glass or earthenware jar, into which the 
solution is poured. The respective articles 
should remain in the solution twenty-four 
hours; when they are taken out, they are to be 
carefully suspended in the shade until quite 
dry. The whole process of crystallization is 
best conducted in a cool situation. When the 
objects to be crystallized are put into the solu- 
tion while quite cold, the crystals are apt to be 
formed too large; on the other hand, should 
it be too hot, the crystals will be small in 
proportion. The best temperature is about 
95° Fah. 

Crystal Boom Ornament, to Make. — Ingredi- 
ents: Sulphate of alumina, sulphate of copper, 
sulphate of soda, sulphate of potass., sulphate 
of iron, sulphate of zinc, sulphate of magne- 
sia, of each >£ oz., in separate chip boxes. Di- 
rections: Dissolve each of the salts in warm 
water in a separate tumbler. When dissolved, 
pour all together into an evaporating dish, and 
mix well with a glass rod. Place the dish in a 
warm place where it cannot be affected by 
dust, and where it is not liable to be agitated. 
When evaporation has taken place, the whole 
will begin to shoot out into crystals. Their 
color and peculiar form of crystallization will 
distinguish each crystal separately, and the 
whole together will display a very curious and 
pleasing appearance. Preserve carefully from 
dust. 

Cnpellation.— Gold and silver are assayed 
in shallow, conical crucibles, called cupels. The 
oxides of the ore are absorbed by the cupel, 
while the button of precious metal remains. 

Curacao. See Liquors. 

Curling. See Brass Coloring and 
Finishing. 

See The Hair. 

See Wines. 

See Powders. 

See Vinegar. 

Curtains, to Wash. See Cleansing. 

Curvature of the Earth.— The amount 
of curvature in one mile of ocean surface is 
2*04 inches. 

Cutlery, Etching for. See Etching. 

Cutlery, to Harden. See Hardening. 

Daguerreotype. See Photography. 

Damaskeening. The figuration present- 
ed by the surface of steel and iron guns, small 
arms, etc., and also the plain brown or black 
surface of modern steel guns, is known as 
" damaskeening, 1 ' and is produced by treatment 
with weak acids, which act unequally upon the 
different parts of the metal under treatment, 
the harder portions of the metal becoming 
covered with a thicker film of carbon than the 
softer portions. The color of these thin films 
varies from light brown to black, according to 
the more or less prolonged treatment with the 
acids. If the figuration is not sufficiently ela- 
borate, owing to the metal not having sufficient 
fiber, and to the fiber being too straight and 
regular to produce the desired effect, it is cus- 
tomary for the makers of fowling pieces and 
other light goods to paint or stencil a pattern 
on the surface of the metal with the acid, and 
in this way the figuration can be made as effect- 
ive as desired. The solutions largely used at 
many works are as follows : 

1. For steel, sulphur, 1 oz. ; tincture of steel, 
1 oz. ; nitric acid, 1 oz. ; sulphuric acid, 34 oz. ; 



Curling Fluid. 
Currant Wine. 
Curry Powder. 
Curry Vinegar. 



mercuric chloride, ^ oz. ; copper sulphate, J4 
oz. ; spirit of nitrous ether, 1 oz.; water, 1 qt. 

2. For iron, tincture of iron, }4 oz. ; nitric 
acid, 134 drm. ; mercuric chloride, 1 drm. ; cop- 
per sulphate, % drm. ; spirits of wine, 6 drm.; 
water, 8 oz. 

3. The solution used at Woolwich and Elswick 
for steel guns, etc.: Tincture of iron, 2 oz.; 
nitric acid, 1 oz.; copper sulphate, 1 oz.; spirit 
of nitrous ether, 1% oz.; spirits of wine, l^foz.; 
water, 1 gal. This is a much better solution, 
works remarkably well; it is smeared over the 
parts, and when dry another coat is put on. 
This will produce a brown color; but if it is not 
dark enough, the operation must be repeated 
until the desired tint is obtained. Six coats are 
sufficient to make the surface black. The acid 
is then killed by washing with soda solu- 
tion, and the surface rubbed with a hard brush 
or file card until smooth, after which it is 
rubbed with oily waste. For iron there is noth- 
ing better than mercuric chloride or antimony 
chloride, dissolved in water, with a little spirit 
of wine added to help it to dry. 

Dammar, or Damar.— A resin employ- 
ed in mounting many microscopic objects, as 
teeth, hair, hard bone, and most tissues which 
have been previously hardened by treatment 
with alcohol and chromic acid. Dammar is 
prepared for use as follows : 

1. Gum dammar, 3^ oz.; oil turpentine, 1 oz.; 
dissolve and filter. 

2. Gum mastic, 3^ oz.; chloroform, 2 oz.; dis- 
solve and filter. Add solution 1 to solution 2. 
If allowed to become thick by drying, dammar 
may be used as biting. — Dr. Klein. 

Dammar Varnish. See Varnishes. 

Damson Wine. See Wines. 

Dandruff. See The Hair. 

Dead, the Preservation of. See also 
Embalming.— (Brunetti.) 1. Wash the cir- 
culatory system with cold water. Alcohol is 
injected to abstract the water. Ether is then 
introduced to remove the fatty matters. A 
strong solution is now injected, and the body is 
dried by means of warm air which has been 
passed over heated calcium chloride. 

2. A simple form of injection suitable for 
anatomical specimens consists of glycerine, 14 
parts ; soft sugar, 2 parts; potassium nitrate. 1 
part. This has been found to be very efficient, 
as the parts saturated with it become compar- 
atively indestructible, and change neither in 
size nor figure. 

Decantation.— The operation of pouring 
or drawing off the clear portion of a liquid, 
from the impurities or grosser matter that has 
subsided. It is much resorted to in the labora- 
tory and is very simple, as the operation may 
be performed by drawing off the water with a 
siphon, or by simply pouring it off. See Elu- 
triation. 

Decoctions, to Prepare. — For making 
decoctions the substances, if dry, should be 
well bruised, or reduced to a very coare powder, 
or, if fresh and soft, they should be sliced 
small. In the former case, any very fine pow- 
der or adhering dust should be removed with a 
sieve, as its presence would tend to make the 
product thick and disagreeable, and also more 
troublesome to strain. The vessel in which the 
boiling is conducted should be closely covered, 
the better to exclude the air; and the heat 
should be so regulated that the fluid may be 
kept simmering, or only gently boiling, as 
violent boiling is both unnecessary and injuri- 
ous. In every case the liquor should be strained 
while hot, but not boiling; and the best method 
of doing thjs is to employ a fine hair sieve or a 
coarse flannel bag. In preparing compound 
decoctions, those ingredients should be boiled 
first which impart their active principles least 
readily, and those which most readily impart 
them should be added afterward. In many 
cases it will be proper simply to infuse tro 



Decoloration. 



136 



Diaphoretics. 



more aromatic substances in the hot decoc- 
tions of the other ingredients, by which means 
their volatile principles will be preserved. 
"When the active principles of the principal 
ingredients are volatile, infusion should be had 
recourse to, instead of boiling. Strength of.— 
Decoctions of substances not exerting a very 
powerful influence on the system may be made, 
as a general rule, by boiling an ounce, if dry, 
or a handful, if green, in a pint of water for 
ten or fifteen minutes. Dose of.— The ordinary 
dose of decoctions thus prepared is a half to a 
wineglassful three or four times daily, or more 
frequently. 

Decoloration. — The blanching or loss of 
the natural color of any substance. Sirups, 
and many animal, vegetable and saline solu- 
tions are decolored or whitened by agitation 
with animal charcoal, and subsequent subsi- 
dence or filtration. Many fluids rapidly lose 
their natural color by exposure to light, especi- 
ally the direct rays of the sun. In this way, 
castor, nut, poppy, and several other oils are 
whitened. By the joint action of light, air, and 
moisture, cottons and linens are commonly 
bleached. The peculiar way in which light 
produces this effect has never been satisfactor- 
ily explained. That it is not dependent on the 
absorption of oxygen, appears evident from 
the fact that contact with air is not always 
necessary, I find that raw castor oil, exposed 
to the sun in a bottle closely corked, will whiten 
with as much rapidity as that in another similar 
sized bottle, placed beside it and left uncorked. 
There is, however, a small quantity of gaseous 
matter given off, which has an odor resembling 
carbureted hydrogen; but in the open bottle, 
oxygen is continually absorbed, certain oily 
acids formed, and some impure carbonic acid 
evolved. When this action is permitted to go 
on for some time, the oil becomes thick and 
rancid, but may be partially restored to its 
former state, by filtration through coarsely 
powdered and freshly burnt animal charcoal. 
The latter substance is commonly employed to 
deprive fish oils of their disagreeable odor, as 
well as to lessen their color. The decoloration 
of textile fabrics and solid bodies generally is 
called bleaching.— Cooleij. 

Decrepitation.— In the vaporization of 
the water of crystallization the substance fre- 
quently makes a crackling noise and portions 
of the substance fly up and are lost; this never 
ought to occur in making an analysis. 

Defecation. —The separation of a liquid 
from its lees, dregs, or impurities by subsidence 
and decantation. It is commonly employed for 
the purification of saline solutions, and glutin- 
ous or unctuous liquids on the large scale, in 
preference to filtration. 

Deflagration.— A kind of roasting effected 
by rapidly heating the substance with some 
additional body as an oxidizing agent, as a 
chlorate or nitrate. Ihe heat should be applied 
gradually. * 

Deliquescence. -The absorption of the mois- 
ture of the atmosphere by substances and their 
solution therein. The term is applied to certain 
salts that by exposure gradually assume the 
liquid state. Such salts are said to be deli- 
quescent. 

Delta Metal. See Alloys. 

Dentifrices. See The Teeth. 

Depilatories. See The Hair. 

Depreciation of Machinery, etc., per 
Annum on First Cost. 



Engines 

Boilers 

Machines 

Millwork and gearing . . 
Bands and belts 



Deprecia- 


Wear and 


tion. 


Tear. 


3% 


3 % 


1% 


3 % 


b% 


3 % 


3% 


w& 




45 % 



Total. 



10 % 
8 % 

45 % 



Desilvering. See Silvering. 

Desiccation.— The drying of substances by 
driving off or evaporating their watery por- 
tion by means of natural or artificial heat, cur- 
rents of air, or exposing them to air rendered 
artificially dry. 

Developer. See Photography. 

Dewrance's Metal. See Alloys. — White 

Metal. 

Dextrine.— British or starch gum. A solu- 
ble substance resembling gum, formed by the 
action of dilute acids at the boiling tempera- 
ture, and by infusion of malt at about 160° F. 
on starch. It is also formed when potato starch 
is heated to 400° Fah. Used extensively in the 
manufacture of mucilages, etc. It resembles 
gum. Its name is derived from the action of 
its solution on polarized light; it causes the 
plane of polarization to deviate to the right. 

Commercial dextrine, or "British gum," is 
obtained by heating dry potato starch to a 
temperature of 750° Fah. in sheet iron trays 
or revol ving iron or copper drums, similar to 
those used in coffee roasting, whereby it is 
transformed into semi-transparent, brownish 
lumps, which are converted into a pale yellow 
powder by grinding between millstones. It is 
completely soluble in cold water, from which 
it may be precipitated by addition of excess 
of strong alcohol. Potato starch is generally 
used, but starch from other sources will an- 
swer. The best tests to ascertain its purity are 
to agitate briskly a few grains of the dextrine in 
a test tube with fifty times its weight of pure 
cold water; then set it aside for 10 minutes. 
Pure dextrine dissolves completely in cold water 
to a clear solution. If not all dissolved pour 
off the solution, add a little water to the residue, 
heat to boiling, let cool, and add a few drops of 
iodine water ; a blue color indicates starch. 

Dextrin Paste. See Pastes. 

Diagrams for Lantern Use.— Take thin 
transparent sheet zylonite or celluloid and wash 
•thoroughly with water. When dry rub with 
fine whiting, to remove all grease. Drawings 
or writing can now be placed on the zylonite 
as easily as on paper. Tracings can be readily 
made which are better than those on gelatine. 
Clamp the finished work between two glasses 
334 by 4 in., and bind the edge with paper. 

Dialysis.— Dialysis means effecting analysis 
by diffusion through porous septa. The appara- 
tus consists of a wooden or gutta percha hoop, 
having a parchment bottom. It is used for the 
separation of all crystallizable bodies from all 
gelatinous bodies, etc. The substance to be 
analyzed, is placed in the dialyzer, and floated 
on pure distilled water. It must be allowed to 
stand thus for at least twenty-four hours, when 
at the end of that time the crystalline sub- 
stances will have passed or diffused through the 
parchment and dissolved in the water, leaving 
the gelatinous matter still in the dialyzer. 

Diamantkitt. See Cements. 

Diamonds, to Test.— Put the stone in a 
leaden cup with some powdered fluorspar and 
a little oil of vitriol. Warm the vessel over 
a fire where there is a copious draught to carry 
off the noxious vapors that will be evolved. 
When these vapors have ceased, stir the mix- 
ture with a glass rod to fish out the diamond. 
A genuine stone will remain- intact, but a fic- 
titious one will be corroded by the hydrofluoric 
acid that has been generated around it. Dan- 

f-erous. Perform only in the open air, if at all. 
Not recommended. — Ed.] 
Diaphoretics. —The medicines which are 
used in illnesses where there is fever and great 
dryness of the skin, to create perspiration. 

Boneset Tea (to Cause Perspiration).—!}^ oz. 
bo: set is stood in 1^ pt. boiling water for half 
an hour, and a wineglassful is administered 
to the patient as hot as he can take it, every 
half hour. 



Diarrhoea. 



137 



Disinfectants. 



Diarrhoea Mixture.— Loomis" 1 Diarrhoea 
Mixture.— Tincture of opium, y 2 fluid oz.; tinc- 
ture of rhubarb, ^ fluid oz.; compound tincture 
of catechu (IT. S. P.), 1 fluid oz.; oil of sassafras, 
20 minims; compound tincture of lavender, 
enough to make 4 fluid oz. 

Squibb'' s Diarrhcea Mixture. — Tincture of 
opium, 1 fluid oz.; tincture of capsicum, 1 fluid 
oz.; spirit of camphor, 1 fluid oz.: purified chlo- 
roform, 180 minims; alcohol, enough to make 5 
fluid oz. 

TI)ielemann , 8 Diarrhcea Mixture.— Wine of 
opium, 1 fluid oz.; tincture of valerian, 1J4 fluid 
oz.; ether, y 2 fluid oz.; oil of peppermint, 60 
minims; fluid extract of ipecac, 15 minims: al- 
cohol, enough to make 4 fluid oz. This prepara- 
tion is practically identical with the "Mixtura. 
Thielemanni " of the Swedish Pharm. 

Vclpeau's Diarrhcea Mixture.— Tincture of 
opium, compound tincture of catechu (IT. S. P.), 
spirit of camphor, each equal volumes. 

Diastase.— A peculiar substance, contained 
in malt, which effects the conversion of starch 
into dextrine and grape sugar. It may be pro- 
cured from a cold infusion of malt, by adding 
alcohol, which precipitates it under the form 
of a tasteless white powder. In this state it is 
freely soluble in water. It appears from ex- 
periments that 1 part of diastase will convert 
2,000 parts of starch into grape sugar. Malted 
barley is said to contain ^ part of this sub- 
stance; yet this small portion is quite sufficient 
to convert the starch of the malt into sugar 
during the operation of mashing, provided this 
be properly conducted. The most favorable 
temperature for this conversion is 140° to 149° 
Pah. 

Digestion.— Is the term used to denote 
the action of liquids upon substances from 
which it is desired to extract the active princi- 
ples, when aUowed to remain upon them for 
some time at a temperature of from 90° to 100°. 
It is sometimes performed at a higher tempera- 
ture, but must always be kept below that at 
which the liquid boils. To secure the uniform 
temperature required, the bath is usually em- 
ployed. 

Digestive Pastilles.— Bismuth subnitrate 
20 parts, calcium phosphate 30 parts, sodium bi- 
carbonate 10 parts, magnesium carbonate 200 
parts, iron carbonate 50 parts, sugar 1,000 parts. 
Flavor with peppermint ; make in pastilles ; 
three to twelve may be taken daily. 

Digestive Pastilles of Borivent— Bismuth sub- 
nitrate 20 parts, calcium phosphate 30 parts, 
sodium bicarbonate 10 parts, magnesium car- 
bonate 200 parts, iron carbonate 50 parts, sugar 
1,000 parts. Flavor with essence of peppermint, 
anise, or orange flowers. Make into pastilles of 
1 grm. each, of which 3 to 12 may be taken 
daily. 

Diluents.— Aqueous liquors which increase 
the fluid part of the body; tea, barley water, 
gruels, etc., are the best known. 

Dip, Carbolicj for Stock.— Receipt for 
making a carbolic dip into which stock may be 
plunged for killing lice and mites. Use soft 
soap 1 gal., heat with 30 gal. of water up to a 
temperature of 140°, then add 1 qt. of crude car- 
bolic acid ; then cool down to 110° and dip the 
sheep or lambs ; but for other animals, pour it 
along the back, so that it runs down the sides. 
Great care must be taken that it is applied to the 
brisket, under the shoulders and thighs. For 
the sheep scab mites the temperature should be 
120°, and the scabs should be completely broken 
up by a corn cob. 

Dips for Brass. See Brass, Coloring 
of. 

Disinfectants and How to Use Them. 

— The National Board of Health, consisting of 
a number of our leading physicians and chem- 
ical experts, of which Prof. C. F. Chandler is 
chairman, have issued the following instruc- 



tions for disinfection, intended especially for 
yellow fever districts, but which are equally 
applicable in other classes of contagious dis- 
eases. 

No reliance can be placed on disinfectants 
simply because they smell of chlorine or car- 
bolic acid, or possess the color of permanganate, 
and that, in general, proprietary disinfectants 
with high-sounding names are practically 
worthless, as they either have no value what- 
ever or, if of value, cost many times as much 
as they are worth, and cannot be used in suffi- 
cient quantity. 

Explanations.— Disinfection is the destruc- 
tion of the poisons of infectious and conta- 
gious diseases. Deodorizers, or substances 
which destroy smells, are not necessarily dis- 
infectants, and disinfectants do not necessarily 
have an odor. Disinfection cannot compen- 
sate for want of cleanliness or of ventilation. 

1. Disinfectants to be employed. — 1. Roll 
sulphur, brimstone, for fumigation. 

2. Sulphate of iron, copperas, dissolved in 
water in the proportion of V& lb. to the gal.; 
for soil, sewers, etc. 

3. Sulphate of zinc and common salt, dis- 
solved together in water in the proportions of 
4 oz. sulphate and 2 oz. salt to the gal.; for 
clothing, bed linen, etc. 

Note. -Carbolic acid is not included in the 
above list for the following reasons: It is very 
difficult to determme the quality of the com- 
mercial article, and the purchaser can never be 
certain of securing it of proper strength; it is 
expensive, when of good quality, and experi- 
ence has shown that it must be employed in 
comparatively large quantities to be of any 
use; it is liable by its strong odor to give a false 
sense of security. 

II. How to Use Disinfectants.— 1. In the Sick 
Room.— The most available agents are fresh air 
and cleanliness. The clothing, towels, bed 
linen, etc., should at once, on removal from 
the patient, be placed in a pail or tub of the 
zinc solution, boiling hot if possible, before re- 
moval from the room. All discharges should 
either be received in vessels containing cop- 
peras solution, or, when this is impracticable, 
should be immediately covered with copperas 
solution. All vessels used about the patient 
should be cleansed with the same solution. 
Unnecessary furniture— especially that which 
is stuffed— carpets, and hangings, when possi- 
ble, should be removed from the room at the 
outset; otherwise, they should remain for sub- 
sequent fumigation and treatment. 

2. Fumigation with sulphur is the only prac- 
ticable method for disinfecting the house. For 
this purpose the rooms to be disinfected must 
be vacated. Heavy clothing, blankets, bedding, 
and other articles which cannot be treated 
with zinc solution, should be opened and ex- 
posed during fumigation, as directed below. 
Close the rooms as tightly as possible, place the 
sulphur in iron pans supported upon bricks, set 
it on fire by hot coals, or with the aid of a 
spoonful of alcohol, and allow the room to re- 
main closed for twenty-four hours. For a 
room about ten feet square, at least two 
pounds of sulphur should be used; for larger 
rooms, proportionally increased quantities. 

3. Premises, cellars, yards, stables, gutters, 
privies, cesspools, water closets, drains, sewers, 
etc., should be frequently and liberally treated 
with copperas solution. The copperas solu- 
tion is easily prepared by hanging a basket 
containing about sixty pounds of copperas in 
a barrel of water. 

4. Body and Bed Clothing, etc.— It is best to 
burn all articles which have been in contact 
with persons sick with contagious or infec- 
tious diseases. Articles too valuable to be de- 
stroyed should be treated as follows: a. Cot- 
ton, linen, flannels, blankets, etc., should be 
treated with the boiling hot zinc solution, in- 
troducing piece by piece, securing thorough 
wetting, and boiling for at least half an hour. 



Disinfectants. 



138 



Dragon. 



h. Heavy woolen clothing, silks, furs, stuffed 
bed covers, beds, and other articles which can- 
not be treated with the zinc solution, should 
be hung in the room during fumigation, pock- 
ets being turned inside out, and the whole gar- 
ment thoroughly exposed. Afterward they 
should be hung in the open air, beaten, and 
shaken. Pillows, beds, stuffed mattresses, up- 
holstered furniture, etc., should be cut open, 
the contents spread out and thoroughly fumi- 
gated. Carpets are best fumigated on the 
floor, but should afterward be removed to the 
open air and thoroughly beaten. 

5. The corpses should be thoroughly washed 
with a zinc solution of double strength, then 
wrapped in a sheet wet with the zinc solution, 
and buried at once. Metallic, metal-lined, or 
air-tight coffins should be used when possible, 
certainly when the body is to be transported 
for any considerable distance. 

Eckstein finds that bleaching powder is the 
most effective disinfectant for privies, urinals, 
etc., inasmuch as it rapidly decomposes hydro- 
gen compounds, such as ammonia, sulphuret- 
ed hydrogen, etc. It is conveniently applied 
in a bag made of parchment paper, through 
which the disinfectant slowly passes by osmosis. 
Comparative experiments made in the author's 
house (where at least one hundred persons 
use the closets daily) gave the following 
results : 

1. 2 lb. sulphate of iron (green vitriol) dis- 
solved in water prevented the production of 
smell for two or three nours, and had wholly 
lost its preservative action in twelve hours. 

2. Sulphate of copper in solution produced 
the same result. 

3. 2 lb. solid sulphate of iron or sulphate of 
copper acted as a disinfectant for two full days. 

4. A mixture of iron and copper sulphates 
and carbolate of lime (2 lb. in all) only remained 
active for two days. 

5. Solution of sulphurous acid lost its action 
quickly ; it was perceptible to the respiratory 
organs for an hour. 

6. Crude carbolic acid filled the house with a 
peculiar tarry odor for two days. This was so 
powerful that it could not be determined wheth- 
er the smell of the f aecal matter was decompos- 
ed or merely hidden by a more powerful odor. 

7. 2 lb. sulphate of iron in a parchment paper 
bag only became active after two hours, and 
remained active for full three days, at the end 
of which time the bag contained a muddy 
liquor destitute of smell. 

8. 2 lb. good commercial bleaching powder in 
a parchment bag became active in two hours, 
and remained efficacious for full nine days, 
without in the least affecting respiration or 
smell. 

9. Crude permanganate of soda disinfected 
immediately, but only lasted for one day. In a 
parchment paper bag the same quantity lasted 
two days. 

10. As regards remedies which prevent the 
further development of spores, the following 
results were obtained. The first number means 
retarding the development, the rest totally 
preventing it: 

Corrosive sublimate ....1 : 1,600,000 1:320,000 

Oil of mustard 1:330,000 1:33,000 

Arsenite of potash 1 : 100,000 1 : 10,000 

Thymol 1 i 80,000 

Oil of turpentine 1 : 75,000 

Hydrocyanic acid 1 : 40,000 1 : 8,000 

Oil of peppermint 1 : 33,0u0 

Chromic acid 1.: 10,000 1 : 5,000 

Picric acid 1:10,000 1:5,000 

Iodine 1:5,000 

Salicylic acid .1 : 3,300 1 : 1,500 

Permang. of potash 1 : 3,000 

Muriatic acid . 1 : 2,500 1 : 1,700 

Camphor 1 : 2,500 

Eucalyptol 1 : 2,500 

Benzoic acid 1:2,000 

Borax 1:2,000 1:700 

Carbolicacid 1:1,250 1:300 



Recent researches have demonstrated that 
many of the agents which have been found 
useful as deodorizers, or as antiseptics, are en- 
tirely without value for the destruction of dis- 
ease germs. 

Antiseptic agents, however, exercise a re- 
straining influence upon the development of 
disease germs, and their use during epidemics 
is to be recommended when masses of organic 
material in the vicinity of human habitations 
cannot be completely destroyed, or removed, 
or disinfected. 

A large number of the proprietary "disin- 
fectants, 1 ' so called, which are in the market, 
are simply deodorizers or antiseptics of greater 
or less value, and are entirely untrustworthy 
for disinfecting purposes. 

Displacement. See Percolation. 

Distillation is the vaporizing a liquid in 
one vessel, and conducting it in this condition 
to another, where it is condensed and collected. 
It may be used for separating liquids from 
solid substances with which they are mixed, 
for separating more volatile liquids, as ether or 
alcohol, with which they are mixed, from 
others less so, and for impregnating liquids 
with the volatile principles of plants, etc., as in 
the preparation of the aromatic spirits, cologne 
water, etc. It may be performed in a small 
way with a glass retort and receiver, the heat 
applied by a spirit lamp, and the condensation 
effected by placing the retort in a vessel of 
cold water, or surrounding it with a cloth wet 
with cold water. 

Diuretics.— Those medicines promoting the 
secretion of urine; the principal diuretics being 
those which act by increasing the watery por- 
tion of the blood. 

Buchu Leaves.— 1 oz. of leaves are infused in 
1 pt. of boiling water for three or four hours. 
Dose : A wineglassf ul three times a day. 

Dolls' Heads, Composition for.— Take 
50 parts pulverized clay slate and mix it with a 
paste already compounded of 20 parts paper 
pulp and 30 parts plaster of Paris and water q. s. 
This is then ready for casts. 

Dominical Letter, to Find.— Rule: 
Divide the number of centuries and the years 
of the given century each by 4, and the years 
again by 7 ; multiply the remainders respect- 
ively by 2, 2, and 4; add together the three pro- 
ducts, and increase their sum by 1 : then divide 
the whole sum by 7, and the remainder will be 
the ordinal number of the dominical letter re- 
quired. If remain, it will be the 7th, or G. In 
bissextile years two dominical letters are used. 
Example: 1884. 

*£= 4 and 2 rem. 2X2=4 
8 <r 4 = 21 and rem. 0x2 = 
8 7 4 = 12 and rem. 0x4 = 

4 
Addl 



which, being less than 7, is the ordinal number 
for E ; it being a bissextile year, F precedes E 
until the 1st of March, the order of the letters 
being reversed as applied to the succeeding 
years. 

Door Plates, Composition for. See 
Compositions. 

Doors, to Prevent the Creaking of.— 

Rub a little soap on the hinges; or, make a 
mixture of equal parts of lard, black lead, and 
soap, and apply. 

Dragon's Blood. (Sanguis Draconis.)— A 
rich, red colored resin, obtained from various 
species of the genus Calamus. Its color in the 
lump is a dark, brownish red; in powder bright 
red. It is friable, breaks with a shining fracture, 
and has a sp. gr. not higher than 1*196 or 1*197. 
When pure, it readily dissolves in alcohol, 
ether, and oils, yielding rich red transparent 
solutions. Adulterated and factitious dragon's 



Drawing. 



139 



Driers. 



blood is only partly soluble, and lacks the rich 
color of the genuine article. Dragon's blood is 
chiefly used to tinge varnishes and lacquers. 

Factitious Dragon's Blood.— Red sanders, 7 
parts; yellow resin, 9 parts; castor oil, 2 parts; 
benzoic acid, 3 parts; oxalate of lime, 1 part; 
phosphate of lime, 2 parts. Mix, with heat. 

©rawing Crayons. See Crayons. 

Drawings, to Color.— For coloring draw- 
ings the most soluble, brilliant, and transparent 
water colors are used; this particularly applies 
to plans and sections. The color is not so much 
intended to represent that of the material to 
be used in the construction as to clearly dis- 
tinguish one material from another employed 
on the same work. The following table shows 
the colors most employed by the profession : 
Carmine of crim- j For brickwork in plan or 

son lake \ section to be executed. 

I Flintwork, lead, or parts 

Prussian blue < of brickwork to be re- 

( moved by alterations. 

Venetian red Brickwork in elevation. 

Violet carmine Granite. 

Raw sienna English timber (not oak). 

Burnt sienna Oak, teak. 

Indian yellow.... Fir timber. 
Indian red.... . . Mahogany. 

Sepia Concrete works, stone. 

Burnt umber Clay, earth. 

Payne's gray \ C ^ n i . ron ' rough ^ ou Sht 

Dark cadmium.. Gun metal. 

Gamboge Brass. 

Indigo W ••ought iron (bright). 

'"tlffeS^.I Steel (bright). 
Hooker's green... Meadow land 
Cobalt blue Sky effects. 

And some few others occasionally for special 
purposes.— Mechanie''s Own BooJi. 

Drawings, to Fix.— 1. Immerse the draw- 
ing in skimmed milk. A special fixative is sold 
for the purpose by dealers in art materials. 
Collodion, if very thin, might be used with ad- 
vantage; often used for manuscripts. 

2. Flow with, very thin collodion. 

3. 2 tablespoonf uls of rice boiled in 1 pt. or 
V/z pt. of water; strain, and pass the drawing 
quickly through the liquid; use a large flat dish 
for the liquid. 

4. Prepare water starch, in the manner of the 
laundress, of such a strength as to form a jelly 
when cold, and then apply with a broad camel 
hair brush, as in varnishing. The same may be 
done with thin cold isinglass water or size, or 
rice water. 

Drawing on Glass.— To write or draw on 
glass, it is necessary to impart to the surface 
a certain degree of roughness. This may be 
done by grinding or etching, but much more 
easily by applying some appropriate varnish. 
A good matt varnish is made by dissolving in 2 
oz. of ether, 90 grms. of sandarac and 20 grms. 
mastic, and adding benzol, y%, oz. to 1% oz., ac- 
cording to the fineness of the matt required. 
The varnish is applied to the cold plate after it 
has set. The glass may be heated to in- 
sure a firm and even grain. To render the 
glass again transparent, after writing upon it, 
apply with a brush a solution of sugar or gum 
acacia. 

Still better as a surface for writing or draw- 
ing is a varnish of sugar. Dissolve equal parts 
of white and brown sugar in water to a thin 
sirup, add alcohol, and apply to hot glass plates. 
The film dries very rapidly, and furnishes a 
surface on which it is perfectly easy to write 
with pen or pencil. The best ink to use is 
India ink, with sugar added. The drawing can 
be made permanent by varnishing with a lac 
or mastic varnish. 

Drawing Ink. See Inks. 

Drawing Instruments, to Clean. See 
Cleansing. 



Drawings, Lacquer for. See Lac- 
quers. 

Drawings or Paper, Mounting on 
Linen.— The linen or calico is first stretched 
by tacking it tightly on a frame or stretcher. It 
is then thoroughly coated with strong size, and 
left until nearly dry. The sheet of paper to be 
mounted requires to be well covered with 
paste; this will be best if done twice, leaving 
the first coat about ten minutes to soak into 
the paper. After applying the second coat, 
place the paper on the linen and dab it all over 
with a clean cloth. Cut off when thoroughly 
dry. 

Drawings, to Mount and Varnish.— 

Paste the drawing on the background. Flour 
paste is as good as any; and when it is dry, size 
the surface with a solution of gum arabic or 
white glue. When that is dry, use any varnish 
you please. For a delieate picture or drawing, 
dammar varnish is the best; but it must be ap- 
plied rapidly to secure an even surface. 

Drawing Paper. See Paper. 

Drawing Paper, to Prevent Oil 
Spreading on.— Dissolve *4 oz. clear gela- 
tine in 6 oz. hot water, strain and apply to 
paper. Let it get dry before painting. 

Drawing Paper, to Fix on Drawing 
Boards.— Take a sheet of drawing paper and 
damp it on the back side with a wet sponge 
and clean water. While the paper is expand- 
ing, take aspoonful of wheat flour, mix with a 
little cold water, and make it a moderately thick 
paste; spread the paste round the edge of the 
drawing paper 1 in. wide with a feather, then 
turn the drawing paper over and press the 
edges down on the board. After this take four 
straight pieces of deal wood, % in. by 2J4 in. 
wide; place them on the edge of the drawing 
paper, and put a large book or heavy weight 
on each corner to make the paper adhere firm- 
ly to the board. In about an hour's time the 
paper will be straight and even, and quite 
ready for executing a drawing. When the 
drawing is finished, take a sharp knife and 
raise one corner of the paper, then take a 
scale, run it round the edges, and the paper wiil 
come off easily. Turn it over and take the dry 
paste off with a knife, and all will be perfectly 
clean, and no paper will be wasted. 

Dimensions of Drawings for Pa- 
tents, United States. — All of drawing 
and signature to be within marginal line of 
8x13 in. Leave 1 in. margin, making the paper 
10x15 in. 

Dra wrings, to Trace. — Tf the paper upon 
which the tracing is to be made is soaked with 
benzine by means of a cotton pad, sopping it 
into the pores of the paper, the latter will be- 
come so transparent that the most delicate 
lines and tints may be seen more readily than 
through the finest tracing paper. Indian ink, 
water colors, or pencil take equally well upon 
paper thus treated, and last better than upon 
any other kind of tracing paper. Any kind 
of opaque drawing paper in ordinary use may 
be employed for this purpose, stretched in the 
usual manner over the drawing to be traced. 
The benzine rapidly evaporates, and the paper 
resumes its original opaque appearance without 
showing the slightest trace of the process to 
which it has been subjected. When large pic- 
tures are to be traced, the benzine should only 
be applied to a part of the paper at a time, in 
accordance with the progress of the work. 

Drawings, Varnish for. See Var- 
nishes. 

Driers.— 1. For a liquid drier, boil 1 qt. linseed 
oil for an hour with a pound of finely powdered 
binoxide of manganese. For a solid drier use 
borate of manganese in powder, or mixed with 
oil. 

2. Cobalt and Manganese Benzoates.— Benzoic 
acid is dissolved in boiliug water, the liquid be- 



Driers. 



140 



Drowned, 



ing continually stirred, and neutralized with 
cobalt carbonate until effervescence ceases. 
Excess of carbonate is removed by filtration, 
and the liquor is evaporated to dryness. The 
salt thus prepared is an amorphous, hard, 
brownish material, which may be powdered 
like rosin, and kept in the pulverulent state in 
any climate, simply folded in paper. Painting' 
executed with a paint composed of 3 parts 
of this drier, with 1,000 of oil and 1,200 of zinc 
white, dries in 18 to 20 hours. Manganese 
benzoate is prepared in the same way, sub- 
stituting- manganese carbonate for that of 
cobalt. Applied under similar circumstances, 
it dries a little more rapidly, and a little less is 
required. Urobenzoic (hippuric) acid is equally 
efficacious. 

3. Cobalt and Manganese Borates.— These 
salts also, in the same proportions, are found to 
be of equal efficacy. The latter is extremely 
active, and requires to be used in much smaller 
proportions. 

4. Resinates. — If an alkaline resinate of pot- 
ash or soda be dissolved in hot water, and 
this solution be precipitated by a solution of 
a proportionate quantity of cobalt or man- 
ganese chloride or sulphate, an amorphous re- 
sinate is formed, which, after being collected on 
cloth filters, washed, and dried, forms an excel- 
lent drier. 

5. Zumatic (Transparent) 
Drier. — Take zinc carbonate, 
90 lb.; manganese borate, 10 
lb.; linseed oil, 90 lb. Grind 
thoroughly, and keep in 
bladders or tin tubes. The 
latter are preferable. 

6. Zumatic (Opaque) Drier. 
—Manganese borate, as a 
drier, is so energetic that it 
is proper to reduce its ac- 
tion in the following way: 
Take zinc white, 25 lb.; man- 
ganese borate, 1 lb. Mix 
thoroughly, first by hand, 
then in a revolving drum; 
1 lb. of this mixed with 20 lb. 
paint insures rapid drying. 

7. Manganese Oxide.— Puri- 
fied linseed oil is boiled for 
6 or 8 hours, and to every 100 
lb. boiled oil are added 5 lb. 
powdered manganese perox- 
ide, which may be kept sus- 
pended in a bag, like litharge. 
The liquid is boiled and stir- 
red for 5 or 6 hours more, 
and then cooled and filtered. 
This drying oil is employed 
in tbe proportion of 5 to 10 
per cent, of the zinc white. 

8. Guynemer's.— Take pure 
manganese sulphate, 1 part; 
manganese acetate, 1 part; 
calcined dnc sulphate, 1 
part; white zinc oxide, 97 
parts. Grind the sulphates 
and acetate to impalpable 
powder, sift through a metal- 
lic sieve. Dust 3 parts of 
this powder over 97 parts of 
zinc oxide, spread out over 
slab or board, thoroughly 
mix, and grind. The result- 
ing white powder, mixed in 
the proportion of H or 1 per 
cent, with zinc white, will en- 
ormously increase the dry- 
ing property of this body, 
which will become dry in ten 
or twelve hours. 

In using driers, observe that you (1) do not 
employ them needlessly with pigments which 
dry well in oil color, (2) nor in excess, which 
would retard the drying, (3) nor add them to 
the color until about to be used, (4) nor use 
more than one drier to the same color, (5) nor 



use any at all in the finishing coat of light 
colors.— Mechanics' Own Book. 

9. A good drier for paints is made by grinding 
or dissolving a small quantity of sugar of lead 
in linseed oil. 

10. Drier for Oil Colors and Varnishes.— Water 
100 parts; gum lac, 12 parts; boi*ax, 4 parts. 

11. Driers (Painters').— Litharge (best) ground 
to a paste, with drying oil. For dark colors. 

12. White copperas and drying oil; as the last. 

13. Sugar of lead and drying oil. The last two 
are for pale colors. 

14. White copperas and sugar of lead, of each 
1 lb. ; pure white lead, 2 lb. For " whites," 
and opaque light colors, grays, etc. Driers 
are employed, as the name implies, to increase 
the drying and hardening properties of oil 
paints. A little is beat up with them at the 
time of mixing them with the oil and turpen- 
tine for use. 

Drills, to Harden. See Hardening. 

Drills, to Temper, See Tempering. 

Dross.— The sullage, scurf, oxide, and other 
impurities which are skimmed off the top of 
molten metals, or which accumulates in the 
head or in the riser. 

Drowned.- Rules for Artificial Respiration 
in the Treatment of the Disowned— Rule I. (Fig. 
1.)— To Drain and Force Water from the Lungs 




Fig. 1, 




and Stomach.— Instantly place patient face 
downward, a hard roll of clothing being placed 
beneath the pit of the stomach, to raise it as 
much as possible above the level of the mouth. 
Put one wrist of the patient under his forehead 
to raise his mouth off the ground. With hands 



Druxey. 



141 



Dyeing. 



well spread upon the patient's back, above the 
roll of clothing, throw upon it yOur whole 
weight with a forward motion, and keep up the 
pressure about three seconds, so as to force all 
water from the stomach and lungs out of the 
mouth, ending the pressure with a push whicb 
will help to jerk you back to your upright po- 
sition. Repeat this once or twice, and then 
quickly proceed with— 

Rule II. (Fig. 2.) — To make the patient 
breathe.— Turn the patient face upward, the 
same hard roll of clothing being now beneath 
his back, the shoulders slightly drooping over 
it. Bend the head backward and downward, 
putting the throat on the stretch to the ut- 
most. Place the hands of the patient on the 
top of his head; one twist of a handkerchief 
or string around the crossed wrists will keep 
them there. Rip or strip all clothing from 
waist and neck. Now kneel astride the patient's 
hips. Grasp the front part of the chest on both 
sides of the pit of the stomach, your thumbs 
pointing to patient's chin, and your fingers fit- 
ting into the grooves between the short ribs. 
Fix your elbows firmly, making them one with 
your sides and hips, and then, firmly pressing 
the sides of the patient together, and using 
your knees as a pivot, throw yourself slowly 
forward two or three seconds until your face 
almost touches the face of the patient, and 
your whole weight presses upon his chest. End 
this pressure with a short push which suddenly 
jerks you back again to the upright kneeling 
position. 

Rest three seconds while the ribs spring back; 
then repeat this bellows-blowing movement 
as before, gradually increasing the rate from 
' seven to ten times a minute; but take the ut- 
most care, on the occurrence of a natural 
gasp, not to interrupt it; but, as the ribs fall, 
gently press them and deepen the gasp into a 
longer breath, Continue this until the natural 
breathing, which you are imitating, needs no 
further assistance. If all fails, keep on, be- 
cause any moment within an hour's effort 
you may be unexpectedly rewarded with suc- 
cess. 

Avoid impatient vertical pushes; the force 
must be upward and inward, increased gradu- 
ally from zero to the maximum the age, sex, 
etc., may indicate. 

If a second person be present and can do it, 
the tongue should be held out of one corner of 
the mouth by the thumb and finger, armed 
with a piece of dry cotton or linen rag. (Fig. 
2, a.) 

We take our illustrations from the London 
Lancet. 

Druggists' Show Bottles. See Show 
Bottles. 

Druxey.- Timber in a state of decay, with 
white, spongy veins. 

Dubbing.— Resin, 10 lb.; tailow, 5 lb.; train 
oil, 5 gal. 

Ductility.— That property of metals in 
virtue of which they can be drawn out into 
wires. This property depends partly on mal- 
leability, but chiefly upon the tenacity of the 
particles composing the metal. 

Dusting Powders. See Powders. 

Dyes for the Hair. See The Hair. 

Dyeing.— Dyeing receipts in receipt books 
are frequently unreliable, either on account of 
being obtained from some other source than 
the practical dye, or in consequence of being 
antiquated. Failures will inevitably result 
if the minute details of the art are not well un- 
derstood. The dyeing receipts here given are 
mainly selected from t'he writings of Crookes, 
Gardner, and Reimann, and are probably the 
most reliable that can be obtained ; the more 
complex formulas are intended solely for the 
use of the practical dyer. The quantities can, 
of course, be reduced to render them propor- 



tionate to the quantity of goods to be dyed. 
The source of the receipt will be indicated by a 
capital letter placed at the bottom of each 
recei pt. C. for W. Crookes. G. f or J . Gardner. 
R. for Reimann. 

General instructions in the art of dyeing, 
mordants, raising agents, etc., are given before 
the classified receipts. 

The tinctorial arts, in the widest sense of the 
term, include the production of color on or- 
ganic fibers and surfaces of the most varied 
kinds— silk, hair, wool, leather, fur, feathers, 
bone, ivory, horn, Avood, cotton, tlax, jute, 
hemp, paper, etc.— whether in their original 
condition or after having undergone some 
manufacturing process. Where the object in 
view is to obtain one uniform color over the 
entire surface, the process is called staining, if 
the material taken in hand is wood, bone, ivory, 
or paper; and it is called dyeing if the sub- 
stance is a fiber capable of being spun or woven 
or the threads or tissues obtained from such 
fibers. These distinctions, however, are not 
very closely observed and have no better basis 
than custom. 

General Instructions for Dyeing.— We will first 
notice the vessels used to receive and contain 
the goods to be dyed, the coloring matters, and 
the water necessary to hold the latter in solu- 
tion. They are called by a variety of names, as 
vats (German Kuepe)—& term generally re- 
stricted to indigo work— becks, troughs, pans, 
kettles, baths, " holes," cisterns, etc. The ma- 
terial of which they are constructed differs 
according to the kind of work to be done. For 
blacks and other dark colors, iron and copper 
are often employed. For bright or light 
shades, such as the bulk of the aniline colors, 
cochineal and safnower work, etc., block tin is 
preferable : it is not easily acted upon by such 
feebly acid and alkaline solutions as are used in 
dyeing; and if a trace of the metal is dissolved, 
it is not calculated to deprive the color of its 
luster and purity. Block tin has the further 
advantage that the dyer, on beginning a fresh 
lot of goods, can easily see whether the pan is 
perfectly clean. Its chief defect is the com- 
paratively high expense. 

Whether an open fire or steam is preferable 
is a question on which there is some difference 
of opinion; but where an exact regulation of 
heat is essential, e. g., when the temperature 
has to be gradually raised to a boil within a 
certain time, or when a given degree of the 
thermometer must not be exceeded, steam will 
be found the more convenient. 

The goods before being entered in the dye 
pan require to be thoroughly wetted; without 
this precaution there is danger of the color 
working on irregularly. 

It is in most cases necessary that the goods 
during the process of dyeing should be kept in 
motion, either from time to time or constantly. 
One method of insuring regularity in dyeing, 
especially in the case of colors which work very 
readily on to the fiber, is to add the required 
quantity of dye, not all in one dose at the be- 
ginning of the pi*ocess, but to divide it into 
portions or introduce them by degrees. Such 
precautions are more necessary for wool and 
silk than for cotton and lieen, which take up 
most colors less readily. 

Another point to be attended to for insuring 
evenness is to begin dyeing at a low tempera- 
ture, which is gradually raised to a boil. In 
many of the dyeing receipts which f ollow this 
precaution is prescribed as necessary. Some- 
times the various dye wares have to be all 
boiled up together in the dye pan at the outset, 
but in such cases it is mostly necessary to cool 
before entering* the goods. 

The care taken to bring all portions of the lot 
of goods dyed at once to the same shade of 
color is greater in case of yarns than of loose 
unspun wool and cotton wool. Any Little ir- 
regularity of depth in the latter disappears 
when the fibers are mixed and worked up to- 



Dyeing. 



142 



Dyeing. 



gether in the mechanical operations to which 
they are next submitted. To such an extent is 
this the case that gray woolen yarns are often 
produced by scribbling" up together undyed 
wool with a certain proportion of black and of 
deep vat blue wool and then spinning the mix- 
ture. In piece goods the necessity for perfect 
evenness is the greatest, since if an error is 
once made it cannot disappear in any subse- 
quent operation. 

As the process of dyeing a lot of goods goes 
on, little bits of the yarn or small swatches 
from the end of the piece are from time to time 
cut off and compared with the pattern. In case 
of piece goods, it is often more convenient to 
fasten loosely to the end or side of the piece 
some small swatches of the same kind of ma- 
terial for the purpose of examination. In com- 
paring such trial bits with the pattern, the dyer 
should have the advantage of a north light— 
the direct rays of the sun being deceptive in 
comparing colors. He will notice whether the 
shade is hit, or whether a more prolonged work- 
ing or the addition of a trifle more of any of 
the dye wares is needful. It must be remem- 
bered that no two samples of dye wares can be 
found exactly equal in strength, and that the 
appetite for color, if it may be so expressed, of 
wools and cottons of different growths and dif- 
ferent seasons varies, so that the use of a fixed 
proportion of ware to a given weight of goods 
will not always give exactly the same shade. 
Hence constant watchfulness is needed. 

In comparing the trial bit with the pattern, 
they are generally first placed side by side be- 
low the eye, and looked down upon, thus judg- 
ing by reflected light. They are next compared 
" over hand,' 1 , i. e., they are held up to the light, 
and the eye is directed along the surface, thus 
catching the light transmitted through a por- 
tion of the fiber. A judgment must be formed 
quickly, as a prolonged gaze at bright colors, e. 
(/., magenta, eosine, cochineal scarlet, etc., 
fatigues the eye and renders it unable to per- 
ceive nice grades of difference. 

When the exact shade has been hit, the fur- 
ther treatment of the goods varies. In most 
cases rinsing in water is required, sometimes at 
once ; at other times not till the goods have had 
timetocool. With some particular colors rins- 
ing is not admissible at all. 

Intermediate rinsings, in the course of a dry- 
ing process, are often required, e. g., after the 
goods have been mordanted, before entering 
them in the color bath, the object being not to 
introduce into the latter any mordant, etc., 
which has not become attached to the fiber, but 
is merely held in a loose state between the 
threads. 

It is sometimes necessary before adding either 
mordants or dye wares to the water to be used 
in a dyeing process to " clear it," by letting it 
boil up in the beck or pan to be used, with a 
little of the mordant to be employed, and care- 
fully skimming off any impurities which rise to 
the surface. It need scarcely be said that if the 
pan is clean and the water pure, no such im- 
purities can collect and the process is needless. 

After rinsing follows the final operation, dry- 
ing. This is generally performed in a room 
well ventilated, not too copiously lighted, and 
heated by means of steam pipes. Safflower 
shades should be dried in the dark, and without 
any rise of temperature, in a current of cold 
air. 

Where the air is free from smoke, acid fumes, 
etc., many colors may, in favorable weather, 
be dried in the open air. This is very generally 
done^with vat blues, cochineal scarlets, etc.— C. 

Specific gravity— a very important considera- 
tion for acids, dilutions of mordants, extracts 
of dye wares, etc. — is expressed in this book 
in Twaddell's scale, as commonly used in manu- 
facturing establishments. On this scale the 
specific gravity of water = 0. It is readily con- 
verted into direct specific gravity by the fol- 
lowing simple calculation. To convert Twad- 



dell into direct specific gravity, multiply by 5, 
considering the product as decimals, and add to 
it 1*000. Thus if a sample of oil of vitriol marks 
168° = Tw., we have— 
168 
5 

0*84.0 
1-000 

1*840 the direct specific gravity. 
On the other hand, if the strength of a liquid 
has been taken by direct specific gravity, we 
find the corresponding degree Twaddell by sub- 
tracting TOGO, and dividing the remainder by 5. 
Thus, if the direct specific gravity of a sam- 
ple of muriatic acid be 1*160, then— 
1*160 
1*000 

5)160 

32°, the degree Twaddell. 

Baume's scale, persistently used on the Con- 
tinent, cannot be recommended, as it bears no 
simple relation either to direct specific gravity 
or to Twaddell. 

For indicating degrees of heat the ordinary 
scale— Fahrenheit's— has been used.— C. 

Mordants.— 1. Alum Mordants.— Of these com- 
pounds the best known and oldest is common 
alum, which exists under two distinct forms, 
potash alum and ammonia alum. The former 
of these is a double sulphate of alumina and 
potash, containing 10 per cent, of alumina, 33 
per cent, of sulphuric acid, and 45 per cent, of 
water. Three-fourths of the water is driven 
off at the heat of 140° F. One part of alum, at 
54° F., dissolves in thirteen times its weight of 
water, in twice its weight at 122° F., and at 189° 
F. in less than one-tenth of its own weight. 

The most important of the aluminous mor- 
dants for the cotton dyer and tissue printer is 
the acetate of alumina, known also as pyrolig- 
nite of alumina, red mordant, and especially as 
red liquor. 

The following receipts are given by D. 
Kochelin : 

No. 1. No. 2. No. 3. No. 4. 
Water (gallons). ..45 45 45 45 

Alum (lb.) 100 100 200 190 

Sugar of, lead (lb.).. 100 129 200 190 

Soda crystals (lb.).. 10 10 10 19 

The way of mixing is as follows : the alum is 
broken up and dissolved in the water at 140° F , 
the soda crystals are next added and stirred till 
dissolved, and the sugar of lead is then added in 
a coarse powder and stirred for a long time, re- 
peating the stirring from time to time during 
two or three days. Of these mordants Nos. 1 
and 2 are for calico, No. 1 being less suitable for 
gum colors than No. 2. Nos. 3 and 4 are suit- 
able for muslin. 

The two following red liquors are made from 
acetate of lime: 

Acetate of lime, at 24° Tw. 50 90 gal. 

Alum 200 —lb. 

Sulphate of alumina — 272 lb. 

Ground chalk........... .. 12 341b. 

To prepare these liquors the acetate of lime is 
first heated to 140° F., the alum or sulphate of 
alumina is then added and stirred till dissolved, 
and the chalk is added by degrees. The mix- 
ture is well stirred till nearly cold, let settle, 
the clear liquid decanted off-, and the sediment 
drained on a woolen filter. 

The first of these mixtures gives the deepest 
red in madder work, and the second is for mix- 
ing with black liquor to produce chocolates. 

For a '•resist" red liquor take— water, lgal. ; 
alum, 5 1b.; .sugar of lead, 2J4 lb. ; crystals of 
soda, "4 lb. 

Dissolve the alum and the soda crystals in one 
portion of the water and the sugar of lead in 
the other. When dissolved mix, let settle, and 
draw off the clear.— C. 



Dyeing. 



143 



Dyeing. 



Mordant, alum, an alum, with one-fourth its 
weight of tartar, acetate of alumina. This is 
commonly prepared in a solution for the pur- 
pose ; 100 parts of alum, in solution, with 150 
parts of pyrolignite of lime of 20° density, is 
sometimes employed [.not recommended]. 

A solution of alum with crystallized carbonate 
of soda, in the proportion of 1 oz. to each lb. of 
alum. 

This is a solution of alum with sufficient 
strong solution of caustic potash to redissolve 
the precipitated alumina, to which mixture a 
portion of linseed oil is added. 

To 50 gal. of boiling water add 100 lb. of alum; 
dissolve, and add slowly 10 lb. of crystallized 
carbonate of soda. When the effervescence is 
over, add 75 lb. of sugar of lead. 

Antimony Mordants.— The double tartrate of 
antimony and potash, commonly known as tar- 
tar emetic, is used to some extent in fixing the 
aniline colors in conjunction with tannin. Its 
price and its evil reputation as a poison are dif- 
ficulties in the way of its more extended use. 

A cheaper compound lately used in dyeing is 
the "oxymuriate" (not oxychloride), or mu- 
riate of antimonic oxide, made by dissolving 
the black sulphuret of antimony in strong boil- 
ing muriatic acid. It gives bad results if, as is 
frequently the case, it is contaminated with 
iron. 

The behavior of antimony with coloring 
matters has not yet been sufficiently studied. 

Arsenical Mordants.— Arsenic in many cases 
plays the part of an alterant rather than of a 
mordant. Arsenite of soda, along with red 
liquor, is very frequently used in printing 
aniline colors upon cotton. The result of the 
reaction is the production of an insoluble 
arsenite of alumina which attaches itself to the 
fiber, and in which the coloring matter is en- 
tangled. 

Chromium Mordants.- Chromium yields two 
distinct classes of mordants, both of extensive 
use. In the state of chromic acid, combined 
with potash or with soda, it plays a very im- 
portant part along with the woods in dyeing 
blacks, browns, bottle greens, olives and a 
variety of sad colors. There are two chromates 
of potash, the bichromate, red chromate, bi- 
chrome, and sometimes merely chrome, being 
the most generally employed. 

Copper Mordants.— Acetate of copper, com- 
monly known as verdigris, is met with of differ- 
ent kinds, the principal of which are the blue 
and the green. Both these compounds, are or 
were chiefly imported from the south of France. 
Verdigris, however, is very commonly made in 
the liquid state by a process very similar to 
the preparation of red liquor. In, e. gr., a gal. 
of water at about 160° F., 4 lb. of bluestone 
and 4 lb. sugar of lead are dissolved with fre- 
quent stirring. When this is completed the 
liquid is left to settle and the clear is decanted 
off for use. 

Verdigris is used in printing and dyeing 
blacks on silks and on hats ; in logwood blues 
on woolens ; in catechu colors, where it acts as 
an oxidizing agent, in resists for dip blues, 
and in certain steam colors. 

Iron Mordants.— The compounds of iron play 
a very important part in dyeing and printing 
processes, chiefly for the production of the 
darker and sadder shades— blacks, browns, 
olives, chocolates, curtain blues, and violets, 
etc. They are much better applicable to cot- 
ton and silk than to wool, 

The iron compound most commonly used in 
printing is the acetate or pyrolignite, known 
more generally as black liquor, iron liquor, or 
sometimes confusingly as black iron. 

Black liquor as commonly met with in com- 
merce has a specific gravity ranging from 18° 
Tw. to 28° Tw„ It has an olive color, a peculiar 
tar-like smell, and an inky taste. It is some- 
times made by mixing together solutions of 
the acetate of lime, or of brown sugar of lead, 



and of copperas, and after letting the mixture 
stand to settle, drawing off the clear for use. 

A persulphate of iron (ferric sulphate) or red 
sulphate is sometimes employed. It is generally 
made by adding to a solution of copperas half as 
much sulphuric acid as it already contains, i. e., 
18# oil of vitriol, and heating the mixture, 
adding from time to time small quantities of 
nitric acid to peroxidize the iron. 

It forms a pale yellow solution. 

Black Mordant.— A mixture of bichromate of 
potash with refuse saline matter, and with 
some boneblack of low quality, ground to a 
fine powder. 

I- or pale blue upon silks, or for blues which 
have to be converted into greens, many dyers 
prefer a blue iron made from the metal in the 
following manner : 

Double aquafortis, 64° Tw., is let down with 
water to half strength. A quantity of this is 
put in a stoneware bowl, and clippings of clean 
sheet iron are added so long as they dissolve 
rapidly with the escape of reddish vapors. The 
finished product should stand at about 43° or 
44° Tw. 

If iron is still added after the escape of 
orange vapors has ceased, the product will be 
mainly a yellowish mud, of no use in dyeing. 

Iron filings or turnings and rusty or greasy 
iron must not be used. 

For deeper and richer shades of blue, either 
of the two following blue irons may be taken : 

a. Nitrate of soda, refined, 24 lb.; oil of 
vitriol, 20 lb.; water, 15 gal. Scrap iron as re- 
quired. 

b. Nitrate of soda, 16 lb.; oil of vitriol, 20 lb.; 
cold water, 13 gal. Scrap iron as required. 

In either case the nitrate of soda is first dis- 
solved in the water, and the oil of vitriol and 
the iron are added by degrees. A brisk action 
must be kept up, but the heat should not be let 
become excessive. These preparations should 
not be made in very large quanties at a time, as 
they do not keep well. Tne nitrate of soda 
used should be free from common salt— chlo- 
ride of sodium.— C. 

Tin Mordants.— No mordants are more im- 
portant or more widely used than those prepared 
from tin. We have in the first place those con- 
taining tin in its lowest stage of oxidation, or as 
a corresponding chlorine compound. Of these 
preparations, the most important is the solid, 
protochloride or muriate, more correctly named 
stannous chloride, but known in the trade as 
tin crystals, and sometimes tin salts. This sub- 
stance is made on the large scale by dissolving 
granulated tin of the best quality in muriatic 
acid, which should be free from iron, arsenic, 
sulphuric and sulphurous acid, and other im- 
purities. Heat is applied to the mixture, and 
when the acid is saturated the liquid is run 
off and allowed to crystallize. The crystals 
form fine needle-like particles, white, and of a 
silky luster. They attract moisture from the 
air, and should thei'ef ore be kept in a dry place. 
The following are examples of some of the most 
generally used tin mordants : Purple, plum, or 
puce spirit; muriate of tin, 70° Tw., 2 gal.; let 
down oil of vitriol with water till the mixture 
marks 28° Tw., and when cold add 1 gal. Stir 
well together. 

Oxalateof Tin, sometimes named "Ox Tin."— 
A true oxalate of tin is not known in trade, 
but the name is given to mixtures of muriate 
of tin with sulphuric acid and oxalic acid, or 
oxalate of potash. A preparation of this kind 
may be made from the plum spirit above men- 
tioned by adding 1 oz. oxalic acid, first dissolved 
in hot water, per gal. These preparations are 
exclusively used in wool dyeing.— C. 

Scarlet Spirit.— For cochineal and lac scarlets 
upon woolen and worsted goods the following 
is one of the many preparations which have 
been in successful use. Some dyers apply it at 
once along with the cochineal or lac, etc., while 
others first "ground" with another prepara- 
tion to be mentioned below (bowl spirits), and 



Dyeing. 



144 



Dyeing. 



merely top, raise, or finish with the following 
spirit: Muriate of tin, at 54° Tw., 3 qt. ; oxalic 
acid, M lb.; previously dissolved in hot water 
enough to reduce the whole to 40° Tw.— C. 

Yellow and Orange Spirit.— Double muriate 
of tin, at 80° Tw., 59 oz.; oil of vitriol, 21b.; 
water, 2 lb. Mix and let cool before adding to 
the double muriate.— C. 

Mordants of the perchloride of tin, however 
prepared, are used principally in cotton and 
silk dyeing, their applications in woolen dye- 
ing being much less numerous. Formulas for 
preparing some of the principal of these spirits 
are here given : 

Crimson Cotton Spirits.— Muriatic acid, at 33° 
Tw., 7 gal.; aquafortis, at 64° Tw., 1 gal.; water, 
1 gal. 

Put the liquids in a stoneware, jar-shaped 
pan with upright sides, rather narrower at bot- 
tom than at top. Pour in the water first, then 
the muriatic acid, and lastly the nitric acid— an 
arrangement which facilitates perfect mixture. 
Stir well with a glass or stoneware rod, and let 
stand for about ten minutes. 

Meantime weigh out 6 lb. of grain bar tin, 
which is not to be feathered or granulated as in 
making tin crystals or double muriate. Put in 
about six rods in an upright position, arranging 
them at equal distances around the sides of the 
vessel. As these dissolve, the remainder of the 
rods must be gradually added. If the weather 
is hot, the number of rods entered at first may 
be reduced to four or five, while in winter as 
many as eight or nine can be put in at once. 

No artificial heat must be applied, and the 
liquid must never be stirred while working. If, 
however, the action grows too strong, one or 
more rods may be quietly withdrawn and re- 
turned when the heat ha s somewhat subsided. 
This is not difficult, as with the proportions 
above given the ends of the rods will project a 
little above the surface of the liquid. 

If working rightly, the surface of the liquid 
will show a very slight creamy froth, but if 
large bubbles form and throw off orange col- 
ored fumes, the heat is too great and " firing " 
is at hand. The process lasts from eight to ten 
hours, according to the weather, when com- 
plete the liquid should be clear, without any 
sediment, and of a very pale straw color. If it 
is perfectly colorless, then, except absolutely 
pure muriatic acid has been used — which is 
commercially impracticable— a portion of the 
tin is still in the state of a protochloride. On 
standing for a day or two the straw color ap- 
pears, beginning at the surface. 

As a means of regulating the action according 
to the temperature, the water may be reduced 
in quantity, and in very severe weather may 
be omitted altogether. In such cases the 
usual proportion of water is added to the fin- 
ished product, so that the strength may be un- 
altered. 

This mordant is used for dyeing wood reds, 
crimsons, etc., on the cotton warps of mixed 
goods, and serves for a great variety of colors 
upon cotton yarns. *■ 

1. Red Cotton Spirits.— Muriatic acid, 32° Tw., 
6 gal. ; aquafortis, 64° Tw., 1 gal. ; water, 1 gal.; 
tin, 6 lb. Dissolve as above. Recommended for 
brown and claret warps of mixed piece goods. 

2. Red Cotton Spirit.— Muriatic acid, 32° Tw., 
6 gal.; aquafortis, 64°, Tw., 2 gal.; tin, 101b. 
Great care is here required in working to pre- 
vent firing.— C. 

3. Red Cotton Spirit.— Muriatic acid, 35° Tw., 
8}4 gal.; aquafortis 64° Tw., 1% gal. Tin suffi- 
cient to bring up the specific gravity to 54° Tw, 
When the tin is dissolved, add 1 oz. bichromate 
of potash.— C. 

Barwood Spirit.— Muriatic acid, 32° Tw., 5 
gal.; aquafortis, 64° Tw.,1 gal.; tin, 1 oz. per lb. 
of the mixed, or about 51b. Dissolve as above. 
This spirit is used in dyeing barwood reds— C. 

Plum Spirit.— Muriatic acid, 32 Tw, 6 gal.; 
aquafortis, 64 Tw., 1 gal.; tin, V/o, oz. per lb. of 
the mixed acids, or about 8^ lb. — C. 



" Solution " is a name given in certain dis- 
tricts to preparations much resembling the 
red cotton spirits, and used for similar pur- 
poses. 

Solution No. 1.— Muriatic acid, 32 Tw., 6 gal.; 
aquafortis, 64° Tw., 1^ gal.; water, 1 gal.; tin, 
7 lb. Work with the same precautions. This 
spirit serves for cotton dyeing mixed clarets, 
browns, etc.— C. 

Solution No. 2.— Muriatic acid, 32° Tw., 6 gal.; 
aquafortis (single), 32° Tw., 3 gal.; tin, 10i| lb. 
This solution requires very careful working, 
and when well made has been serviceable for 
fixing various aniline colors upon cotton.— C. 

Purple Cotton Spirit.— Muriatic acid, 32 Tw., 
5 lb.; aquafortis, 64 Tw., 1 lb., tin, % lb. To 
every 9 gal. of the solution add 2 oz. bichro- 
mate of potash, dissolved in water.— C. 

The following compounds, generally known 
as " oxy muriates," are used in printing: 1. 
Muriatic acid, 32 Tw., 20 lb.; water, 2 gal.; sal 
ammoniac, 5 lb.; tin, 10 lb.— C. 

2. Dissolve 16 lb. tin crystals in a stoneware 
bowl, set in a larger vessel of hot water. Add 
very gradually 20 lb. aquafortis, 64° Tw.— C. 

3. To 60 lb. tin crystals, add 1 qt. water, and 
heat in a water or steam bath till dissolved. 
Add 92 lb. aquafortis at 60° F. by portions, tak- 
ing care that the action does not become too- 
violent.— C. 

4. Muiiatic acid, 34 Tw., 11 lb. ; aquafortis, 
62 Tw., 5 lb. Dissolve in the mixture 2 lb. of 
feathered tin. This preparation is frequently 
used in spirit styles. The oxymuriate, 2, is 
ployed in " cutting " madder pinks, that is, for 
reducing the reds in the clearing process down 
to the bright shade required. — C. 

Pink Salt, the double chloride of tin and am» 
monium, is prepared by mixing saturated solu- 
tions of sal ammoniac and of perchloride of tin 
(stannic chloride), when the pink salt falls to 
the bottom of the vessel as a white powdery 
precipitate; it should contain 70 per cent, of the 
perchloride of tin and 30 per cent, of sal 
ammoniac. It dissolves in three times its own 
weight of water at 60° F., and if boiled in a 
weak solution it is decomposed and the whole 
of the tin is deposited. Pink salt is valuable 
as a solvent for organic coloring matters, and 
though at present neglected, will doubtless 
receive important applications in the future. 
— C. 

Aniline Spirit, so called from its uses, is 
made with single aquafortis, 32° Tw., 5 gal.; 
muriatic acid, 32° Tw., 2}4 gal.; tin, in the rod, 
12 lb. The acids are mixed and about 12 bars of 
tin are entered at once, working as directed for 
" red cotton spirits " till all is taken up. This 
spirit is of a deep reddish amber, and contains 
about 2 oz. tin per lb. of acid. It is very use- 
ful in cotton dyeing. — C. 

Mordant, a Protochloride of Tin.— 1. To strong 
muriatic acid add gradually small pieces of 
grain tin till no more is dissolved. It may be 
obtained in crystals by evaporation. In dis- 
solving them, it is necessary to add to the water 
a few drops of muriatic acid. 

2. Perchloride of Tin.— Mix 1 measure of 
nitric acid with 4 measures of muriatic acid, 
and add tin in small quantities as long as any is 
dissolved. Or mix 4 oz. of muriatic with 1 oz. 
of nitric acid and 1 oz. water; dissolve in it, by 
small portions at a time, 2 drm. of grain tin. 

3. Aquafortis (or equal portions of nitric acid 
and water), 8 parts; sal ammoniac, 1 part; mix, 
and add gradually 1 part, or as much as it will 
dissolve, of grain tin. 

4. Dr. Bancroft's.— Digest 2 parts of tin with 
3 parts of strong muriatic acid for an hour. Add 
very cautiously \% part of sulphuric acid. 
Keep up the heat as long as hydrogen is 
evolved; on cooling, it crystallizes. Dissolve 
this in salt and water, so as to form a solution 
containing 1 part of tin in 8. 

5. New Tin Crystals.— Add 3 lb. of sal am- 
moniac to 1 gal. of solution of tin; evaporate 
and crystallize. 



Dyeing. 



145 



Dyeing. 



6. Mordant for Lac Dye.— Mix 27 lb. of muri- 
atic acid with V/% lb. of nitric acid (sp. gr. 1'19), 
put it into a stone bottle, and add tin in small 
bits, till 4 lb. are dissolved. 

7. Stannate of Soda.— Digest litharge, 36 parts, 
or minium, 27 parts, in a metallic vessel, with a 
soda lye of \-ffa density; when dissolved, 8 parts 
of tin in grains are gradually added. The lead 
separates at once in a spongy state, and the 
solution of stannate of soda may be decanted. 

8. Lac Spirit.— Used as a solvent for lac dye, 
in preference to muriatic acid alone, is thus 
made. Add gradually 3 lb. of tin to 60 lb. muri- 
atic acid. Digest % lb. of this solvent on each 
pound of the dye for six hours. Plum or puce 
spirit, peach spirit, and grain or scarlet spirit, 
are names given by dyers to different solu- 
tions of tin employed in dyeing these colors. 
For scarlet, the nitro-muriatic solutions (Nos. 
2 and 3, above) are used. 

9. Iron Liquor. — Scraps of iron are placed in 
casks or other vessels, and covered with recti- 
fied raw pyroligneous acid. There are usually 
a series of vessels, through which the solution 
is successively passed till it is f ullv saturated. 

Raising Agents.— Both in dyeing and print- 
ing, chiefly as regards madder work in the lat- 
ter, after the color has been fixed on the fiber 
or tissue, it is submitted to a final process 
known as "raising," blooming, brightening 
(French avivage, German schoenen). This is ef- 
fected in very different manners, according to 
the nature of the case. Sometimes the goods 
are taken through a weak acid, or a weak solu- 
tion of a tin mordant. Sometimes, again, as in 
the case of madder work with the root, succes- 
sive soapings are applied. In many cases a 
.small quantity of a brighter and more beauti- 
ful, though often less fast, color is either added 
to the dye beck toward the close of the opera- 
tion or the goods are passed through it in a 
separate bath. The process is then generally 
known as "topping," and is effected by means 
of magenta, saff ranine, the aniline violets, the 
orchil colors, etc., applied upon a ground got 
up with the woods, etc. Goods thus "topped " 
very frequently lose their beauty after a short 
exposure to air and sunshine. 

Leveling Agents.— It is sometimes necessary 
to add to the dye beck a body which, instead of 
promoting the adhesion of the dye to the fiber, 
has the very opposite effect. There are certain 
colors which combine so eagerly with the 
goods to be dyed, that it is difficult to get an 
even shade, the portions first immersed into 
the dye liquid taking up more than their share. 
This is particularly the case in dying wool with 
certain of the aniline colors. To prevent this 
inconvenience, and to cause the color to be 
evenly distributed over the whole surface to 
be dyed, a quantity of the crystallized sul- 
phate of soda, otherwise known as Glauber's 
salt, and in many dye houses as Sally Nixon— a 
corruption for sal enixum— is added. This 
salt diminishes the affinity of the color for the 
fiber, so that it is deposited slowly and evenly. 
Many other neutral salts would have the same 
effect ; but the sulphate of soda is preferred 
as being cheap, readily procurable, and having 
little action upon the tone of the dye wares. 
Upon certain colors, e. g., those of the woods, 
it acts as a feeble alkali. 

Bristles, to Dye.— Steep them for a short time 
in any of the common dyes used for cotton or 
wool. 

Cotton Dyeing.— The " affinity " of cotton for 
coloring matters is generally feebler than that 
of silk or woolen. Few dye wares play, with it, 
the part of substantive colors, i. e., attach 
themselves to it without a mordant, safflower 
red and reduced indigo (in the vat) being the* 
best known exceptions. Cotton bears contact 
with alkalies much better than silk or wool, 
and is in return much more readily injured by 
strong acid solutions. Hence it can be dyed by 
the help of the stannates, plumbates and alum- 
inates of soda. Containing no sulphur, there is 



no fear of its blackening preparations of lead, 
tin, etc. It easily takes oxides of iron, man- 
ganese, etc., from their solutions and can thus 
be dyed a variety of shades, as browns, bronzes, 
buffs, blacks (by treatment with iron and a 
subsequent passage through an astringent, 
etc.), Prussian blues, copper bluish greens, lead 
yellows and oranges. On the other hand, cer- 
tain organic colors, such as picric acid, the 
weed products, i. e., orchil and cudbear, cannot 
be worked upon cotton without the aid of ani- 
mal mordants. The aniline colors are fixed upon 
cotton by means of tannin, alizarine oil and 
the mixed, mordant of acetate of alumina and 
arsenite of soda. Aniline black, however, gives 
much more satisfactory results upon cottons 
than upon woolens. In cotton dyeing the 
goods are worked in the mordant, as a rule, 
first, before being immersed in the dye liquids. 
Cotton is also generally dyed at lower tempera- 
tures than wool ; often at about 90° to 100° F., 
and very frequently in the cold. — C. 

Benzo-purpurine, 4 B., on 100 lb. of un- 
bleached cotton yarn. Start dye kettle with 4 
lb. benzo-purpurine, 4 B.; 25 lb. Glauber's salt, 
2 lb. sal soda. Enter yarn at boil and boil for 
one hour while turning. Lift out, wring and 
dry. For standing kettles use y& less color. 

Benzo-purpurine, 10 B., on 10 pieces cotton 
flannel, each piece weighing 10 lb. Prepare dye 
kettle with 3 lb. benzo-purpurine, 10 B.; 4 lb. 
soap, 1 lb. sal soda. Enter goods at boil and 
run for one hour at that heat. Lift out and 
rinse off. 

Aniline Black on Cotton Tarn (100 lb.).— Mix 
6 lb. 9 oz. aniline oil with 8% lb. muriatic acid 
at 32° Tw. Let cool and add the solution of 4 
lb. 6 oz. chlorate of potash in 66 parts of water. 
Then add 43% pt. of chloride of iron at 30° Tw. 
The yarns, previously bleached, are placed for 
8 to 10 hours in this mixture, which must be 
previously let down with a sufficient quantity 
of water at about 100° F. Lift and place the 
yarns in soda solution at 21° Tw. for half an 
hour to neutralize the excess of acid. Wash 
and steep for half an hour in 33 qt. of water 
and 7 oz. chromate of potash at about 112° F. 
This beck gives the dye more permanence and 
prevents " greening." Wash and work in the 
following mixture : Alizarine oil, 17J^ oz.; pot- 
ash, 2 lb. 3 oz.; water, 33 qt. Dry at once. This 
process may be used for linen, hemp, jute or 
silk, as well as for cotton, whether in yarns or 
pieces.— C. 

Another Aniline Black.— For each pound of 
cotton yarn take 3J of bluestone dissolved in 
water, made very feebly acid with muriatic 
acid. Give seven turns and wring well. Dis- 
solve y% lb. hyposulphite of soda per gal. water 
at 120° F., 5 turns and wash well. Dye cold in 
chlorate of potash, 3 oz.; sal ammoniac, 3 oz.; 
muriate of aniline y% lb., in sufficient water, 
seven turns quickly and wring well. Hang up 
even at 77° F. for forty-eight hours and raise to 
84° F. Take through either bichromate or weak 
soda lye and wash well. If reddish when dry, 
take through a very weak chloride of lime 
water.— C. 

Another Black (220 lb.).— Boil for three hours 
with 88 lb. extract of logwood ; lift, wring and 
dry. Dissolve in cold water 33 lb. chromate 
of potash and 17V£ lb. bluestone; enter and 
turn for an hour. Lift and return to the log- 
wood beck at 140° F., after having previously 
added Yl% lb. soda ash. Work for two hours, 
•and sadden with 11 lb. copperas.— C. 

Blue Black for Sewing Cotton.— Boil the yarn 
and ground with sumac ; mordant, wring out, 
and run through black liquor at 2° Tw. Raise 
with clear lime water, and wash in cold water. 
Sadden with logwood liquor and copperas in 
the same liquor, and it is then ready tor sizing 
and polishing.— C. 

Good Black (60 lb.).— Boil 12 lb. cutch with 
V/i lb. bluestone ; put the yarn down in this 
all night ; work in the morning in a clear lime 
water ; then add 6 qt. black liquor to a cold 



Dyeing. 



146 



Dyeing. 



water, give four turns in this ; work again in 
clear lime water, and wring up. Boil 30 lb. 
ground logwood and 6 lb. fustic ; add the de- 
coction to a hot water, work yarns six turns, 
lift, and add 1 qt. black liquor, and wash off 
with the addition of a little oil and soda ash, if 
wanted soft. Into the logwood water are now 
put 10J4 oz. soda ash; enter, give ten turns, 
lift, and add 3J*£ oz. copperas ; five turns more, 
and the dyeing is complete. It is well to leave 
the yarn in a heap for six hours after the 
logwood bath before passing into the lime 
water.— C. 

Fast Black (100 lb.).— Dissolve 241b. extract of 
logwood in a hot water ; add Vy& lb. bluestone ; 
enter the yarn, give a few turns, and wash. 
Add to a fresh cold water 2 lb. bichromate of pot- 
ash and V/% lb. nitrate of iron. Take the yarns 
through this and back again to the first water, 
to which have been meantime added 2 lb. soda 
crystals and the same weight of olive oil. 

Black on Cotton Wool, to stand Fulling (60 
lb.).— Extract of logwood, 14 lb.; extract of 
bark, 1)4 lb.; bluestone, 4 lb. Dissolve at a 
boil ; enter the cotton wool, boil for V/% hours, 
and let stop in the liquid overnight. Lift, let 
lie in heaps for two days ; enter in a cold water 
containing copperas, 8 lb.; lixiviated chalk, 2 
lb. Take out after two hours, let lie a day or 
two, rinse and raise at a hand heat with oil and 
soap.— C. 

Black (11 lb.).— Dissolve in a water 1 lb. 1}4 oz. 
solid extract of logwood and 1% oz. extract of 
bark. Boil the yarn in this liquid till thor- 
oughly saturated. Lift, wring, and enter in a 
fresh water with 7 oz. quicklime. Five turns, 
wring and enter in a water with 1 lb. 1*4 oz. 
copperas; ten turns and lift.— C. 

Tete de Negre.— For 100 lb. bleached cotton, 
5 lb. catechu ; 2 lb. alum ; 1 lb. blue vitriol ; 
2 lb. bichromate. Work as in yellow cannelle. 
Finish with 40 lb. red sanders and one tumbler 
of pyrolignite of iron for each 25 lb. cotton. 

Another Black (60 lb.)— Boil 12 lb. sumac; 
steep yarns overnight with the decoction, and 
work as in the last receipt. If a bluer shade is 
Wanted, omit the first lime water. — C. 

Logwood Black (60 lb.)— Boil 5 lb. logwood 
extract and V/% lb. bluestone; put down yarns 
in this all night, and work the next morning 
in 6 qt. black liquor in cold water Work in a 
clear lime water and wring. Then boil 5 lb. 
logwood extract, J4 lb. fustic extract, and add 
to a hot water, work yarns for half an hour, 
lift, and add 2 lb. copperas; wash and dry.— C. 

Another Black (60 lb.)— Boil 6 lb. logwood ex- 
tract, y% lb. fustic extract, and add to a boiling 
water; work yarns for an hour, lift and wring. 
Dissolve 1 lb. chrome (bichromate of potash) 
and 1 lb. bluestone, add to a cold water, give 
four turns, let off and wring; add 2 lb. soda 
crystals to the logwood liquor, give four turns, 
lift; add 3 lb. copperas, four turns more, wash 
and dry. — C. 

Common Black (60 lb.)— Work in lime water 
and wring, then with 6 qt. black liquor in a 
cold water and wring. Lime again in a clear 
lime water; boil 24 lb. ground logwood, add the 
decoction to a hot water, work five turns, lift, 
and add 2 lb. copperas; five turns more; wash 
and dry.— C. 

Black for Sewing Thread (55 lb.)— Boil out 11 
lb. sumac in water. Steep for a night in the 
boiling liquid; lift, work an hour in black 
liquor at 14° Tw. Lift and hang out five or six 
hours. Make up a fresh cold water with 17 oz. 
lime and 8% oz. chromate potash, and work 
the thread till it is of a level brown color. 
Rinse and dye at 190° F. with 16 lb. 5 oz. log- 
wood, working for fifteen minutes. Rinse. 
— C. 

Fast Blue Black on Cloth or Yarn.— Give a 
ground in the vat, take through vitriol sours, 
and wash well in cold water. Work the goods 
in sumac, and then pass into a water with 4 
qt. copperas liquor at 10° Tw. Wring and raise 
with lime water or bichromate of potash, wash 



and enter into a logwood bath at 160° F., add £ 
qt. copperas water at 10° Tw., and run through 
again. Wash, and then repeat the process with 
the logwood and copperas. If not blue enough, 
add a little bluestone along with the copperas. 
Piece goods require three or four turns, and 
yarn five or six turns in every operation.— C. 

Blue Black.— Blue black on 10 pieces cotton 
flannel, each piece weighing 6 lb. 1. Run for 
three-quarters of an hour in a bath of 16 lb. 
extrac sumac, and wring. 

2. Run for thirty minutes through a cold bath 
of 6 qt. nitrate of iron, and wash off. 

3. Hun for thirty minutes through a hot bath 
of 15 lb. extract of logwood, 51°. 

4. Run for thirty minutes through a cold bath 
of 21b. copperas, and rinse off. 

Common Black.— 5 pieces = 75 lb. are padded 
through acetate of iron (iron liquor) at 8° Twad- 
dell, dried, and afterward passed through lime 
water (milk of lime) ; afterward washed, then 
dyed with 35 lb. ground logwood and3 lb. fustic 
extract at 48° Tw. ; in this they are worked 
for half an hour at boil; then winched, rinsed, 
and dried. They are further run through a. 
little starch water containing a small quantity 
of soap, and then dried for finishing.— G. 

Good Common Black (Carlisle Finish).— 7 
pieces = 85 lb. are worked in the jigger, cold 
for 6 ends, and afterward passed through a 
water mangle to squeeze out a large portion of 
the liquor; then dried; they are then padded 
in acetate of iron at 8° Twaddell, and dried out 
of it: afterward again entered into the jigger, 
which is charged with sufficient water and 5 lb. 
chalk (carbonate of lime) ; give two ends ; then 
wash, and afterward dye with 48 lb. ground 
logwood and 3^ lb. fustic extract at 48° Twad- 
dell ; work in the jigger for forty-five minutes 
at boil ; wash and dry. 

Chrome Black (Italian Black).— 6 pieces satin 
(cotton) = 108 lb. Work in jigger containing 2o 
lb. sumac (Palermo), and 20 lb. myrobolans, in 
as little water as possible, and at boil for 7 to 8 
ends ; then run off the liquor and recharge the 
jigger with 15 gal. water and 5 lb. sulphate of 
copper, cold: give 4 ends in this; again wash 
weD, and recharge the jigger with bichromate 
of potash at say 2° Twaddell; give 2 ends cold, 
and then 3 ends at boil, again wash, and after- 
ward dye in the jigger, it being recharged 
with 72 lb. ground logwood and 4J^ lb. fustic 
extract at 48° Twaddell; work backward and 
forward at boil for one hour ; then rinse in a 
weak solution of soda or potash, say 8 oz. to 20 
gal. water; wash and dry.— G. 

Black.— 1. The goods, previously dyed blue, are 
steeped for about twenty-four hours in a de- 
coction of gall nuts or sumac, then drained, 
rinsed in water, and passed through a bath of 
acetate of iron for a quarter of an hour ; they 
are next again rinsed in water, and exposed for 
some time to the air; after which they are 
passed a second time through the bath, to which 
a little more iron liquor is previously added. 
The whole process is repeated, if necessary, 
according to the intensity of the shade of black 
desired. 

2. The goods are steeped in a mordant of ace- 
tate of iron, worked well, and then passed 
through a bath of madder and logwood for two 
hours. Less permanent than No 1. About 2 
oz. coarsely powdered galls, or 4 oz. sumac, are 
required for every lb. cotton, in the process of 
galling. The first should be boiled in the water, 
in the proportion of about >£ gal. water to every 
1 lb. cotton. The sumac bath is better made 
by mere infusion of that dye stuff in very hot 
water. 

3. For 10 lb. Cloth.— The goods are put into a 
boiling bath made of 3 lb. sumac, and allowed 
to steep, with occasional "working," until the 
liquor is perfectly cold; they are next passed 
through lime water, and, after having drained 
for a few minutes, immediately transferred to, 
and " worked " for an hour, in a warm solution 
of 2 lb. copperas ; after free exposure to the air 



Dyeing. 



147 



Dyeing. 



for about an hour they are again passed through 
lime water, and after draining, " worked" for 
an hour in a bath made of 3 lb. logwood and 1 
lb. fustic ; they are then " lifted, " and 34 
lb. copperas being added, they are returned to 
the bath, " worked " well for about half an hour, 
and finished. Good and deep.— G. 

Bright and Very Deep Black.— Boil in a water 
solid extract of logwood, 8 lb., and extract of 
bark. 1 lb., for half an hour. Dissolve in the 
liquid bluestone, 1 lb.; enter in the hot liquid 
and work for an hour; raise to a boil and work 
for hah 2 an hour longer. Make up another hot 
water with bichromate of potash, 1 lb., and 
common salt, 3 lb.; enter yarns, work well, let 
cool, and wash. The liquid of the last bath 
should have a brown color, but if it appears 
rather black, a little bluestone must be added. 
— C. 

Another Bright Black, 10 lb. — Prepare a 
water with logwood extract, 1 lb., and fustic 
extract, 5 oz.; boil yarn in this bath for fifteen 
minutes, and let stand overnight. The next 
morning lift, wring, enter in a water with bi- 
chromate of potash, 34 lb., and bluestone 1*4 
lb.; work for fifteen minutes, lift and wring. 
To the first, logwood, bath add soda crystals, 
2 oz.; enter and work yarn for half an hour ; 
lift, wring, and return to the bichrome bath, 
to which 2\4 oz. copperas have been previously 
added; wring again, and return to the logwood 
bath for half an hour; lift, wring, and dry 
without washing. It is finished brighter by 
taking once more to the logwood bath, to 
which has been previously added a mixture 
made up of olive oil, 1 oz., water, y% pt., and 
soda ash, 1 oz., beaten up to an emulsion.— C* 
. Blue Black on Cotton Velvets, 10 lb. — "Work 
in a boiling soda water which when cold would 
mark 2\i° Tw. Rinse; steep overnight in the 
decoction of sumac, 2 lb.; lift, drain, and work 
for fifteen minutes in black liquor at 6% Tw. 
Work for another fifteen minutes in a cold 
water, with alum, 1 lb., and bluestone 1 lb.; 
rinse and dye at 122° F., with logwood, 2 lb., 
and bark, y& lb., for fifteen to thirty minutes. 
To soften the goods take them through an 
emulsion of olive oil, % lb., and a solution of 
potash, 2J*£ oz. Dry.— C. 

Sumac Black, 110 lb.— Prepare with sumac, 
22 lb., overnight, at a boil; enter in a fresh 
water with copperas, 1534 lb., and precipitated 
chalk, 35 oz. Work cold for an hour, lift, and 
expose to the air. Make up a fresh water with 
quicklime, 63*6 lb., and work till the goods are an 
even brown all over. Rinse well and dye in a 
fresh water at 167° F. with logwood, 55 lb., and 
bark, 11 lb. Sadden in the same water with 
copperas, 35 oz. — C. 

Light Blue on Cotton Wool, 50 lb.— Steep for 
some hours in the hot clear decoction of sumac, 
8 lb.; lift, drain, and enter in a water at 167° F. 
containing the clear solution of Nicholson 
blue, 4 oz. Work for half an hour, lift, add to 
the not alum, 5 lb., previously dissolved; re- 
enter the cotton wool, and work at 102° F. for 
half an hour; drain and dry.— C. 

Blue on Cotton.— Cotton yarn, 100 lb.— Pre- 
pare with alum, 8 lb.; tartaric acid, 8 oz.; sal 
soda, 4 lb.; aniline cotton blue BB, 14 oz. (Lutz 
& Movius). Enter hot, turn for twenty min- 
utes, take out, raise temperature to boning, 
re-enter and turn to shade. 

Note.— For second lot of cotton yarn, 100 lb., 
use alum, 6 lb.; tartaric acid, 6oz.; sal soda, 3 lb.; 
and blue BB, 10 oz. 

Bottger suggests the following process for 
dyeing cotton pure blue : Heat a mixture of 
Pax-is blue, 137 grn.; tartaric acid, 137 grn.; am- 
monia water, 34 fl. oz.; and water, 2*4 fl. oz., and 
filter after cooling. Add to the deep blue fil- 
trate a solution of caustic soda, until it is de- 
colorized and after some time assumes a light 
yellow tint. Impregnate the cotton with this 
solution and pass it (best after allowing it to 
dry) through a warm, very dilute solution of 
sulphuric acid, and it will immediately assume 



a beautiful blue color, and needs only to be 
washed in water. The sulphuric acid may be 
so diluted that it has scarcely a perceptibly sour 
taste. 

Methylene Blue.— Work in a solution of tan- 
nin, and wring well, take through tartar emetic, 
and wring again. Pass into a soap water, af ter 
which it is washed well. Enter in a cold water 
which is gradually raised to a boil, while the 
dissolved coloring matter is added by degrees 
If a greener tone is required, top with baric 
liquor; or, if a redder tone is needed, top with 
a reddish aniline blue, or even with methyl 
violet.— C. 

Aniline Blue (soluble in spirit) of the Berlin 
Aktien Gesellschaft (11 lb.).— Boil 35 oz. sumac 
or 2,790 grn. tannin in water, filter and dissolve 
1734 oz. curd soap in the clear solution, and 
enter the cotton overnight in the hot liquid. 
Wring out and make up a water at 2)4° Tw., 
with red liquor, to which the clear solution of 
the color is added according to the shade. En- 
ter the yarn and dye, heating to a boil for some 
time. 

Aniline Blue (100 lb.).— Alum, 81b. ; tartaric 
acid, 34 lb.; soda ash, 41b.; aniline cotton blue, 
14 oz. Enter hot, turn for twenty minutes, 
lift, raise to a boil, re-enter, and dye to a shade. 
-C. 

Benzyl Blue.— Prepare with sumac or tannic 
acid in the usual way. Dissolve the color in 100 
parts of boiling water, and add the requisite 
quantity to a lukewarm water. — C. 

Guernsey Blue (10 lb.)— Prepare with 2 lb. 
sumac; dye at 88° F. with the solution of 2 lb. 
Guernsey blue; lift, add 1 lb. alum, re-enter, 
give a few more turns, take out and dry.— C. 

Blue Cotton Satin (100 lb.).— Run for an hour 
through a hot cistern, made up with 17 oz. 
sumac, 6}4 oz. soap, and the same weight of 
rape oil. Make up a fresh boiling water witu 
534 lb. ground alum and 6J4 oz. Nicholson blue, 
and run through this to shade. For the finish- 
ing take, to make up 175 pt., 5 lb. 7 oz. gum 
tragacanth, and dissolve it in water, adding the 
clear solution of 1 oz. Nicholson blue and 534 
lb. alum. Stir into the hot mixture 17 oz. 
stearine and 5 lb. 7 oz. glycerine. Apply hot, 
dry and calender.— C. 

Navy Blue (11 lb.).— Boil 2 lb. 3 oz. logwood, 
and dissolve in the clear, hot decoction 26 oz. 
curd soap. Steep the yarn in this liquor for two 
hours at 167° F. Lift, add to the same water 
26 oz. copperas, re-enter yarn, and work till the 
color is even. Wash in cold water and work in 
a fresh water with 17 oz. curd soap for an hour 
at 144° F. Make up a boiling water with 234 oz. 
of an aniline blue soluble in spirit, and 2 lb. 3 
oz. red liquor at 14° Tw. Work the yarn in this 
at a boil till the shade is obtained, and rinse.— 
C. 

Dyeing and Finishing Blue Cotton^Satins (100 
yd.). — Run the goods for an hour through a hot 
cistern made up with 1 lb. 134 oz. sumac, 6*4 oz. 
soap, and the same weight of rape oil. Make 
up a fresh boiling beck with 534 lb. ground alum 
and 634 oz. Nicholson blue, and run through 
this to shade. For the finishing, take, to make 
up 175 pt., 5 lb. 7 oz. gum tragacanth, and dis- 
solve it in water, adding the clear solution of 1 
oz. Nicholson blue and 5 lb. 7 oz. alum. Stir 
into the hot mixture 17J4 oz. stearine and 5 lb. 
7 oz. glycerine. Apply hot, dry and calender. 

Dyeing Blue Gray on Gauze.— For 22 lb. stuff, 
take through a water containing 17 oz. sul- 
phuric acid, and rinse well ; and then at 176° F. 
through a fresh beck of 334 oz. nigrosin and 2 
lb. 3 oz. alum, and dry. 

Blue without Indigo (55 lb.).— Boil with soda, 
rinse and dry. Boil 4 lb. 6 oz. starch in 11 qt. 
water, and add after cooling chlorate of pot- 
ash, 1034 oz.; chloride of copper, 20% oz.; muri- 
ate of aniline, 2 lb. 10 oz. 35 oz. of the cotton 
are passed five or six times through 17 fl. oz. of 
this mixture; another 17 fl. oz. is then added, 
and a second 35 oz. of the cotton passed 
through, and so on till all is used up. The co:- 



Dyeing. 



US 



Dyeing. 



ton is then aged by heating in a stove to 100° 
F., steam being injected from time to time. 
The starch is then removed by steeping in a 
water to which 6 lb. 9 oz. malt have been added. 
After a day the cotton is rinsed and taken 
through weak vitriol sours, and then through 
a soda bath at 3° to 4° Tw. A blue black is thus 
obtained, which may be turned more to a blue 
by decreasing the muriate of aniline, chlorate 
of potash and chloride of copper by one- 
third— C. 

Aniline Blue with Manganese Mordant.— Boil 
yarn with soap and soda ; take through a weak 
solution of permanganate ; lift and wring. It 
has then a pale brown color. Steep in a solu- 
tion of tin crystals at 11° Tw. till it is perfectly 
white. Wash and pass into a sumac water, 1 lb. 
sumac to 10 lb. yarn. Make up a water with ^ 
lb. alum, % lb. soda, and 6 drm. (avoirdupois) 
soluble aniline blue. Heat to 122° F.; enter 
yarns, give five turns, add V/% lb. alum and V/% 
oz. of the blue; enter yarn again, give eight 
turns, rinse and dry.— C. 

Topped Blue on Cotton and Linen Yarns (11 
lb.).— 1. Give a light blue in the vat, sour, rinse, 
and add to a cold water 1 oz. tin crystals and 3 
lb. 6 oz. nitrate of iron. Work for two hours, 
take out, make up a fresh cold beck with 2«% to 
3J4 lb. logwood and 17 oz. alum ; dye cold in 
this for a quarter of an hour, and rinse. If the 
color is not to smear, take through a lukewarm 
decoction of 4*4 oz. glue, and dry. 

2. Vat as before, and make up a beck with so- 
called indigo substitute (a mixture of indulin 
and extract of logwood), enter the yarn, work 
for thirty minutes at 144° F., and sadden in a 
fresh beck with 1J^ oz. chromate of potash and 
% oz. bluestone. This is a very dark shade. 

3. Vat as before, and work for an hour in a 
beck of 11 lb. logwood and 17)4 oz. alum. Make 
up a fresh cold beck with 2 lb. 3 oz. copperas. 
Give ten turns in this, and according to shade 
give two or three dips in both becks. If not 
deep enough, add a little nitrate of iron to the 
logwood beck. Rinse, and take through glue. 
-B. 

Prussian Blue.— 7 pieces, 84 lb. Work in jig- 
ger, containing 15 gal. cold water; 5 qt. nitrate of 
iron, 84° Twaddell; 1 pt. protochloride of tin at 
128° TwaddeU; give four ends, afterward wash 
in cold water, and recharge jigger with 15 gal. 
water, in which is dissolved 5 lb. yellow prus- 
siate of potash and 1 gill sulphuric acid, at 
170° Twaddell. Give four ends, Avash and dry. 

—a 

Aniline Blue.— 7 pieces, 84 lb. Work in stan- 
nate of soda at 4° Twaddell, four ends, then in 
sulphuric acid, 1° Twaddell, four ends, and after- 
ward four ends in water, then recharge jigger 
with 8 oz. cotton aniline blue and 8 oz. alum in 
12 gal. water, 5 to 6 ends, wash and dry. — C. 

Navy Blue.— 7 pieces, 84 lb. Work in jigger 
charged with 101b. sumac,101b. ground logwood, 
15 gal. boiling water; give four ends, then re- 
charge jigger with 4 qt. nitrate of iron, at 84° 
Twaddell, and 9 gal. cold water, in which give 
four ends, and afterward wash, then recharge 
with 15 gal. water, 4 lb. yellow prussiate of pot- 
ash, and % gill sulphuric acid, at 170° Twaddell, 
give four ends and wash in cold water, recharge 
with 15 gal. water, cold, and 6 oz. BB violet 
crystals (coal tar), give five ends in this and 
dry. 

China Blue (50 lb. yarn).— Dissolve 4 lb. alum 
and Q}4 oz. China blue (Berlin Anilin Aktien 
Gesellschaf t). Enter yarn 120° F., turn brisk- 
ly, raise to 150° F., and work to shade. Or pre- 
pare with tannin, and then dye as above, with- 
out the alum.— C. 

Another Blue (50 lb. yarn).— Dissolve 3 lb. 
alum, \% lb. carbonate of soda, 4 oz. tartaric 
acid, and 6 oz. "cotton blue 4^" (Baden ani- 
line). Enter yarn 120° F., raise heat to 140° F., 
turning continually to shade.— C. 

Bright Brown (22 lb.)— 1. Dissolve in water, 
catechu, 8M oz.; bluestone, 1}& oz. Enter, 
steep for an hour, wring, and make up a fresh 



boiling water with bichromate of potash 8% oz. 
Enter for a quarter of an hour, give several 
turns, and wring. Make up another water 
with the decoction of sumac, Q}4 lb.; curd soap, 
10*4 oz.; and work into it oil, 314 oz. Stir up, en- 
ter, give seven turns, add 33^ oz. salt of tin, stir 
up; re-enter, give seven more turns, wring, 
and prepare a fresh cold water containing a 
little Bismarck brown, and dye to shade. 

2. For a darker shade use catechu, 4 lb. 6 oz.; 
bluestone, 7 oz.; and for the chrome bath, 17}4 
oz. bichromate of potash. — C. 

Mode Brown, a Yellowish Cinnamon (11 lb.)— 
Enter in a water at 122° F. with 2 lb. 3 oz. pale 
catechu. Six turns, and enter in a weak bath 
of chromate of potash at 88° F. Re-enter in 
the first beck to which % oz. tin crystals have 

Solid Brown '(22 lb.)— Boil in water, 2 lb. 3 oz. 
catechu; let settle and dissolve in the clear 
solution 7 oz. bluestone. Enter at 212° F., work 
for an hour ; wring, and make up a fresh boil- 
ing water with 5)4 oz. bichromate of potash. 
Work in this for half an hour, and rinse. Boil in 
water 3M lb. sumac, work for fifteen minutes at 
190° F., lift, and add 534 oz. tin crystals. En- 
ter again, work for a quarter of an hour, and 
wring. Pass in a fresh water, with garnet 
magenta, 3)4 oz.; alum, 3)4 oz. Work for half 
an hour at 100° F.— C. 

Brown on Cotton Wool (110 lb.)— Dissolve 32)4 
lb. catechu in boiling water ; add 8% lb. blue- 
stone; boil the cotton for two hours in the 
solution ; lift, drain, and enter in a fresh boil- 
ing water with 8% lb. chromate of potash; 
work for an hour, drain in the centrifugal, 
rinse, drain again in the centrifugal, and dry. 
— c 

Brown on Sewing Cotton (20 lb.). — Give four or 
five turns in catechu at 3° Tw., and rinse in 
chrome or clear lime water. Wash in clean 
water, and run into fustic liquor. Sadden with 
3 pails fustic liquor, 2 pails redwood liquor, and 

1 pail logwood liquor; tour turns. Now add 1 gal. 
alum liquor at 8° Tw., give four or five turns; 
wring out, and dry.— C. 

Light Brown on Sewing Cotton (20 lb.).— Run 
through catechu liquor at 3° Tw., raise with 
chrome in a fresh water; wash, and run into 
fustic liquor, to which is added 1 qt. solution of 
bluestone. If not rich enough, top with Bis- 
marck brown to shade.— C. 

Hair Brown, Light Blonde (60 lb.). - Boil 6 lb. 
cutch and 6 oz. bluestone till dissolved. Add 
to a hot water, and give three turns ; put down 
all night ; one turn in the same liquor in the 
morning, and wring out. Dissolve 1 lb. alum 
in a hot water; enter, give three turns, and 
lift. Boil 14 lb. turmeric and )4 lb. logwood 
extract together ; add this to the alum water ; 
give four turns, wash in a cold water and dry. 

— a 

Hair Brown; Dark Blonde (60 lb.).— Prepare 
with cutch and bluestone as above. Then dis- 
solve 6 oz. chrome ; add to a hot water ; four 
turns with yarns. Let off. Add to a warm 
water 1 lb. alum ; three turns, and wring. Boil 

2 lb. fustic extract and 2 oz. logwood extract 
together, and add to a warm water. Four 

- turns, lift, and add 2 qt. of dissolved copperas ; 
three turns, wash in cold water, and dry. — C. 

Light Red Brown (60 lb.).— Boil 12 lb. cutch 
with 12 oz. bluestone till dissolved. Add 
this to a hot water, give 'three turns, put 
down all night; give one turn in morn- 
ing, and wring out. Dissolve 12 oz. chrome, 
add this to a hot water, give the yarns 
four turns and run off. Dissolve 1 lb. 
alum in a hot water, give three turns more and 
wring; boil 1)4 lb. extract of fustic and 4 oz. 
extract of logwood together, add this to a hot 
water, four turns and lift; add 1 qt. of copperas 
water, give three turns more, wash in cold 
water and dry.— C. 

Dark Medium Brown (601b.).— Boil 12 lb. cutch 
and 1)4 lb. bluestone till dissolved; add this to 
a hot water, give three turns with yarns, and 



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149 



Dyeing. 



put down all night; give one turn in morning 
and wring up. Dissolve 1 lb. chrome, add it to 
a hot water, give three turns and let off; dis- 
solve 1 lb. alum, add it to a hot water; give 
three turns and wring out. Boil 2 lb. fustic ex- 
tract and y& lb. logwood extract together, add 
these to a hot water, four turns and lift; add 3 
qt. of copperas water, three turns more, wash 
in cold water and dry.— C 

Dark Brown on Cotton.— For 100 lb. cotton. 
Mordant at the boil with catechu, 10 lb.; log- 
wood extract, 2 lb.: magenta, J4 lb., for three 
hours, then darken in a new bath with bichro- 
mate of potash, 31b.; soda, 2 lb. 

Very Dark Brown (60 lb.).— Boil 18 lb. of su- 
mac, put down in this all night, take through 
2 gal. black liquor in a cold water, wash off in 
two waters and wring up; boil 3 lb. cutch and 
1 lb. bluestone, add the solution to a hot water, 
give four turns and lift; dissolve V/z lb. chrome, 
add to a hot water, give four turns. Go through 
the chrome and cutch three times each, and 
finally sadden with 2 qt. copperas water. Wash 
in cold water and dry.— C. 

Cinnamon Brown (10 lb.) Cloth or Yarn.— 
Take through catechu liquor at 4° Tw., or, in 
case of piece goods, run three or four times 
backward and forward in a jigger. The tem- 
perature of the bath is about 18u° F. Then pass 
into a solution of chrome (bichromate of pot- 
ash) at 1^2° Tw., and wash. Make up a tub (or, 
in case of pieces, a jigger) with about 30 gal. 
fustic liquor, 6 gal. redwood liquor and 34 lb. 
annatto, previously dissolved in the usual man- 
ner. Give three turns, lift, add 4 qt. alum 
liquor at 8° Tw.; give three or four turns more, 
lift and finish. — C. 

Madder Brown on Cotton Cloth (600 yd.)— Pad 
the cloth in 6 gal. red liquor and 1 gal. black 
liquor, with an equal quantity of water. Dry 
in the machine or padding stove; let age for 
twenty -four hours ; run through boiling chalk 
water, and bring into a water at 170° F., with 40 
lb. bark and 20 lb. madder, and work for an 
hour ; wash, and finish. For darker shades, the 
cloth must be first prepared with sumac or my- 
robolans.— C. 

Medium Brown on Cords or Beavers (70 to 80 
lb.)— Run through cutch liquor at 2}4° Tw. and 
180° F., four times in a jigger; chrome in warm 
water, and run into two fustic liquors of 20 pails 
each ; add to the second fustic liquor 1 qt. an- 
natto liquor. Then work well in a tub, with 5 
pails sumac liquor, 3 pails redwood liquor, 2 pails 
logwood liquor, and 10 pails fustic liquor. Then 
run into a warm water, with 4 qt. of copperas 
liquor at 8° Tw. ; work well, in two waters, and 
run again into two fustic liquors, to the second 
of which 1 qt. annatto liquor is added, and top 
with Bismarck brown to shade.— C. 

Light Browns on Cords.— Kun through a jig- 
ger with cutch at 2° Tw. at 160° F. ; take 
through a warm chrome water ; wash in two 
waters, and run into two fustic liquors 20 pails 
each, to the second of which 1 pt. annatto is 
added. Then work in 2 pails sumac, 2 pails red- 
wood liquor, 1 pail logwood liquor, and 15 pails 
fustic liquor/ Run into a warm water with 2 
qt. copperas liquor at 8° Tw. Wash in warm 
water, and run into 20 pails fustic liquor, with 
1 pt. annatto liquor, and top with Bismarck 
brown as required.— C. 

Common Brown (100 lb.)— Boil 20 lb. catechu 
in water, dissolve in the liquid 10 lb. alum, let 
settle, enter yarn in hot liquid ; and, after 
working well, take out, and enter into a fresh 
boiling water, with 4 lb. yellow chromate of 
potash. Rinse and soften with oil and soap.— C. 

Brown; Bismarck Brown.— For 101b. of cloth 
or yarn, work in a hot decoction of 3^j lb. of 
sumac for y% hour ; wring out and work for 20 
minutes in a solution consisting of 43^ oz. of 
stannate of sodium, and then thoroughly wash 
from this. Dissolve 4 oz. of Bismarck brown in 
the dye beck or boiler, and work the goods in 
this for 34 hour, at 120° F. (48*8 C), or at a heat 
about as hot as the hand can bear ; then wring 



out to dry. If a redder shade than this prepa- 
ration will yield be desired, a little red liquor 
must be added to the dye ; if a yellower tint be 
required, this may be got by the addition of a 
little fustic— G. 

Dark Brown. — 7 pieces, 84 lb. Work in jig- 
ger, charged with 12 gal. boiling water, and 20 
lb. catechu, 5 lb. sumac (Palermo), and 3 lb. 
sulphate of copper ; give in this 5 ends, then re- 
charge with 1 gal. acetate of iron, at 12° Tw., 
and 5 lb. sulphate of iron cold, and 12 gal. water 
cold. Give 4 ends, and afterward wash again, 
and recharge jigger with 12 gal. water, boiling, 
and 3 lb. bichromate of potash; give 4 ends, 
then wash and dry. 

Medium and Light Brown can be obtained by 
decreasing the quantities of ingredients. — G. 

Dark Nacarat (10 lb.).— Boil 2 lb. catechu in 
water; dissolve in the solution 5 lb. bluestone 
and work the yarn at a boil. Leave them in the 
liquid overnight; lift the next morning, and 
take through a boiling water, with )4 lb. chro- 
mate of patash. Take out and steep for half 
an hour in a solution of tin at 3° Tw. Lift and 
top at a hand heat with the decoction of 2 or 3 
lb. logwood. Work in this for an hour; lift, 
add l£! oz. tin crystals, re-enter, work, wring, 
and dry.— C. 

Fast and Bright Brown (10 lb.).— Boil in water 
2 lb. best Pegu cutch; dissolve in the liquid 3 
oz. bluestone, and make up with water to 14 
gal. Let settle, heat the clear to a boil, enter 
the yarn, and let steep for two hours. Lift, 
enter in a fresh boiling water with % lb. bi- 
chrome. Give six turns, lif t, and rinse in cold 
water. If a finer shade is desired, it may be 
entered in a water at 100° F., with y% lb. alum, 1 
oz. tin crystals and a little magenta.— C. 

Noisette, Six Shades (11 lb.).— 1. Make up 87 pt. 
water at 68° F., with 34 lb. sumac and 134 oz. 
prepared catechu. Enter the yarn, steep for 
an hour, lift, and add 2J4 oz. nitrate of iron; six 
turns, and wring well out. Make up a fresh 
water at 86° P., with y 2 oz. chromate of patash ; 
six turns, and take through warm water. — C. 

2. Make up the first beck with 8% oz. of sumac 
and 2J4 oz. prepared catechu. Steep for an hour, 
lift, and add 3Hj oz. nitrate of iron; re-enter, 
six turns, and enter in a water at 86° F., with 1 
oz. chromate of potash.— C. 

3. The first Avater is at 86° F., and contains the 
decoction of 13 oz. sumac, 4 oz. logwood, and 
33^2 oz. prepared catechu. Steep for an hour. 
Add 33-6 oz. nitrate of iron, give ten turns, and 
take through a fresh beck of 1% oz. chromate 
of potash.— C. 

4. The first water is made up with 17 oz. su- 
mac, 8% oz. logwood, and 43^ oz. prepared cat- 
echu. Steep for an hour. Add 43^ oz. nitrate 
of iron, and give ten turns and pass through a 
fresh beck of 234 oz. chromate of potash at 
86° F.— C. 

5. The first water is made up with 26 oz. su- 
mac, 17 oz. logwood, and 7 oz. prepared catechu. 
Steep for an hour; add 634 oz. nitrate of iron 
and give ten turns. Take through a beck of 33^ 
oz. chromate of potash. — C. 

6. 2 lb. 3 oz. sumac, and the same weight of 
logwood for the first beck. Use 93^ oz. nitrate 
of iron, and take through 634 oz. chromate of 
potash.— C. 

Buff on Cotton Yarn (31 lb.)— Annatto, 2 oz.; 
soda ash, 4 oz. Dissolve in water at a hand 
heat. Give the yarns five turns and wring. 
Enter in a fresh lukewarm water, slightly 
soured with vitriol. Five turns. Wash. 

Light Buff (60 lb.)— Bleach, add to a cold 
water 3 pt. nitrate of iron; work yarns five 
times and wring. Add clear lime water to a 
fresh cold water, give five turns and wring, re- 
enter in the iron liquor, five turns, wash off 
and dry.— C. 

Another Light Buff (60 lb.).— Bleach, work 
yarn five times in dilute clear lime water and 
wring; boil 2 oz. Bismarck brown (Brooke, 
Simpson & Co.), and add to a cold water. Work 
five turns, wash in cold water and dry.— C. 



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150 



Dyeing. 



Dark Buff (60 lb.).— Boil 6 lb. turmeric with 3 
lb. alum in 6 gal. water, and add this to a hot 
water. Work yarns five times and lift, add 3 pt. 
nitrate of iron, three turns more, wash in cold 
water and dry.— C. 

Another Buff (11 lb.).— Boil 1 oz. to 1% oz. an- 
natto in the solution of 2\i oz. soda ash, and 
work the yarn for an hour at a boil. Lift, and 
top in a fresh water with magenta and a little 
alum.— C. 

Canary— 5pieces=80 lb. cloth— Jigger charged 
with 12 gal. cold water, 2 pt. fustic extract at 
48° Twaddell, give 1 end, then addl^j pt. fustic 
extract at 48° Twaddell, give 4 ends, and re- 
charge jigger with the same quantity of water, 
and 3 lb. of alum, give 4 ends, and afterward 2 
in water, and then the goods are ready.— G. 

Chamois -5 pieces=80 lb. cloth.— 12 gal. water 
at 100° F.; jigger charged with 3 pt. catechu 4° 
Tw., give 1 end, then add 2 pt. catechu at 4° 
Tw., give 4 ends more, recharge jigger with 
same water and 3 qt. bichromate potash (1 lb. 
per gal.), give 1 end, then add 2 qt. more bi- 
chromate potash (1 lb. per gallon), give 4 ends, 
wash.— O. 

Chocolate (11 lb.)— Work for half an hour at 
167° F. in a water of &% oz. prepared catechu, 
lift, and pass five to seven times through a 
fresh water at the same heat made up with 1*4 
oz. chromate of potash. Lift, and top in a 
fresh water with about T V oz. magenta and 15 
gT. extract indigo.— C. 

Claret (11 lb.).— Make up a water with 17 oz. 
prepared catechu, and work the yarns for an 
hour. Wring and steep for half an hour in a 
hot water with 634 oz. chromate of potash, take 
through cold water and work for half an hour 
in a water at 190° F, with 3J4 lb. sumac. Dye in 
a cold water with 1% oz. magenta, lift, and add 
to the water 8% oz. alum and the decoction of 
2J4 lb. logwood. Enter again, work, lift, and 
add from y& to 1% oz. chromate of potash, re- 
enter and work.— C. 

Claret (72 lb. cloth).— Jigger charged with 12 
gal. of hot water at 120° F. (49° C), and 10 lb. 
sumac, and 10 lb. ground logwood, give 5 ends 
in this, then add to it 5 gills protochloride of 
tin at 120° Tw., give 4 ends more and wash, re- 
charge jigger with 12 gal. hot water 120° F., 10 
lb. ground logwood, and 5 lb. peachwood, give 
4 ends in this, and afterward add to same 
charge 8 oz. ground alum, dissolve, and give 2 
more ends, wash as usual.—©. 

Cream Color (11 lb.)— Boil out % oz. prepared 
catechu in water, and dissolve 2 lb. 3 oz. curd 
soap in the clear liquid. Enter the cotton at 
190° F., and work for an hour.— C. 

Dove on Velvets.— Run through 60 gal. water, 
to which 10 gal. logwood liquor and 5 gal. sumac 
have been added. Lift, add 3 qt. copperas 
liquor at 8° Tw., enter, run through again, 
wash, and finish.— C. 

Light Drab on Cotton (60 lb. cotton yarn).— 
Boil 3 lb. sumac, 1 lb. logwood chips, 1 lb. fustic. 
Enter, the yarn at 120° F., give five turns, wring, 
add 4 oz. copperas, give five turns at the s"ame 
temperature, take out and add 4 oz, nitrate of 
iron, }4 bucket fustic liquor, give five turns and 
wash out in water. Second bath, 2 lb. soap at 
110° F., give five turns and wring. 

Light Drab (60 lb.).— Boil 6 oz. redwood ex- 
tract till dissolved. Add the liquor to a warm 
water, work five turns, lift and add 1}4 pt. 
black liquor. Three turns more, wash and dry. 

Medium Drab (60 lb.).— Increase the peach- 
wood extract to 1 lb., and work as above.— C. 

Dark Drab (60 lb.).— Boil 6 lb. cutch until dis- 
solved (without any bluestone), add to a hot 
water, five turns, run off and wring. Dissolve 
1J^ lb. peachwood extract, add to a warm water, 
five turns, lift and add 1 qt. black liquor, three 
more turns, wash and dry. For a yellower 
shade, boil a little extract of fustic along with 
the peachwood ; for a redder shade add a little 
alum along with the peachwood, and for a 
browner tone top with a little Bismarck brown. 



Drab on Velvets.— Run four or five times 
through a bath made up of 60 gal. fustic liquor, 
20 gal. sumac liquor and 1 pt. of dissolved an- 
natto. Lift, add 4 qt. of copperas liquor at 8° 
Tw. Run four or five times through, wash and 
finish.— C. 

Light Drab on Cords.— Work with 1 pail 
sumac, 2 pails fustic, 4 qt. logwood and 1J4 pt. 
annatto, filling the tub up with warm water. 
Run into a warm water with 3 pt. copperas 
liquor at 8° Tw., and wash off in warm water. 
-C. 

Drab (100 lb. yarn).— Dissolve 8 lb. alum and 
% lb. nigrosine (F. Beyer & Co., of Elberfeld). 
Enter at 120° F. and turn constantly to shade 
whilst raising the heat.— C. 

Fawn on Velvets.— Make up a catechu bath 
at 2° Tw. and 180° F., run through this, pass 
into chrome bath at 1° Tw., wash and sadden 
with 60 gal. fustic and 30 gal. sumac. Lift, add 
4 qt. copperas at 8° Tw., run through again, 
wash and finish.— C. 

Gray on Cotton Yarn (31 lb.).— Boil out 30 oz. 
fustic. Enter the yarn at a hand heat, and let 
soak for fifteen minutes ; sadden with the same 
weight of copperas, wash well and wring. En- 
ter in a cold water with 60 oz. alum and dye up 
to shade with a little induline.— THZZ cams Bros. 
& Ekin. 

Prussiate Green (22 lb.).— Dissolve 2 lb. 3 oz. 
alum in lukewarm water and give two turns. 
Dissolve in fresh water 17^ oz. solid extract of 
bark. Work for an hour and wring three 
times. Prepare two cold waters, the first with 7 
oz. nitrate of iron slightly soured with sulphuric 
acid, and the second with 3}/ 2 oz. yellow prussi- 
ate. Give five turns in each, lift and wring. 
Before taking out of the second add 2 oz. muri- 
atic acid, rinse, wring and dry. 

For heavy greens take extract of bark, 2 lb. 
3 oz.; nitrate of iron, 12 oz.; yellow prussiate, 7 
oz.— C. 

Grass Green (55 lb.).— Steep the cotton, pre- 
viously boiled, for a night in water with 8% oz. 
alum. Next morning rinse, wring and enter in 
a water at 140° F., containing 13 lb. 2 oz. bark. 
Work for forty-five minutes, wx*ing and dye to 
shade in a water containing 4 lb. 6 oz. soda 
crystals and Nicholson blue (BBB) &% oz. The 
color, of course dissolved, should be added in 
two portions to prevent unevenness. Work 
for half an hour, lift and add to the beck the 
solution of 3J4 lb. alum. Six more turns, rinse, 
wring and dry.— C. 

Cceruleine Green.— Mordant with chrome 
alum, or take the yarn alternately through 
chromate of potash and bisulphite of soda. 
For the dye beck stir up the cceruleine with 
twice its weight bisulphite of soda at 71}^, and 
let the mixture stand for some hours before 
adding it to the dye beck.— C. 

Methyl Green (22 lb.).— Dissolve 17J4 oz. tannin 
in water, enter the cotton at 167° F., and steep 
for fifteen minutes, giving several turns. 
Wring, and add to a fresh cold water the solu- 
tion of S}4 oz. methyl green, enter yarns, give 
twelve turns, wring and dry.— C. Or (for 11 
lb.), dissolve 3,100 grains tannin in a boiling 
water, enter the bleached cotton overnight in 
the hot solution, wring out and dye in cold 
water with a solution of the color according to 
shade. Wring, and dry in the dark without 
washing.— C. 

Emerald Green on Cotton Velvets.— Give a 
yellow ground with f ustie liquor. Work well, 
lift, and add 4 qt. solution of alum at 10° Tw. 
Work well, and wash in two clear waters. Re- 
peat the same operation and fold the pieces up. 
When dry, blue the pieces in the vat to the 
shade required. — C. 

Light Bluish Green (11 lb.).— Extract 17 oz. 
turmeric at a boil, and add to a water. Steep 
for two hours, lift, add 1% to 2^ oz. sulphuric 
acid, re-enter five times, take out, wash well, 
and dye a Prussian blue in the following: a. 3 
cz. tin crystals, 8% oz. nitrate of iron. b. 4*4 
oz. yellow prussiate, 2% oz. sulphuric acid. If 



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151 



Dyeing. 



the blue is required darker, repeat the opera- 
tion.— C. 

Night Green for Cotton Velvets, Velveteens, 
etc.— Boil 3 lb. nut-galls in 4 gal water, let 
settle, draw off the clear and dilute it with 20 
gal. water. Bring this liquor into a jigger at 
about 150 F., enter the piece and run it through 
six times, add a pint of double muriate of tin 
and run through again. Wash and run through 
a bath prepared with 20 gal. of water, to which 
4 gal. fustic liquor have been added. Run 
through six times, add to the fustic 4 qt. alum 
liquor at 8° Tw. Run through several times 
more, lift and drain in a centrifugal. Make up 
a jigger with 20 gal. water and Yz lb. of night 
green paste, previously dissolved ; when all the 
color has been taken up, take up and finish. 
(Methyl green, Helvetia green, or Malachite 
green, according to shade, will now be substi- 
tuted for the night green paste. — C. 

Russian Green for Cotton Yarn. — After hav- 
ing been well boiled the yarn is brought into a 
boiling both of 20 lb. sumac and 1 pound log- 
wood extract, left in this overnight and placed 
into a cold bath containing 4 lb. copperas and 
■6 oz. Cyprus vitriol, turned for an hour, taken 
out and placed again into the first bath, turned 
about ten times and dyed in fresh tepid water, 
containing % lb. methyl green, and shaded in 
the same bath, according to wants, with decoc- 
tion of fustic and logwood. 

Chrome Orange on Cotton Carpet Yarn (100 
lb. of yarn).— 16 lb. of brown sugar of lead, 8 lb. 
of litharge, 8 lb. of chrome, 5 lb. of lime. 

1 Bath.— Dissolve the lead and litharge, enter 
the yarn, which must be previously boiled out, 
give five turns, wring out. 

2 Bath.— Dissolve chrome, enter yarn warm, 
give the necessary turns, from three to five, 
wash off and wring. 

3 Bath.— Slake the lime, enter the yarn boil- 
ing hot, and turn to finish, wash off and wring 
ready for the drying room. 

Note 1.— For finer yarns, white sugar of lead 
will work a cleaner or brighter color, but not 
as heavy a body. 2. If the color should not be 
red enough in liming, throw up and add more 
lime. 

Blue Green on Cords, Beavers, and Beaver- 
teens.— Boil the goods in soda ash for an hour, 
and leave folded up in clear water to drain. 
Give a good ground in the vat, sour, wash well 
in two or three waters, and sadden in logwood 
liquor, 50 gal., and fustic liquor, 30 gal. Add 
eopperas water, 2 qt., and bluestone liquor, 2 
qt., and run through again. Wash in two 
waters and run the pieces into fustic liquor, 70 
gal. Drain, add bluestone water, 3 qt., at 8° 
Tw., run through and wash. Give five turns in 
each operation. This is a bluish olive.— C- 

Chrome Green on Cloth or Yarn.— Give a vat 
blue ground, run through, sour, and wash in 
clean water. Run through sugar of lead at 6° 
Tw., then through caustic soda at 2°— 3° Tw., 
wash off, and run through bichromate of pot- 
ash at 2° Tw. 

Cloth requires three or four turns, yarn five 
or six turns. 

Green on Yarn (100 lb.). — Dissolve nitrate of 
iron, 10 lb.; tin crystals, 1 lb. Work through 
the cold solution, give five turns and wring. 
Dissolve in another water yellow prussiate, 6 
lb., give the yarn six turns in the cold solution, 
wring, and pass back to the nitrate of iron, 
and thence return to the prussiate bath, to 
which alum, 2 lb., have been added, give three 
dips in each, and rinse. 

Boil bark, 40 lb., for an hour, strain the de- 
coction into a tub, add sugar of lead, 1 lb., well 
dissolved, and when all is mixed, enter the yarn 
at 180° F., and turn it for half an hour, wring, 
and take it through another water, containing 
alum, 2 lb.; indigo paste, 2 lb. Rinse and dry. 

Cheap Green. — Prepare yarns overnight in a 
decoction of sumac, Boil fustic, 25 lb., for one 
hour in a bag. Add to the liquid verdigris, 



2% lb., dissolved in acetic acid and hot water. 
Cool the dye and enter the yarns, turn well, 
and heat up to a boil. Keep the yarn half an 
hour in the bath, let it cool, and enter it in 
another water containing the decoction of 10 
lb. logwood, heat to a boil, and keep it there 
for half an hour; lif t and rinse. 

By using bluestone instead of verdigris an 
olive green shade is produced.— C. 

Gray (31 lb.).— Extract fustic, 3(J oz., at a boil. 
Enter the yarns at a hand heat, and steep for 
fifteen minutes. Sadden with copperas, 30 oz. 
Wash well and wring, enter in a cold water 
with alum, 60 oz., and dye up to shade with a 
little induline. (Williams Brothers and Ekin.) 
— C. 

Mode Gray on Cotton Wool (22 lb.).— Enter in 
water with the extract of 11 lb. logwood, work 
for half an hour in the cold, lift, and add cop- 
peras, 43^ lb. 6 oz. Re-enter and work to shade; 
lift, rinse, and dry.— C. 

Slate Gray on Cotton Wool (22 lb.).— Make a 
decoction of sumac, 2 lb. 3 oz.; catechu, 173^ 
oz. Enter the cotton at 122" F., and let steep 
for an hour, turning from time to time. Lift, 
and add to the water 8M oz. nitrate of iron, re- 
enter and work till the color is level. Lift, 
wring, and add to a fresh water bichromate of 
potash, 6% oz. Heat to 140° F., enter the cot- 
ton, give seven turns, let steep till cold, and 
dry.-C. 

Silver Gray (55 lb.).— Six turns in a decoction 
of gall-nuts, 13 oz., wring, and pass into a cold 
water with copperas, 3 lb. 434 oz., and blue- 
stone, 1 lb. 10 oz. Seven turns, rinse, and dry. 
— C. 

Mode Gray (55 lb.).— Boil in a water, 334 lb. 
catechu ; dry extract logwood, 17 oz. ; and dis- 
solve copperas, 8% oz., and bluestone, 8% oz. 
Enter yarns at 122° F., and work for half an 
hour. — C. 

Light Gray on Cotton Pieces (60 lb.)— Boil 
solid extract of logwood, 134 lb., and solid ex- 
tract of bark, 34 lb., in water. Run the pieces 
six to eight times through, squeeze, and run 
through a fresh beck of water with copperas, 
5 lb. Rinse, and finish with the dressing di- 
rected for pansy.— C. 

Medium Gray (60 lb.).— Increase the extract 
of logwood to 234 lb. and the bark to %lb., 
and use 10 lb. copperas.— C. 

Dark Gray (60 lb.).— Extract logwood, 41b., 
and extract of bark, 134 lb. Add to the finish- 
ing mixture logwood and copperas enough to 
color it slightly. If a yellow tone is required 
add more bark liquor, and for a reddish shade 
take a little sapan liquor. — C. 

Stone Gray (25 lb.).— Boil sumac, 25 lb., and 
fustic, 1 lb. Enter, give five turns, wring, and 
enter in a cold water with copperas, 1 lb., 
and bluestone, % lb. Five turns, rinse, and 
dry. 

Cotton Dyeing.— Fast Gray (22 lb.).— Mix 1% 
pt. olive oil and the solution of 2 lb. 3 oz. 
soda crystals. Work the cotton in this mix- 
ture at a boil for thirty minutes, wring and 
dry. Then powder 44 lb. coal very fine, add 
1534 lb. soda crystals and 1734 pt. boiling water. 
Let the mixture steep for some hours and then 
boil for half an hour in 227 pt. of water; strain 
and work in the hot liquid for a quarter of an 
hour and wring well. Repeat this process five 
times, wringing each time. Wash in lukewarm 
water, then in cold water, wring and dry. Pass 
into weak size, to which a little emulsive oil has 
been added, wring and dry. This gray resists 
soap, acids and chloride of lime, but it is not 
beautiful.— C. 

Mode Gray (11 lb.).— Work for two hours with 
the decoction of 35 oz. sumac and 434 oz. fustic. 
Lift and dye in a fresh water with 434 oz. cop- 
peras. Top in fresh water with gentiana, blue 
or methyl violet.— C. 

Maroon on Cotton (75 lb. yarn).— Steep over- 
night in decoction of 18 lb. sumac, wring and 
enter cold in a bath of oxymuriate of anti- 
mony, 2° Tw., work for four hours, wash, 



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152 



Dyeing. 



wring and enter dye bath of 4 pails redwood 
liquor and 9 oz. " garnet " (Farbwerke, Hoechst 
am Main) at 120° F. and raise to 160° F., turning 
constantly. — C. 

Deep Olive (11 lb.).— Boil in sufficient water 14 
oz. sumac, work for an hour in the clear and 
make up a fresh water with" 26 oz. copperas. 
Work for fifteen minutes, wring and prepare a 
beck of red liquor at 1^° Tw., raise to 140° F., 
give ten turns, lift, wring and enter in a fresh 
water, at 140° F., containing 5J^ lb. fustic. 
Work for an hour and wring. Bark may be 
used in place of fustic— C. 

Light Olive (10 lb.)— Boil 1 lb. bark in water. 
Boil % lb. turmeric in another vessel and mix 
the decoctions. Dissolve in the liquid 5 oz. 
alum and \% oz. extract of indigo, or more, as 
the shade may require. Steep the yarn in this 
liquid at 88° F., and top to shade with a decoc- 
tion of peachwood. — C. 

Light Olive (11 lb.).— Boil 3J4 lb. fustic in 
water, make up a bath with the extract, dis- 
solve in it 17^ oz. alum, enter yarn and steep 
for an hour. Lift and dissolve in the bath 1% 
oz. extract indigo. Re-enter and work for fif- 
teen minutes. — C. 

Medium Olive (11 lb.).— Extract 8]4 oz. sumac 
in boiling water, enter the yarn in the clear 
liquid, let steep and make up a fresh water 
with 8V£ oz. copperas. Enter the yarn (previ- 
ously wrung out), work for fifteen minutes, 
wring and enter in a fresh beck of red liquor at 
1^2° Tw. Give twelve turns at 148° F., wring, 
make up a fresh water with the decoction of 2 
lb. 11 oz. bark and work half an hour.— 0. 
H Carmelite Olive.— For 100 lb. bleached cotton, 
15 lb. catechu, 4 lb. blue vitriol, 1 lb. bichrom- 
ate. Work same as for yellow cannelle and 
finish with 15 lb. quercitron and 1 tumbler of 
pyrolignite of iron. 

Aniline Orange (60 lb.).— Bleach, boil 3 lb. tan- 
nic acid, and add this to a warm water. Work 
yarns five turns, and wring. Spirit with 3 qt. 
nitro-muriate of tin, and wash in cold water 
with a little soap in the last water. Dissolve 12 
oz. aniline orange, add this to a warm water, 
wash, and dry.— C. 

Annatto Orange (60 lb.).— Boil 6 lb. best an- 
natto in 2 lb. soap and 2 lb. common soda till 
dissolved, and add this to a boiling water. 
Work yarn five turns, wash in cold water, and 
dry. This color may be topped with various 
wares.— C. 

Full Orange (60 lb.).— Dissolve 12 lb. sugar of 
lead in 12 gallons of clear lime water, and add 
the solution to a cold water. Work yarn five 
turns, and wring. Dissolve 4 lb. bichromate of 
potash, and add to a cold water. Work five 
turns and wring, and repeat twice in the old 
liquor, wringing each time. Heat lime water 
to a boil, and work yarn live turns quickly. 
Wash off in warm water with a little soap, and 
dry.— C. 

Orange on Cotton Velvets, etc. — Pour 10 gal. 
boiling water on 4 lb. of turmeric, but do not 
boil ; stir up well, let settle, and run the clear 
into a jigger; make up with water to 20 gal., 
and add y& lb. annatto, which has been boiled 
with M lb. of pearlash. Run the piece six 
times through, and add 4 qt. solution of alum • 
at 8° Tw., and J4 Pt oil of vitriol. Run through 
several times more, wash, dry, and it is ready 
for finishing.— C. 

Cheap Orange (50 lb.).— Dissolve 10 lb. sugar 
of lead, boil for half an hour with 4 lb. litharge, 
let settle, and enter the yarns in the solution 
of basic acetate of lead thus obtained. 
Give two turns, lift, wring, and take 
through weak lime water, and then 
into a warm water containing the solu- 
tion of 6 lb. bichromate of potash. After 
fifteen minutes lift and take through boiling 
lime water very quickly. Rinse and dry. — G. 

Fine Orange (11 lb.).— 1. Boil21% oz. annatto in 
the decoction of 11 oz. soda crystals, filter, and 
work in the hot clear liquid for half an hour. 
Lift and pass through a fresh water at 100° F M 



with 17 oz. alum, to which a little magenta may 
be added if a redder tone is required.— C. 

2. Steep the well bleached yarns overnight, 
6J4 oz. tannin. Take out and dye at 144° F. with 
aniline orange.— C. 

Rich Orange (72 lb.).— Jigger charged with 12 
gal. hot water, 120° F. (49° 0.), and 12 oz. soda 
ash, 4 lb. annatto. Dissolve and add 4 lb. tur- 
meric ; give four ends in this, then add to same 
8 oz. (fluid) of sulphuric acid at 170 Tw., give 
two ends in it, and afterward wash. This is 
much cheaper than chrome orange, and good. 

Alizarine Red for Yarns (220 lb.).— Prepare in 
neutral alizarine oil. Dry the yarns in the 
stove, and steam for three-quarters of an hour 
at 1J^ atmosphere pressure. Mordant in red 
liquor at 14° Tw., and wash well. Dye for one 
and a half hours at 158° F. with the follow- 
ing mixture: Alizarine, at 10$, 441b.; acetate of 
lime, at 33° Tw., 22 lb.; sulpholeic acid, 11 lb. 
Steam for an hour, and soap as may be needed, 
with or without the addition of carbonate of 
soda. A little tin crystals may be added to the 
red liquor to raise the color. 

The selection of alizarines depends on the 
tone of color aimed at. "Alizarine for reds" 
used alone gives the most vivid red. If a bluer 
tone is desired, a little "alizarine for violet " is 
added.— C. 

Aniline Scarlet (60 lb.).— Bleach ; boil 3 lb. 
tannic acid, and steep the yarn overnight in the 
solution. Mordant with permuriate of tin (red 
cotton spirits). Wash off in two cold waters 
and wring up. Dissolve 6 oz. aniline scarlet, 
and add the solution to a warm water. Work 
the yarn for an hour, giving ten turns ; wash 
in cold water and stove dry. — C. 

Another Aniline Scarlet (60 lb.). — Bleach and 
mordant as in the last receipt. Boil 3 lb. tur- 
meric and 3 oz. aniline ponceau, and add the 
solution to a hot water. Work yarns ten turns, 
wash in cold water and stove. — G. 

Common Scarlet (60 lb.).— Bleach ; boil 6 lb. 
sumac, and add this to a hot water. Work the 
yarns five turns, and wring ; mordant in tin, as 
in the preceding receipts. Wash in two cold 
waters, and wring up. Boil 18 lb. peachwood 
and the same weight of fustic ground, and add 
the decoction to a hot water. Work the yarns 
ten turns, and raise with 1 lb. alum. Wash in 
cold \7ater and stove. For lighter shades the 
sumac may be omitted and turmerip used in. 
place of fustic. — C. 

Scarlet on Cotton (22 lb.).— Dissolve in hot 
water separately %% oz. good glue and 17^ oz. 
curd soap. Mix. Enter the yarns, work well 
for half an hour and wring out. Then enter 
the yarns in tiu composition at 6%° Tw., work 
well for half an hour and wring. Enter into 
red liquor at 6%° Tw., work for two hours and 
wring. Then dye at a hand heat in a water to- 
which dissolved aniline scarlet is gradually 
added. As soon as the shade is reacted the 
heat is raised a little, and the yarn is then let 
gradually cool in the flot. The red liquor used 
in this process is prepared by dissolving 10 lb. 
alum and 10 lb sugar of lead, each separately, 
mixing the solutions, letting settle, decanting 
off the clear liquid, and adding to it the solu- 
tion of 2 lb. soda crystals. 

Saffranine Scarlet (60 lb.).— Bleach; boil 2 lb. 
annatto with 1 lb. soap and 1 lb. soda until welL 
dissolved and add to a boiling water. Work 
ten turns, wash in two cold waters, and wring > 
up. Mordant in red liquor, wash off in two 
waters, and wring. Add to a beck of warm ' 
water 2 lb. of saffranine. Work yarns in this 
for one hour, giving ten turns. Wash in cold 
water, and stove.— C. 

Saffranine Scarlet (60 lb.). — 1. Soak yarn for 
twelve hours in hot water, wring and soak for 
an hour in the warm decoction of 20 lb. sumac. 
Lift and pass through nitro-muriate of tin at 
2^j° Tw. Rinse three times, and wring. Ex- 
tract 2 lb. turmeric in a little water, add a boil ; 
add the decoction to a cold water, and add fur- 
ther 19% oz. saffranine, previously dissolved in 



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153 



Dyeing. 



3^ pt. of boiling water, and filtered. Enter the 
yarn, and gradually raise the heat to 131° P., 
turning well for half an hour.— C. 

2. Take the bleached goods through stannate 
of soda at 234° Tw., and leave tor an hour ; take 
through vitriol sours at 34° Tw., and wash. Dye 
with aniline scarlet. Pass through a water 
with tartar emetic, drain in the centrifugal, 
and top in a fresh water with saffranine. After- 
ward pad in a 10 per cent, solution of alizarine 
oil, dry and steam.— C. 

Peachwood Scarlet (55 lb.).— Boil together for. 
twenty minutes 11 lb. sumac and 53^ lb. tur- 
meric. Steep the yarn overnight in the clear 
liquid ; lift, and give five turns in tin solution 
at 2}i° Tw. Give five turns in a water with 13 
lb. peachwood, and let steep for two hours. 
Lift, and let steep three or four hours in a 
fresh water with 26 lb. peachwood and 5 lb. 734 
oz. alum. The tin solution is prepared as fol- 
lows : Muriatic acid, 3 parts ; nitric acid, 1 part. 
To every 2 lb. 3 oz. of this mixed acid take 4M 
oz. tin crystals. The second peachwood beck 
may be saved and used for the first peachwood 
steep of the next lot.— C. 

Safflower Scarlet (60 lb.). — Bleach ; boil till 
quite dissolved 3 lb. concentrated annatto with 
1 lb. soap, 1 lb. soda crystals, and add this to a 
beck of boiling water. Work yarns one hour, 
ten turns. Wash in two cold waters and wring. 
Add to a water one bottle carthamine (extract 
of safliower), work yarns four turns and lift ; 
add 3 pt. acetic acid ; re-enter, work till all the 
color is taken up. Wash off in three cold 
waters, to the last of which 1 lb. cream of tar- 
tar is added. Wring and dry cold. — C. 

Another Scarlet (100 lb.).— Steep overnight in 
- the decoction of 20 lb. sumac. Work for "5f- 
teen to twenty -five minutes in a beck of oxy- 
muriate of antimony at 2° Tw., wash well, and 
dye to shade with ponceau 2 B (Berlin Aktien 
Gesellschaft) 134 lb. Enter a t70° P., and raise 
heat not above 90° F.— C. 

Another Scarlet (50 lb.).— Steep overnight in 
the decoction of 18 lb. sumac, wring, and enter 
cold in a bath of oxymuriate of antimony at 2° 
Tw. Give three or four turns, and let steep for 
half to three-quarters of an hour. Wash, and 
dye up with saffranine, 10 oz.; phosphine, 4 oz. 
(Berlin Aktien Gesellschaft). Enter at 60°, and 
turn rapidly, raising the temperature to (but 
not above) 110° F.— C. 

Ponceau and Scarlet with Saffranine on Cot- 
ton (11 lb.).— Prepare a boiling beck with 34 kilo, 
turmeric, and work the goods in it for an hour. 
Take through a beck of 1734 oz. sulphuric acid, 
lif t and prepare for three hours at a boil with 
234 lb. sumac. Take out and dry in a fresh beck 
at hand heat with clear solution of saffranine. 

Ponceau 3 R. Berlin Aktien Gesellschaft.— 
Soap and dry; mordant for an hour in red 
liquor at 17° Tw., free from lead. Wring and 
dye in a fresh water to which the dissolved 
color is added. Heat slowly to a boil, and let 
the cotton cool in the bath. The red liquor is 
prepared as follows: 8 parts sulphate of alu- 
mina, 14 water, 7 soda crystals, 10 parts sugar 
of lead and 7 water. Each of these liquids is 
boiled separately, and when cooled down to a 
hand heat they are mixed; the mixture is 
stirred, let settle, and filtered. This process 
may be used for fixing any of the ponceaux 
and the Bordeaux of the same company upon 
cotton.— C. 

Claret on Cotton Yarns (11 lb.).— Make up a 
beck with 1734 oz. prepared catechu, and work 
the prepared yarn in it for one hour. Wring 
and steep for half an hour in a hot beck of 6J4 
oz. chroma te of potash; take through cold 
water, and work for thirty minutes in a beck 
of 334 lb sumac at 190° F. Then dye in a cold 
beck with 1% oz. magenta, take out, add to the 
beck %% oz. alum and the decoction of 234 lb- 
logwood. Enter again, work in the cold beck ; 
lift and add according to shade from % to \% 
oz. chromate of potash, re-enter and work. 
The color is now complete.— R. 



Saffranine Pink (601b.).— Bleach and mordant 
in red liquor. Wash well from this in two or 
three cold waters, and wring. Add to a warm 
water 1 lb. saffranine paste ; work five turns, 
wash off in cold water, and stove.— C. 

Safliower Pink. (60 lb.).— Bleach and add three 
gills of extract safliower (carthamine) to a 
water. Work yarns for six hours, giving them 
a turn every half hour, and keep them in the 
liquid till all the coloring matter is taken up; 
add toward the close a little acetic acid to raise 
the shade. Wash off in three waters, adding 
to the last 1 lb. of cream of tartar, and dry 
cold.— C. 

Safliower Pink.— 7 pes., 84 lb.; worked in jig- 
ger with 20 gallons of water at blood heat, and 
9 oz. safliower liquor of commerce, give 3 to 4 
ends, then add to the same bath 34 gill sul- 
phuric acid at 170° Twaddell. Give 2 ends more 
in this liquor, which is to precipitate the col- 
oring matter into the fiber of the cloth. Wash, 
mangle and dry.— G. 

Aniline Pink (50 lb.).— The yarns, well 
bleached, are entered at 110° F. in a water 
with— 

Sulpnate of soda 5 1b. 

Pink (Baden Anilin Fabrik) 4 oz. 

Turn well ; lift, heat to 140° F., and finish. 
The dyeware should not all be added at once. 
—C. 

Erythrosine Pink (50 lb.).— Add to a lukewarm, 
water- 
Sulphate of soda crystals 5 lb. 

Erythrosine B. S. (Meister, Lucius 
& Bruning) , 5 oz. 

Enter yarns at 120° F., and turn to shade,, 
raising the heat gradually to 140° F. It is rec- 
ommended to add the color— of course dis- 
solved—in two equal portions.— C. 

Phloxine Pink (50 lb.).— Dissolve common salt 
in the water till it marks 5° Tw. Add the so- 
lution of 6 oz. phloxine extra B B (P. Monet 
& Co., Geneva). Enter yarns at 70° F., and give 
five turns while the temperature is raised to 
100 F.; wring and dry without washing.— C. 

Safliower Rose (60 lb.)— Bleach; work as for 
safliower pink, but double the quantity of car- 
thamine, and give a little more time — C. 

Magenta (50 lb.).— Add to a water at 144° F. — 
Tin crystals h% oz. 

And the solution of the same weight of ma- 
genta, which is added in two portions, giving 
six turns after each. — C. 

Coralline Red (11 lb.). — Boil 35 oz. sumac or 
2,790 grn. of tannin in water, and steep the 
cotton all night in the hot clear liquid. Wring 
out next morning, and enter in afresh water at 
122° F. with 1734 oz. good glue; wring out and dye 
to shade with coralline in cold water; wring 
again, and without washing dry in a room 
whose atmosphere is impregnated with am- 
monia. Aurine is dyed in the same manner as 
coralline.— C. 

Magenta on Cotton Wool(li0 lb.).— Add to a 
boiling water 5 lb. 7 oz. tannin. When per- 
fectly dissolved enter the cotton and boil for 
two hours; reduce heat and steep for another 
hour. Dissolve 2 lb. 3 oz. soap, dilute the tan- 
nin beck sufficiently, and work the cotton well. 
Lift, drain in the centrifugal, and dye in a fresh 
water with 27—31 oz. magenta.— C. 

Rose Bengale (P. Monnet & Co.)— Work the 
cotton for an hour in water, containing b% of 
alizarine oil, dry, steen for two hours in cold 
red liquor at 234° Tw., and enter in the dye beck, 
which for every 35 oz. cotton contains 34 oz. 
color and % oz. of the above red liquor. The 
process takes one hour at from 112° to 140° F. 

The red liquor is made by dissolving 334 oz. 
alum in 1734 oz. water, and adding \% oz. ace- 
tate of lime, previously dissolved in another 
1734 oz. water. It is let settle, decanted, or fil- 
tered if needful, and set at 234 Tw.— C. 

Eosine.— Work the yarn in a soap beck, dry, 
and transfer to a beck of sugar of lead. Rinse 
and dry at a hand heat in an eosine beck. Tho 



Dyeing. 



154 



Dyeing. 



addition of a little acetic acid gives a yellower 
tone.— C. 

Cochineal Red (10 lb.)— Boil 1 lb. best annatto 
with % lb. potash; strain the solution, and 
work the yarn in it at moderate heat. Wring-, 
and take the yarn twice through a lukewarm 
water; wring and pass it into the solution of 2 
oz. glue, to which 1}& oz. nitric acid has been 
added. Work for quarter of an hour, wring, 
and enter in a tin mordant at 10°— 11° Tw. 
Work for half an hour, wring, and dye with 134 
lb. cochineal.— C. 

Wood Red. — Steep overnight in 12 lb. sumac; 
next morning spirit it in nitro-muriate of tin 
at 12° Tw. (cold). Wash off well, and dye with 
10 lb. barwood and 30 lb. Brazil wood at a boil, 
turning for an hour.— G. 

Barwood Red (10 lb.)— Boil out 2 lb. sumac, 
and add the decoction to a water in which the 
goods are steeped for six hours. Wring out, 
and work in so-called barwood spirit at 2° Tw. 
Wring-, and enter in a water at 200° F. with 10 
lb. rasped barwood, raise to aboil, which is 
kept up till the shade is obtained. — C. 

Garancine Red on Cotton (11 lb.)— Prepare 
right at a boil with 2 lb. 3 oz. sumac. Dry and 
enter in a beck of red liquor at 7° B., where it 
is left for six hours, with frequent turning. 
Take out, and soak well in a fresh hot beck of 
1734 oz. elutriated chalk and 2 lb. 3 oz. cow 
dung. Rinse and dye in two becks. The first 
consists of 14 oz. garancine, 534 oz. sumac, and 
7 oz. bran. Enter at 77° F., and raise the heat 
slowly to 167° F. Enter in the second beck, 
consisting of 273^ oz. garancine, 14 oz. sumac, 
and 7 oz. bran. Enter at 144° F., and raise 
slowly to a boil. The whole time in this second 
beck is an hour. Rinse, and raise at a boil for 
fifteen minutes, in a beck of 1734 oz. curd soap. 
Rinse, and dry.— I?. 

Mock Scarlet (10 lb.).— Prepare in 30 gal. hot 
sumac liquor, with 1 lb. turmeric. Give seven 
turns, lift, and pass into a cold water with 1 pt. 
crimson spirit (nitro-muriate) of a tin (a solu- 
tion of the perchloride) ; seven turns, wash, 
and enter in 30 gal. hot redwood liquor. Lift, 
wash, and if not full enough, take again through 
the spirit and the redwood liquor.— C. 

Crimson Liquor for Padding Velvets.— Dis- 
solve 234 lb. sal ammoniac in 6 qt. hot water ; 
then add to it 6 qt. cold water and 9 lb. common 
salt, stir well until all is dissolved, and strain 
through a double cloth into a 12 gal. stoneware 
bowl. Add to the solution 2 qt. gum-tragacanth 
water, 43*£ gal. sapan liquor at 8° Tw., and 1^4 
pt. nitrate of copper at 78° Tw.; stir well for 
three minutes, add 73^ pt. oxymuriate of tin, 
stir, fill up the bowl with cold water, and strain 
for use. Pad once through at night and hang- 
up to drain, run through the same liquor next 
morning and dry. When dry, turn over, expose 
to the air to cool, and after about two hours 
wash in 3 waters and dry. 

If a more scarlet color is required, add 1 pt. 
black liquor to the above before padding. — C. 

Cochineal Scarlet (100 lb.).— Boil 10 lb. annatto 
with 6 lb. soda ash ; strain into a tub and enter 
the yarns in the liquid very hot; leave there 
for half an hour ; lift and rinse in very warm 
water. Dissolve glue, 10 lb.; nitric acid, 734 lb' 
Pass the yarn into this solution lukewarm for 
a quarter of an hour ; lift, wring, and pass into 
a tin mordant at 11° Tw. Keep it under the 
surface of the liquid for half an hour; lift, 
wring, and dye up in a water containing : Cochi- 
neal, 12 lb.; tin composition, 3 lb. Steep for a 
few hours. Top with magenta if needed.— C. 

Cheapest Scarlet (100 lb.).— Pass for two hours 
into a decoction of 20 lb. turmeric ; lift, rinse, 
and pass into a water containing 8 lb. sugar of 
lead and 5 lb. alum, for fifteen minutes. Wring 
and dye up in 3 or 4 oz. magenta, according to 

This scarlet will be blackened by sulphurous 
fumes, and will fade in the sun.— C. 

Azo Reds (110 lb.).— Dissolve in water 63^ lb. 
curd soap and 2 lb. 3 oz. white glue in water. 



Enter the yarn and work for an hour, wring 
out, and pass into a cold water with perchlo- 
ride of tin at Q%° T w. Work for an hour, lift and 
enter in a water of red liquor at 11J4 Tw. 
Work for two hours, lift and pass into a cold 
water containing more or less of the coloring 
matter as according to shade. Turn con- 
stantly, and raise the heat slowly to 190° F., 
let remain for some time in the hot not, wring 
out, and dry.— C. 

Or, for a cheaper and inferior color — 

Dissolve sulphate of alumina, 10 per cent, of 
the weight of the yarn, and convert it into basic 
sulphate by the following process. Add gra- 
dually solution of soda, with constant stirring, 
till the precipitate formed does not entirely 
disappear, but leaves a few floating flakes. 
Then make a small quantity of a fresh solution 
of sulphate of alumina and add it very care- 
fully, stirring continually, till these last flakes 
are dissolved, set the liquid at 14° Tw. Enter 
yarns for two hours, turning occasionally, lift 
and dye up in a fresh water with color = 10 per 
cent, of the weight of the cotton.— C. 

Roe Color (11 lb.).— Work for an hour at 167° 
F. in a water of 17 oz. catechu. Lift and enter 
in a fresh water at the same heat with M oz. 
chromate of potash. Lift and top in a fresh 
beck with about % oz. alum and 30 to 45 grains 
of fustic. — C. 

Bright Salmon.— Boil in a water 11 lb. sumac. 
Dissolve in the decoction 8% oz. soda crystals, 
and stir in 13% oz. olive oil. Enter yarns, steep 
for an hour at 140° F.,lift, add to the water 103^ 
oz. tin crystals, re-enter, turn for half an hour, 
wring and dye to shade in a fresh cold water 
with 8% oz. aniline orange, wring, rinse, and 
dry.-C. 

Light Slate (60 lb.).— Boil 24 oz. logwood ex- 
tract till dissolved, and add this to a warm 
water. Give yarns 5 turns, lift, and add 13^ pint 
black liquor. Three more turns, wash in cold 
water, and dry.— C. 

Medium Slate (60 lb.).— As above, but take 3 
lb. logwood extract and 3 pt. black liquor.— C. 

Dark Slate (60 lb.).— Boil 6 lb. sumac, add the 
liquor to a hot water. Work 5 turns, and wring 
up. Boil 3 lb. logwood extract tiU dissolved, 
and add this to a warm water. Five turns, lift, 
and add 3 pt. black liquor. Give 3 turns more, 
wash in cold water, and dry. 

These colors may be modulated by using 
along with the above ingredients small quanti- 
ties of fustic and alum.— C. 

Slate on Velvets.— Run 4 or 5 times through 
60 gal. of logwood liquor, and 30 gal. of sumac. 
Add 4 qt. copperas liquor, run several times, 
wash, and finish.— C. 

Turkey Red on Cotton.— There are several 
processes by which this desirable color is pro- 
duced ; of these the following is considered one 
of the best : 

The goods are first steeped in soft water for 
about forty-eight hours to remove the sizing. 
A small quantity of malt liquor is usually 
added to this water to render the starch solu- 
ble, by transforming into dextrine and glu- 
cose. 

The material is next boiled for half an hour 
or more in an acqueous solution of carbonate 
of soda, specific gravity, l'Ol, wrung out, and 
oiled, by padding in a mixture of rancid oil 
and a very weak lye. For 100 lb. of goods : Galli- 
poli oil, 58 lb.; water, 15 gal.; carbonate of soda, 
}^ lb.; carbonate of potassa,-34 lb. When well 
oiled the cloth is hung up in the air until it 
feels dry, then hung up in a stove room heated 
to about 140°, where it is allowed to remain 
for about twelve hours. These oiling or pad- 
ding and drying operations are usually repeated 
two or three times, according to the intensity 
of color required. 

In the next operation the cloth is steeped 
for twenty-four hours in a cold emulsion com- 
posed of oil, carbonate of soda and water: 
water, 10 gal.; carbonate of soda, 5 lb.; oil, 50 
lb. This having been pressed out, the pieces 



Dyeing. 



155 



Dyeing. 



are carefully rinsed in water, and passed slowly 
and repeatedly through the following solution, 
which is kept at a temperature of 150° Fah.: 
water, 30 gal.; ground gall-nuts (or sumac), 10 
lb.; alum, 16 lb. They are then hung up for 
forty-eight hours in the s to veroom, kept at a 
temperature of 140° Fah. 

Next follows the chalk bath— composed of 
about ten pounds of floured chalk in fifty gal- 
lons of water heated to about 180° Fah. Through 
this the pieces are passed, and after rinsing 
out, are ready for the dye beck. 

The dyestuffs allowed for each piece in the 
beck are: Madder, 17 to 20 lb.; garancin, 3 to 5 
lb., dissolved in about 300 gallons of water. 
Alizarine is now extensively used as a substi- 
tute for the above dyes. 

When the goods are put into the beck, steam 
is let in and the temperature gradually elevated 
during one and one-half hours to 180° Fah.; 
then rapidly to near the boiling point, where it 
is maintained for about an hour. At the expi- 
ration of this time the pieces are wrung out, 
passed through a washing machine, then 
through the chalk bath, rinsed, returned for a 
short time to the dye beck, and finally washed 
out. 

The red color thus obtained is dull and dark, 
and to brighten it properly requires three 
cleaning operations. These (or the first two) 
are performed in close boilers about two- 
thirds filled with water. In the first of these 
soap and carbonate of potassium are dissolved; 
soap, 6 lb.; carbonate of potassa, 1% lb.; and 
the dyed goods are boiled therein by steam for 
about eight hours. After rinsing the pieces 
are boiled in the second boiler, containing, dis- 
solved in the water, soap, 61b.; chloride of tin, 7 
oz. After rinsing this boiling is usually re- 
peated. Finally, the pieces are exposed for 
several hours to the atmosphere, then passed 
through a hot bran bath, and dried. The result 
is the peculiar deep, rich, and fast red so 'much 
prized. 

It is well to remark here, for the benefit of 
those not skilled in the dyer's art, that success 
in the production of this color on cotton goods 
depends much upon the attention paid to mat- 
ters of detail in carrying out the numerous 
operations, and it is common experience that 
at first good results are obtained only after re- 
peated trials. 

Slate on Cotton Wool (100 lb.).— Extract of 
logwood, 4 lb., sumac. 20 lb. Boil for fifteen 
minutes, enter the cotton, turn well, and let 
boil for an hour. Lift, drain well, and enter in 
a cold water in which have been dissolved, cop- 
peras, 8 lb., blue-stone, 4 lb.— C. 

Slate (10 lb.).— Boil for an hour with soda, y% 
lb. Make a decoction of sumac, 6 oz., enter 
yarns and steep for six hours, wring, and pass 
into a cold solution of copperas, 3 oz. Give six 
turns, rinse and wring, and pass back to the 
sumac bath for an hour. 

Make a decoction of extract of logwood \ oz. 
Enter in this for two hours; wring, and pass 
into another water containing the solution of 
bichromate of potash, 25 grn., and give five 
turns.— C. 

Alizarine Violet (220 lb.). — Mordant with 
alizarine oil, and proceed as for a Turkey-red. 
Mordant again with sumac, 270 lb., or good pale 
myrobalans, 200 lb. Dry and pass into water, 
175 qt., with copperas, 76 lb.; blue-stone, 15^4 lb. 
When the whole is dissolved, work the cotton 
in the liquid at a boil, wring, wash, and wring 
again. Dye to shade with "'alizarine for vio- 
lets," i. e., such as contain no anthrapurpur- 
ine. When cold, wash in plenty of water and 
raise with soap only, very neutral, at a boil. 
If a very blue tone is required, raise with soap 
dissolved in a weak lye of soda-crystals, say 
1H° Tw.-C. 

Methyl Violet (50 lb.). — Boil yarn for two 
hours and wring. Make up a cold water with 
nitric acid, 5 oz., and starch, 1J4 lb., previously 
stirred up in cold water. Give a few turns. 



wring, and dye to shade in a lukewarm water 
with methyl violet, 1 lb. 

Or, work well in a soap-lye, wring, and take 
through a solution of chloride of calcium or 
nitrate of lime. Rinse and pass into a very 
weak tannin bath, and dye in clear solution of 
methyl violet about 7 oz. of dry to 60 lb. vara. 
-C. 

Methyl Violet (22 lb.).— Dissolve tannin, 3y 2 
oz., and curd soap, 1 oz., in hot water, add 
colza oil, }4 oz., and stir till an emulsion is 
formed. Work in this at 167° F. for fifteen 
minutes, lift, and wring. Make up another 
water at the same beat, with alum, 10^4 oz., and 
the filtered solution of methyl violet, 2 oz. 
Enter and dye to shade.— C. 

Reddish Violet (11 lb.)— Mix starch, 4 lb. 6 oz., 
in cold water, pour in hot water, stirring con- 
stantly so as to form a smooth, even paste, and 
make up to 105 pt. at 100° F. Six turns and 
then steep for fifteen minutes, turning occa- 
sionally. Lift and add to water, 105 pt. at 100° 
F., alum, 1% oz., and soluble aniline violet, 
30 grn. Six turns.— C. 

Gentiana Violet (11 lb.).— Boil sumac, 35 oz., 
or tannin, 2,790 grn., in water, and steep the 
yarn overnight in the clear solution. Wring 
up and dye in a water at 165° F., containing 
gum arabic, 9 oz., adding the dissolved color as 
required. Wring, and dry. 

Or, make up a water at 122° F. with tannin, 
80 grn. for each 35 oz. cotton, and turn the 
yarns for four or five hours. 

Wring and enter in the dye-beck at 110° F., to 
which acetic acid, 775 grn., are added per 11 lb. 
cotton.— 0. 

Spirit Purple (10 lb. Cloth or Yarn).— Prepare 
with stannate of soda at 10° Tw., sour in vitriol 
at 2° Tw., and wash twice in clean water. Make 
up a machine (tub for yarns) with 30 gal. log- 
wood liquor, run three or four times backward 
and forward, add 4 qt. alum, y% pt. double 
muriate of tin, and run three or four times 
through, and wash off in clean water. 

Make up another machine with 30 gal. log- 
wood liquor and 10 gal. redwood liquor, run 
three or four times. Add }4 pt. purple spirit 
and 4 qt. alum. Run through several times, 
wash, and finish.— C. 

Fine Yellow (60 lb.).— Bleach, mordant in red 
liquor, boil 3 lb. picric acid in 3 gal. water, add 
this to a warm water, work five turns, and dry. 
— C. 

Light Yellow (601b.).— Bleach, boil 3 lb. turme- 
ric in 3 gal. water with 3 lb. alum, add this to 
a hot water. Work five times, wash, and dry. — 
0. 

Straw Yellow (60 lb.).— Mordant with either 
red liquor or nitromuriate of tin. Boil V/% lb. 
extract of fustic in 3 gal. water, and add to a 
warm water. Work yarn five turns, wash in 
cold water, and dry.— C. 

Fast Yellow (60 lb.).— Bleach, dissolve 6 lb. 
brown sugar of lead in 6 gal. boiling water, and 
add this to a cold water. Work five turns, and 
wring. Dissolve 2 lb. bichromate of potash, and 
add it to another cold water. Work yarn five 
turns, wash in 2 cold waters, and dry.— C. 

Dark Rust Yellow. Yarns and Cotton Wool 
(110 lb.).— Work up in a hot water 11 lb. yellow 
resin soap with 4 lb. 6 oz. annatto and 2 lb. 3 oz. 
young fustic. Steep for half an hour at a boil. 

Old Gold on Cotton (100 lb. yarn).— Boil M lb. 
flavine and dissolve 2 lb. alum. Enter yarn at 
160° F., give eight turns, hang out, add to the 
dye 1 oz. Bismarck brown and Yz lb. redwood. 
Re-enter, turn to shade, wring, and dry.— C. 

Bright Yellow (Turmeric).— 72 lb. cloth, say 6 
pieces, 70 yd. Run the goods in jigger in hot 
water to thoroughly and evenly wet them, 
then to 20 gal. hot water at 140° F. (60° C), add 
7 lb. turmeric, give four ends, then add to the 
same liquor 4 fl. oz. sulphuric acid at 170° Tw., 
and give the goods two ends more. After- 
ward wash, mangle, and dry.— G. 

Chrome Yellow.— 72 lb. cloth. Pad through 
acetate of lead, at strength of 8 oz. per gal.: 



Dyeing. 



156 



Dyeing. 



then pass into jigger charged with lime water, 
wash in water, and recharge jigger with 9 gal. 
water, in which is dissolved 1)4 lb. bichromate 
of potash, give four ends and afterward wash. 
Should the yellow be rather too much of a gold 
color, one or two ends in weak hydrochloric 
acid will bring it back.— G. 

Yellow Cannelle.— For 100 lb. bleached cotton, 
101b. catechu, 41b. blue vitriol, % lb bichro- 
mate. Pass first through the catechu, and 
wring ; then pass through the bichromate, and 
wash. Kepeat the passes, and wash. Finish 
with 10 lb. quercitron bark. 

Feather Dyeing. — 1. In general terms, clean 
with carbonate of ammonia, wash, and steep 
overnight in solution of nitrate of iron 7° 
B., then rinse in water. Boil out equal parts 
logwood and quercitron and immerse the 
feathers at a "hand heat." When black, re- 
move and wash in warm water. Dissolve 3^ 
oz. bicarbonate of potash in 5 qt. of hot water 
and stir in 17}^ oz. of olive oil, shake until it 
becomes an emulsion. As before, at a gentle 
heat immerse in this, draw out the surplus 
moisture between the finger and thumb and 
dry over a stove, constantly shaking them. 
Experience and skill are necessary. 

2. The feathers should be soaked in solution 
of ammonium or sodium carbonate, whereby 
they are rendered less liable to break or bend ; 
after being dyed, they should be dried in a cur- 
rent of warm air. Feathers may be dyed black 
in the following baths : a. 10i> pt. water, 1 lb. 
ignited sodium carbonate; lb. ferric nitrate at 
70° B.; c. 21b. logwood, 21b. quercitrine; ^ lb. 
feathers is digested in a at 30°, the feathers are 
then washed with warm water and soaked in Z>. 
After another washing they are boiled in c, un- 
til of a deep black color; they are then dipped 
in an emulsion formed by agitating oil and 
potassium carbonate together, and dried by 
gently swinging them in warm air. 

3. Black. — By immersion for two or three 
days in a bath (at first hot) of logwood, 8 parts, 
and copperas or acetate of iron, about 1 part. 

4. Intense Blue.— This color is a pale blue. It 
is sometimes, but improperly, called "Gens 
d'Arm." It is obtained with comparative facil- 
ity upon soft, hard or ostrich feather, by an 
application of indigo carmine and archil. It is 
more difficult to produce it upon skins, wings, 
and birds. Of course, much indigo carmine 
and little archil should be used. Often, in or- 
der to make blacker, some black varnish is 
added to either the acidulated bath or to a 
separate or unacidulated one. This process, 
however, is not to be recommended; it is better 
to add a little more archil, and, at the same 
time, very little curcuma. Orange Z may also 
be taken. 

5. Marine Blue.— This is a dull color, more or 
less violet tinted. It is obtained f oom indigo 
carmine and lilac (violet is often substituted 
for this last color). To produce a deeper tint 
add a trifle more of archil. Even for very pale 
marine blue, nothing but indigo carmine and 
archil are sometimes taken. For a flat feather 
the violet is employed to advantage. As re- 
gards the ostrich, on the contrary, lilac is pre- 
ferable, for the violet is easier produced, giv- 
ing a more uneven color thon the lilac. 

The bath should be acidulated with archil, 
not with sulphuric acid, that being too power- 
ful. When the feather is in the boiling bath, in- 
digo carmine is first poured in, and next a mix- 
ture of indigo carmine and lilac. To deepen 
the dye archil is added (but in exceedingly small 
quantities, as it produces considerable efficacy). 
Time must be given, however, to produce this 
effect, for it is known that archil bites slowly, 
and at a comparatively low rate of tempera- 
ture. If too much archil be taken, it will suf- 
fice to give the feather another boiling hot bath 
with indigo carmine and violet. 

The white ostrich feather of good quality 
easily takes a marine blue color with indigo 
carmine and lilac; but that which has been used 



a little, and above all the gray, becomes brown 
or rusty almost inevitably, as will be seen when 
we shall have occasion to speak hereafter of 
metallic reflects. 

The difference in the nature of feathers be- 
longing to one and the same lot is the cause of 
a very great inequality— some feathers being 
more reddish or greenish than others— so that 
after an energetic heating it is well, in drying 
the feathers, to range them in order of tint, and 
treat each species separately, boiling the hard- 
est, or those feathers not reddish enough, long- 
est in the original bath, and giving, on the other 
hand, a boiling hot bath of indigo carmine to 
those which are too reddish. This operation 
being evidently too long, is unfortunately in- 
applicable to cheap feathers. 

For skins, wings and birds the same processes 
are employed. Much precaution must be had 
that not too much sorrel salt be used, and above 
all, that the process be effected as quickly as 
possible. 

6. Bronze on Feathers. — Fashion has intro- 
duced gilded and silvered feathers. It is chiefly 
goose feathers and wings of pigeons, which 
appear covered with gold and silver. The 
process is very simple. The feather is dipped 
in bronze powder and rubbed with a piece of 
wash leather. In course of wearing, however, 
the bronze is very easily detached. To prevent 
this the feather, before being dipped in the 
bronze powder, is taken through gumwater, 
pressed nearly dry between cloths, and in its 
slightly adhesive state is treated with bronze 
powder. 

Partially bronzed feathers and wings are pro- 
duced by covering those parts which are to 
remain plain with pasteboard, and the bronze 
powder is rubbed upon the rest with a feather 
—Faerber Zeitung. 

[Of course varied effects may be produced by 
dyeing the feathers with aniline colors, etc., 
prior to the application of the bronze.] 

7. Feathers may be dyed brown by first treat- 
ing them with catechu and then with potassium 
chromate ; they can be dyed directly with ani- 
line colors, and can be bronzed by painting with 
aniline violet dissolved in alcohol at 90%.— Ding. 
Pol. Jl. 

8. Pearl gray is a mixture of violet-tinted 
blue, with very little black and much white. 
It is obtained by the same process that serves 
to make white— that is to say, by a mixture of 
indigo-carmine and violet. 1 shall not now re- 
turn to a description of this procedure, and 
shall only state that in the personation of pearl 
gray the quantities of the coloring matters em- 
ployed are somewhat augmented. 

9. Giselle gray is a mixture of white with 
black. It is easily obtained by dyeing the 
feather with a small quantity of gloss black. 
As there is always a residue of yellowish hue it 
becomes necessary to give it a rose color with 
cochineal. This operation is effected in a cold 
bath acidulated with a small quantity of potas- 
tassium binoxalate. If it be an ostrich feather, 
starch is dissolved in it. 

10. Silver gray is a mixture of white and blue 
tarnished with black in very small proportion. 
Silver gray is obtained by employing roseate 
gray and blue gray in convenient proportions. 
These coloring matters are employed much 
diluted in a clear solution and an acidulated 
bath is prepared with acetic acid or sorrel salt. 
The bath should be cold and, for an ostrich 
feather, contain starch ; it -should be simply 
cold or tepid if a tender feather is to be dyed, 
and a boiling heat in the case of hard feather. 

11. Felt gray is a yellowish gray. Is more re- 
cent than the preceding one, and every way 
preferable. It consists in employing felt gray 
in connection with rose-colored gray. These 
two substances, of easy application, will serve 
for the generality of the tints in question. If 
it were required to produce a somewhat roseate 
hue, cochineal or violet might be taken ; if, on 
the contrary, a green one, a very small quantity 



Dyeing. 



157 



Dyeing. 



of indigo- carmine would be required. These 
coloring 1 substances are applied, according to 
the feather and the tone of the color, in a cold, 
lukewarm, or boiling hot bath, acidulated with 
acetic acid or salt of sorrel. 

12. Iron Gray, Steel Gray, etc.— These kinds 
of grays are usually rather darkish ; the tints 
result from a mixture of blue, a good deal of 
black and some white. They are obtained on 
the feather by means of a conveniently pro- 
portioned mixture of roseate gray and blue 
gray, the shade being subsequently imparted, 
as in the case of the other gray species. — Textile 
Colorist. 

13. Plum.— The plum color is a pale violet. The 
feather is dyed in a bath acidulated with sul- 
phuric acid, archil, indigo-carmine and black 
gloss, so that an almost black garnet may be 
produced. It is well to add a little lilac. The 
feather is taken out of the bath only at this 
moment. It is rinsed in pure water and then 
given a violet tint in a more or less heated 
solution of carbonate of soda. During this 
operation the archil turns from red to violet. 
Black is developed and settles more firmly on 
the feather, while a large portion of the indigo- 
carmine goes off. It is a primitive process, and 
certainly not economical, but which, never- 
theless, gives good results in skilled hands, but 
in the hands of unskilled operators it is ex- 
tremely tiresome and of doubtful success. 

14. Crimson. — A mordant of alum, followed 
by a hot bath of Brazil wood, and afterward by 
a weak one of cudbear. 

15. Pink or Rose.— With safflower and lemon 
juice. 

16. Plum.— The red dye, followed by alkaline 
-bath. 

17. Red.— A mordant of alum, followed by a 
hot Brazil wood bath. 

18. Yellow.— An alum mordant, followed by 
a bath of turmeric or weld. Other shades may 
be obtained by a mixture of the above dyes. 
Feathers may also be dyed by simple immer- 
sion for two or three minutes in a bath of any 
of the aniline colors. 

Gloves, to Dye. See Kid Gloves below. 

Gutta Percha, Dyeing of. — After dissolving 
2 oz. of gutta percha in chloroform, add 1 grn. 
of pure carmine, dissolved in a little pulverized 
gum and water. After the chloroform is dis- 
tilled off, the gutta percha is to be thoroughly 
kneaded. Anything may be used in this way, 
according to the color required, such as ocher, 
ultramarine, etc. 

Hats, to Dye.— The f ulling-stock may be made 
the vehicle for dyeing or staining all fancy 
colors, as drabs, beavers, slates, mouse, tan, 
rosy drabs, and many others. Some makers 
partially dye and then complete the staining in 
the stocks. 

1. Beaver.— Take 134 lb. copperas, 1 pt. pyro- 
lignite of iron diluted with boiling water, 4 oz. 
Hoffmann's aniline blue, 4 oz. indigo extract 
(free from vitriol, or this will turn it green), 
for 1 doz. hats. 

2. For the fulling-stocks, for 24 doz. 3 oz. 
bodies : 1 lb. common graphite (black lead), 3 lb. 
Venetian red, 1 gill indigo extract. 

3. Light.— 2 lb. red lead, 1 oz. indigo extract, 
1 lb. common graphite, 234 lb. terra castle. 

Cream color for 24 doz. 3 oz. bodies : 2 lb. red 
lead, 2 lb. common terra castle, 2 gills indigo 
extract in liquor, 3 gills orchil. 

Fawn color : 1% lb. burnt sienna ground fine, 
% lb. burnt umber, 34 gill orchil, 34 gill indigo 
extract in liquor. 

Mouse color : 334 lb. common graphite (black 
lead), 2\4 lb. best terra castle, 2% gills indigo 
extract in liquor, 4 gills orchil, 8 oz. red lead. 

An ordinary drab for soft hats : % lb. com- 
mon graphite, % lb. best ditto, 3 gills orchil, 2 
gills indigo extract; put the graphite into a 
pan, cover with water, and let down with sul- 
phuric acid at 30° Tw. 

Rose : 2% lb. common graphite, 2 gills indigo 
extract in liquor, 5 gills orchil. 



Slate : 4 lb. common graphite, 4 gills indigo 
extract, 334 gills orchil. 

Cinnamon : 3«4 lb. red lead, 234 lb. best terra 
castie, 2)4 oz. picric acid, 34 gill indigo extract, 
3 pts. orchil. The picric acid is first dissolved 
in hot water, and the other ingredients tut; 
added. See also Straw Dyeing below. 

Bismarck Brown on Felt Hats (50 hats).— Pre- 
pare with soda as formerly directed and boil 
for forty-five minutes with 22 lb. fustic, 1034 
oz. logwood, 334 lb. sumac, 8% lb. sanders and 
1734 oz. argol. Boil for two hours and add 2 lb. 
3 oz. bluestone and 7 oz. copperas. Re-enter 
the hats and boil for three-quarters of an hour 
longer.— R. 

Brown on Mixed Hats (5 doz.).— Prepare with 
soda and boil for two hours with 22 lb. fustic, 5 
lb. 7 oz. madder, 25% oz. turmeric, 2 lb. 3 oz. 
madder, 25% oz. sanders and 17J4 oz. argol. Air 
the hats and add 1734 A. oz. black liquor and 234 
oz. copperas. Re-enter the hats and boil again 
for an hour.— I?. 

Chrome Brown on Felt Hats (50 hats). — Pre- 
pare with 4% oz. chromate of potash, 14 oz. 
argol and 1734 fl. oz. solution of tin. Let the 
hats lie overnight in the flot and dye the next 
morning in a fresh water with 17J4 oz. young 
fustic, 26 oz. fustic, 1734 oz. turmeric, 6 lb. 9 oz. 
madder, 3 lb. 4 oz. peachwood, 7 oz. logwood. 
— B. 

Horn, to Dye in Imitation of Tortoise Shell. — 
Orpiment (yellow arsenic sulphide) is mixed 
with limewater and applied with a brush. 

2. Use nitrate of mercury. This gives a brown 
stain. The different dyes can be used on the 
same piece. See also Ivory. See Staining. 

Ivory, to Dye.— Billiard Balls, to Color Red.— 
Soak the pieces for a few minutes in weak nitric 
acid, and then in a strong decoction of cochineal 
in ammonia water. Black. — Use nitrate of silver 
dissolved in water and expose the pieces to 
strong sunlight. Or steep for several days in a 
decoction of 2 lb. logwood, 1 lb. galls, and then 
for a few hours in acetate of iron (iron liquor). 
Green.— Steep in a solution of verdigris, to 
which a little nitric acid has been added, or in a 
solution of distilled verdigris in acetic acid. 
Sal ammoniac is sometimes added to this solu- 
tion. Do not use metallic vessels. Purple.— 
Steep in a weak aqueous solution of terchloride 
of gold, or boil for some time in a strong aque- 
ous solution of logwood extract, and then add 
4oz. of alum to the gal. of solution and con- 
tinue boiling until the ivory is sufficiently 
colored. Yellow. — Steep for twenty-four hours 
in solution of lead acetate, and after drying in 
solution of potassium bichromate. Or steep 
the pieces in a saturated solution of orpiment 
(sulphide of arsenic) in strong ammonia and 
dry. The depth of color depends upon the de- 
gree of concentration of the solution. Blue.— 
Stain them green and then immerse in hot 
solution of pearlash. Or boil in logwood de- 
coction and then in aqueous solution of copper 
sulphate. Or steep them in weak solution of 
sulphate of indigo, to which a little tartaric 
acid has been added. The coal tar colors, 
though brilliant, are apt to fade. Or by keep- 
ing the ivory immersed in a dilute solution of 
sulphate of indigo, partly saturated with pot- 
ash, for some time, a fine blue color will be 
given to it. 

Ivory, Dyes for.— 1. (Red.) a. Make an infu- 
sion of cochineal in water of ammonia, then 
immerse the pieces therein, having previously 
soaked them for a few minutes in very weak 
aquafortis and water, b. Boil the bones with 1 
lb. of Brazil dust, in 1 gal. of water for three 
hours,then add 34 lb. of alum and boil for one 
hour more. 

2. Black.— a. Immerse the pieces in a weak 
solution of nitrate of silver for a short time, 
then expose them to the sunlight, b. Steep for 
two or three days in a decoction made with 1 
lb. of galls and 2 lb. of logwood, then steep f oi 
a few hours in iron liquor (acetate of iron). 



Dyeing. 



158 



Dyeing. 



3. G-reen. — a. Steep in a solution of verdigris 
to which a little aquafortis has been added, b. 
Dissolve distilled verdigris in weak vinegar and 
steep the pieces therein, c. Steep in a solution 
of 2 parts of verdigris and 1 of sal ammoniac. 
Observe not to use a metallic vessel for the 
above. 

4. Purple. — a. Steep in a weak solution of ter- 
chloride of gold. b. Boil for six hours in a de- 
coction of 1 lb. of logwood in y^ gal. of water, 
adding more water as it wastes by boiling, then 
add 2 oz. of alum and boil for 1 hour more. 

5. Yellow. — a. Boil for 1 hour in a solution 
made with 1 lb. of alum in 1 gal. of water, then 
take out the pieces and steep them in a decoc- 
tion made with y 2 lb. of turmeric in 2 qt. of 
water; lastly, mix the two liquors and boil 
them therein for one hour. b. Steep the pieces 
for twenty-four hours in a solution of sugar of 
lead, then take them out, and when dry, im- 
merse them in a solution of chromate of po- 
tassa. c. Dissolve as much of the best orpi- 
ment in water of ammonia or hartshorn as it 
will take up, then steep the pieces therein for 
twenty-four hours ; lastly take them out and 
dry them, when they will turn yellow. Remark. 
— By diluting the solution with water, any shade 
of yellow may be made. 

6. Blue.— a. Stain them green, then steep 
them in a hot and strong solution of pearlash. 
b. Boil them in a strong decoction of logwood 
and afterward steep them in a solution of blue 
vitriol, c Steep them for a short time in a 
weak solution of sulphate of indigo, to which a 
little salt of tartar has been added; or, still 
better, boil them in a dyer's green indigo vat. 
Remarks. — The bones of living animals may be 
dyed by mixing madder with their food. The 
bones of young pigeons may thus be tinged of 
a rose color in twenty-four hours, and of a 
deep scarlet in three days; but the bones of 
adult animals take a fortnight to acquire a 
rose color. The bones nearest the heart be- 
come tinged soonest. In the same way extract 
of logwood will tinge the bones of young 
pigeons purple.— Mr. Gibson. 

Dyeing Ivory Black.— 1. If the ivory is well 
washed in an alkaline ley, and is then laid for 
several hours in a dilute solution of neutral ni- 
trate of pure silver, with access of light, it will 
assume a black color, having a slightly green 
cast. 

2. A still finer black may be obtained by boil- 
ing the ivory for some time in a strained decoc- 
tion of logwood, and then steeping it in a solu- 
tion of red sulphate or red acetate of iron. 

3. Immerse frequently in common black ink. 
Green.— 1. This is given by dipping blued 

ivory for a little while in solution of nitro-mu- 
riate of tin, and then in a hot decoction of 
fustic. 

2. Boil in solution of verdigris in vinegar until 
dark enough. 

To Dye Ivory Purple. — Steep the ivory in a 
weak neutral solution of terchloride of gold, 
then expose to the light. Or make a solutionof 
sal-ammoniac into 4 times its weight of nitrous 
oxide. Soak the ivory in this. See Staining. 

Vegetable Ivory, Dyes for.— For black, lay 
the articles for several hours in a strong aque- 
ous solution of nitrate of silver, and then ex- 
pose to strong sunlight ; or boil in a strong de- 
coction of logwood and then in solution of ace- 
tate of iron. For blue, immerse for some time 
in a dilute solution of sulphate of indigo, partly 
saturated with potash. For green, boil in a so- 
lution of verdigris in vinegar. For red, dip the 
articles first in a tin mordant and then into a 
hot decoction of Brazil wood or cochineal. 
Scarlet, use lac dye instead of the preceding. 
Violet, dip in the tin mordant and immerse in a 
decoction of logwood. For yellow, impregnate 
with nitrohydrochlorate of tin and then digest 
in a strong decoction of fustic. The coal tar 
colors are now generally used for this and simi- 
lar purposes. 



Jute Dyeing. — Jute differs markedly in its 
properties from cotton and linen. It is readily 
disintegrated by acids, and alkalies, caustic or 
even carbonated, are apt to turn it brown. It 
contains, however, a certain proportion of tan- 
nin, which enables it to lay hold of certain dyes, 
especially the aniline colors, more readily than 
cotton. Very high temperatures, and especially 
prolonged boiling, are avoided whenever possi- 
ble in the treatment of this fiber.— C. 

Dyeing of Jute Yarn.— Dark green for 10 lb. 
yarn. Prepare a hot bath with 1 lb. extract of 
quercitron and 1 lb. alum ; soak the jute for an 
hour in this, take out, rinse, and pass through 
the two f ollowing baths. First bath— 10 oz. ni- 
trate of iron and 2 oz. tin salt ; after ten turns 
take out, wring, and pass into the second bath 
of 5 oz. yellow prussiate and 3 oz. red prussiate ; 
give ten turns, take out and add 5 oz. sulphuric 
acid ; after ten turns in this bath, take out and 
wring. Red for 10 lb. bleached yarn : Mordant 
for an hour hot with 7 oz. tannin, wring, and 
place in a bath of phosphine ; it is of the great- 
est importance only to employ the very best 
quality of the latter if a bright red is to be pro- 
duced ; y§ oz. of phosphine will be found suffi- 
cient for 10 lb. of yarn; lastly, the yarn is 
passed through boiling water in which a little 
saffranine is dissolved. Yellow for 10 lb. 
bleached yarn : Place the yarn into a cold bath 
of 3 oz. acetate of lead, give ten turns, take out, 
and wring, and pass into a bath of 3 oz. bichro- 
mate of potash, where it is left until the desired 
shade is obtained ; to have a dark shade it is 
necessary to increase the quantity of acetate of 
lead and of the bichromate, and to give it a red- 
dish shade the yarn is afterward passed through 
a weak bath of saffranine. 

Black (54 lb.).— Dissolve 5J^ lb. solid extract of 
logwood and 17 oz. extract of bark in water. 
Steep the jute for a quarter of an hour in the 
boiling beck, and enter in a fresh cold beck of 
13 oz. red chromate and 8^ oz. bluestone. Give 
seven turns, take out, and re-enter in the log- 
wood beck, in which 21 oz. soda ash have been 
dissolved in the meantime. Seven turns, lift, 
and dissolve 17 oz. copperas in the beck, re- 
enter, five turns, and rinse. — G. 

Cheap Black (110 lb.).— Take 5 lb. 7oz. extract 
of logwood, 2 lb. 3 oz. lime, and 4 lb. 6 oz. cop- 
peras, "and dissolve each separately. Give the 
yarns three turns at a boil in the solution of the- 
extract,, drain, but do not wring; take through 
the limewater and immediately after through 
the copperas, giving three turns in each.— C. 

Superior Black (110 lb.).— Take 7 lb. 6 oz. ex- 
tract and proceed otherwise as above. When 
drained from the copperas return to the ex- 
Blue (100 lb. yarn).— Dissolve, 2 lb. alum ; y&, 
lb. tin crystals, 10 oz. serge blue. Enter yarn, 
and boil for twenty minutes. 

Gensd ? armes Blue (100 lb.).— Dissolve 2 lb. 
alum, \i lb. tin crystals, 8 oz. serge blue, 3 oz. 
aniline green. Enter yarn, and boil for twenty 
minutes.— G. 

Blue (220 lb.).— Dissolve in separate vessels, 
alum, 11 lb. ; soda crystals, 7 lb. 10 oz. ; tartar 
emetic, 5 lb. 7 oz. Pour the solutions all at once 
together, and let settle. The clear liquid is used 
with 22 gal. water at 158° F., and the jute is 
dyed, adding the color (previously dissolved in 
water) by slow degrees till the shade is ob- 
tained. The color is the " Bradford Blue " of 
the Baden Aniline Co.— C. 

Blue on Bleached Jute Yarn (110 lb.)— To a 
warm water at 104° F., add : Alum, !% oz. ; 
soda, 3^j oz. ; tartar emetic, 1% oz. Dye with 
methyl blue, soluble in water (Baden Aniline 
Company), using more or less according to 
shade. 

Blue (110 lb. Bleached Yarn).— To a warm 
water at 104° F., add alum. 17J^ oz.; soda, Z% oz.; 
tartar emetic, 1% oz. Dye to shade in methyl 
blue, soluble in water (Baden Aniline Co.).— C. 

Brown (22 lb.). — Make a boiling decoction 
of 334 lb. catechu, dissolve in it 3*4 oz. 



Dyeing. 



159 



Dyeing,. 



blue-stone. Work the jute for an hour. 
Wring and make up a second boiling water 
with 7 oz. bichromate of potash, ten turns, 
rinse and wring. Raise and top in a fresh 
water with 75 grn. Bismarck brown and 3)4, oz. 
sulphate of soda. For redder shades a little 
magenta or garnet may be added.— C. 

Another Brown (11 lb.).— Mordant at a boil 
with 2 lb. 3 oz. sumac. Give a few turns, lift, 
and add to the beck 1% oz. tin crystals. Give a 
few more turns, and make up a water with 21b. 
3 oz. logwood, 2-M oz. magenta, 13% oz. alum. 
Work for an hour in the cold, lift, and add 2% 
oz. chromate of potash, seven or eight turns, 
rinse and dry.— C. 

Bismarck Brown (11 lb.).— Wet out and dye 
with j£ oz. to 1 oz. vesuvine.— C. 

Brown (11 lb.).— Extract 35 oz. catechu in 
boiling water and dissolve 334 oz. bluestone in 
the clear. Enter the jute in this for two or 
three hours at a boil. Lift, and dissolve 8% oz. 
chromate of potash in a boiling water, pass the 
jute through this, and then through clear water. 
Top in a fresh water with 80 grn. Bismarck 
brown, 4J^ oz. alum, and 1734 oz logwood.— C. 

Dove Color.— Mordant in red liquor at %° Tw. 
and 80° F. Dye in fresh water at the same heat, 
with a very little methyl blue and less saffra- 
nine.— C 

Gold (22 lb.).— Enter the bleached yarn for 
twenty minutes in a lukewarm bath of sugar of 
lead. Wring, and give ten turns in a new cold 
water containing 7 oz. bichromate of potash, 
and rinse. For deeper shades increase the 
sugar of lead and the bichromate. For redder 
tones take the dyed jute through a lukewarm 
water containing a little garnet, or a very red 
aniline violet, previously dissolved in boiling 
water.— C. 

Golden Bronze. — Work in weak catechu liquor 
at 122° F., then pass into bichromate of potash 
at the same heat, and lastly dye to shade with a 
mixture of phosphine and vesuvine (Baden 
Aniline Co.) at 122° F.— C. 

Golden Orange (110 lb.).— Mix 11 lb. alum and 
1734 oz. tin crystals in sufficient water, run off 
the clear, and steep the jute in it for half an 
hour, and dye at a hand heat in a separate 
water with chrysoidine and phosphine UN 
(Baden Aniline Company) according to shade. 
Add a little tartaric acid toward the end, to 
raise the color.— C. 

Light Green (11 lb j.— Mordant for two hours 
in the solution of 7 oz. tannin. Make up a fresh 
water with 1% oz. malachite green, enter the 
jute and work for half an hour. For yellower 
tones add to the dye beck picric acid or aniline 
yellow.— C. 

Fast Green (22 lb.).— Work for half an hour 
in a hot water containing 27% oz. extract of 
bark and 14 oz. sulphate of alumina. Wring, 
and prepare two waters : a. 15^ oz. nitrate of 
iron and 334 oz. tin crystals : b. 3% oz. yellow 
prussiate. Work for twenty minutes in a; 
wring, and pass into b. Ten turns, lift, and 
add 14 oz. sulphuric acid ; ten turns more, lift, 
wring, rinse and dry.— C. 

Night Green (11 lb.).— Prepare at a boil for 
three hours with the clear decoction of 8f£ oz. 
sumac. Wring, and enter in a beck of 1% oz. 
methyl green. If a yellower tone is wanted a 
little picric acid may be added.— C. 

Green (110 lb.).— Mordant with red liquor at 
434° Tw. and 1734 oz. tin crystals. Let steep an 
hour, enter in a strong hot decoction of fustic, 
wring out and dye in a fresh water with 
1734 oz. alum and acid green (vert a Vacide, of 
Monnet & Co.) according to shade.— C. 

Aniline Green (45 lb.).— Prepare hot with 5 
lb. sumac for one hour, and then mordant with 
4 lb. alum and 234 lb. sugar of lead . Let it lie 
for a couple of hours, and dye it warm with 
the aniline green previously dissolved.— C. 

Light Green (11 lb.).— Boil out 8% oz. sumac ; 
steep for three hours in the clear boiling liquor. 
Lift, and make up a fresh cold water with 



methyl green ; enter and work till level. For 
yellower tones add picric acid.— C. 

Mode Green on Jute Yarn (110 lb.).— Mix 3 
parts fustic liquor and 1 part logwood liquor 
with the necessary quantity of water at 12^° F., 
ten turns, lift, add 34 oz. each copperas and 
bluestone; re-enter, turn well, and wash. Top 
at 86* F. with vesuvine and a little methyl 
blue (of the Baden Aniline Co.).— C. 

Gray (11 lb.).— Boil 17 oz. sumac in water, and 
steep the jute for an hour in the liquid. Lift, 
and dissolve the same weight of copperas. En- 
ter the yarns, and dye to shade. For a blue 
gray make up a fresh beck at 77° F. with 17 oz. 
alum and % oz. extract of indigo. Add a very 
little solution of magenta, enter the jute, and 
dye to shade.— C. 

Mode Gray (11 lb.).— Boil 17 oz. prepared 
catechu, add solution to a water at 100° F., and 
dissolve therein 1% oz. bluestone. Wet out the 
jute at 100° F., enter, and work for an hour. 
Lift, and add the solution of 1% oz. chromate of 
potash; re-enter, work to shade, rinse, and 
dry.-C. 

Pansy (11 lb.).— Wet out perfectly at 100° F., 
lift and add 34 oz., or a little more of dissolved 
violet (Hofmann'sor methyl). Enter, five turns, 
and dry.— C. 

Red (11 lb.).— Mordant hot for an hour with 
8% oz. tannin ; lift, wring, and enter in a beck 
of phosphine or aniline orange, and top with a 
solution of saffranine at 113° F. 

If aniline orange is too dear, yellow coralline 
may be used.— C. 

Crimson (11 lb.).— Wet out perfectly in water at 
100° F., and dye with 34 oz. to 34 oz. magenta. — 
C. 

Wood Red (25 lb.).— Dye the half bleached 
yarn, hot, with % lb. annatto which has been 
boiled with 6 oz. soda ash. Steep the yarns for 
an hour in the solution. Wring and enter in a 
cold water with 2 lb. stannate of soda. Lift, 
and enter in a lukewarm water with 4 to 5 lb. 
alum ; turn for half an hour, wring, and dye up 
with peachwood liquor (12 lb. wood).— C. 

Wood Crimson (25 lb.). — Make a decoction of 
4 lb. sumac, add it to a hot water, and steep the 
yarn overnight; wring, spirit with stannate or 
nitro-muriate of tin, and dye in peachwood 
liquor.— C. 

Azo Red (110 lb.).— Dissolve 11 lb. cake alum, 
and add so much solution of soda that the pre- 
cipitated form ceases to disappear entirely on 
stirring the liquid. Then add a little of a fresh 
solution till the last traces of the precipitate 
are just dissolved. Set the solution at 14° Tw.; 
enter the clear goods, and work for two hours, 
turning occasionaUy. Lift, and pass into a fresh 
water, containing 1 lb. dye for 10 lb. yarn. 

The same process is applicable to hemp.— C. 

Scarlet on Jute Yarn.— Mordant with red 
liquor at 834° Tw. and 122° F. 

Dye to shade in a fresh water at the same 
heat with "ecarlate R R" (of P. Monnet & Co., 
Geneva).— C 

Rose on Bleached Jute Yarn.— Mordant at 
122° F. in red liquor at 8° Tw., and dye in a fresh 
water with saffranine at the same heat. 

Kid Gloves, to Dye.— The gloves are stretched 
over a wooden hand, and the color is spread 
upon them with a brush. 

Black.— The glove is washed in alcohol, and 
three times brushed over with a decoction of 
logwood, allowing between each brushing ten 
minutes for drying ; afterward dipped into so- 
lution of iron protosulphate. and then brushed 
with warm water. Should the color not prove 
sufficiently dark, a decoction of quercitron 
may be added to the logwood decoction. In- 
stead of the protosulphate, some nitrate of 
iron may be used. As the leather begins to dry, 
it is rubbed over with talc powder and some 
olive oil, and pressed between flannel. The 
treatment with talc and oil is repeated, and the 
glove then allowed to dry on the stretch- wood. 

Brown.— The solution is made up of varying 
quantities of decoctions of logwood and Guinea 



Dyeing. 



160 



Dyeing. 



wood. For darkening, a small quantity of 
iron protosulphate is employed. 

Russia- red.— Decoction of cochineal with a 
tin salt and some saccharic acid, and, if a dark 
tint is demanded, addition of some logwood 
extract. 

Gray.— Brushing with decoction of sumac 
and subsequent treatment with a feeble solu- 
tion of iron protosulphate. Addition of log- 
wood and yellow Brazilwood to the sumac de- 
coction produces a greenish gray tint.— R. 

The aniline colors can be employed without 
any previous preparation of the leather. The 
bluish tint so greatly liked in black gloves is 
obtained by washing the finished article with 
sal ammoniac solution. If it is required to 
keep the seams white, they are covered with 
flour paste with which some fat has been ad- 
mixed. Instead of brushes, one may some- 
times use a sponge.— Ding. Polyt. Journ. 

Kid gloves of good quality, especially when 
light colored, are often thrown away when 
soiled, and made no further use of. By em- 
ploying the following simple means, they might 
easily be dyed violet, black, or yellow, by the 
owner himself, and made to look almost equal 
t<~ new : The gloves are first soaked in a little 
hot water containing dissolved crystals of soda 
or potash, whichever color may be desired, and 
after a twenty-five minutes' bath they are 
taken out, washed, rinsed, and wrung. When 
the gloves are thus cleaned, they are stretched 
tightly on a block, and the dye applied. 

Straw. — After cleaning as in white and rins- 
ing well in water, two baths are prepared : 1. 
A bath of soda at %° B. 2. A bath of nitrate of 
iron at the same strength. 

The gloves are brushed first with No. 1, then 
dried and brushed with No. 2, and finally with 
water, and dried at a gentle heat. They are 
then finished with the following mixture: 
Yelk of egg, 155 grn.; glycerine, 77 grn.; water, 
1% pt. When half dried they are rubbed with 
clean flannel. 

For modes and grays they are cleaned with 
soap in the usual manner, and after they have 
been brushed with water, they are brushed 
over with the following mixture at 104° F.: 
Logwood, 45 grn.; orchil, 8V> oz.; water, 1% pt. 
Boil. A second bath is prepared of 30 grn. of 
nitrate of iron in 35 oz. of water, and is applied 
with the brush to produce a gray tone. 

Violet. — According to the tint desired, aniline 
or orseille violet must be used. Apply a little of 
the color by means of a brush or rag dipped in 
the coloring liquid. Lay on several coats of alum 
dissolved in water; then dry. Then apply one 
or two layers of the dye, which must be always 
hot. The kid is polished, before finally drying, 
with a pad made of a cork covered with a piece 
of woolen cloth. This is the best way of re- 
gaining the gloss. 

Black.— The same means are employed 
throughout. 

Yellow.— This requires a less complicated 
process— a decoction of Avignon crystals with 
alum. Apply several layers, and polish the kid 
in the way indicated above.— Text. Manuf. 

Simple decoction of onion peel is said to pro- 
duce upon glove leather an orange yellow su- 
perior in luster to any other. It is also said to 
be suitable for mixing with light bark shades, 
especially willow bark, and as a yellow for mo- 
dulating browns. The onion dye is said to 
fix itself readily, even upon leathers which re- 
sists colors, and colors them well and evenly. — 
Chem. Rev. 

White.— The gloves are placed on a wooden 
hand, and then brushed over with a soft paint 
brush steeped in curd soap, 155 grn.; milk, 35 
fluid oz. They are then dusted over with fine 
Venice talc, and rubbed with a bit of clean 
flannel. If this process does not leave them 
white enough, it is recommended. 

Leather, Dyeing of— Aniline Colors for Dye- 
ing Leather.— (Aniline colors of the Berlin Co. 
referred to.) 



1. For the production of so-called " Russian 
red" — formerly obtained with the redwoods, 
along with a solution of tin and the occasional 
addition of alum or of tartar— the " Juchten- 
rath " or " leather-red " is recommended. It is 
produced in three shades — G, light; G R, 
medium; and R, dark. The color required is 
simply dissolved in 100 parts of clean, soft, boil- 
ing water, condensed steam- water being very 
suitable. The solution thus obtained is left to 
settle for two or three hours, and the clear 
liquid is then taken in greater or less quantity, 
according to the size of the pair of skins to be 
treated, diluted with warm water, and is then 
ready for use. It is not desirable to use a con- 
centrated bath at the outset. The first pair of 
skins is therefore dipped at the beginning in a 
very dilute bath. They are then taken through 
a second and a third, each stronger than the 
foregoing. The second pair of skins is dipped 
in the second of the baths already used, then in 
the third, and lastly in a new bath as strong as 
the third before it had been used. Thus each 
bath is used three times, and each pair of skins 
is passed through two old baths and one new 
one. In this manner the color is thoroughly 
used up, and an even shade is obtained on the 
the skins, which, if entered at once in a strong 
dye-bath, would take the color irregularly, and 
become cloudy. When dyed, the skins are 
plunged in pure cold water, rinsed, placed on 
the stretcher, and slightly oiled. If birch-oil is 
used, for the sake of the peculiar odor of Rus- 
sian leather which it imparts, care must be 
taken that no free acid is present, as always 
happens if the oil has been sophisticated with 
wood-tar; it must be carefully neutralized 
with carbonate of soda. The dyed leather 
should be rapidly dried in a room specially fit- 
ted up, as the aniline colors can endure higher 
temperatures than shades obtained from the 
woods. For moistening the leather for the sub- 
sequent finishing operations, very dilute solu- 
tions of " G " may be used. 

2. A fourth shade, GG, gives a yellower red. 

3. Another, " Red S," gives the cochineal 
shades, especially pink. In the use of this dye 
the bath must be made as hot as the leather can 
bear. 

4. An addition of saffron (? safflower or 
saffranine) decoction, as in the treatment with 
cochineal dyes, enhances the brilliancy of the 
color. - 

5. Most yellow dyes derived from coal-tar 
produce dark spots on such portions of the 
grain-side of the leather as have been scratched 
or scraped. Certain colors, however, prepared 
by the Berlin Company are free from this de- 
fect. Phosphine-orange gives the " brightest " 
and most intensely yellow of the yellowish- 
brown shades, commonly termed " almond-yel- 
low." It requires 500 parts of water for solu- 
tion, and must be boiled till no residue remains. 
The liquid is then ready for use at once with- 
out dilution. If a less fiery shade is wanted, 
treatment with a solution of bichromate of 
potash lessens the vividness of the dye. 

6. For a gold-orange color, the Philadelphia 
yellow of the same company is recommended, 
dissolved in 300 parts of water. 

7. A redder shade is produced by " Berlin 
brown G," which is well fitted for reddening 
the darker shades produced with the dye- 
woods. 

8. A pure orange may be obtained with 
" corallin " dissolved in 150 -parts of water. It 
must be dyed and afterward dried as rapidly 
as possible, as it has a tendency to fade. 

9. A " half -dark subdued blue " is produced 
with "marine blue" dissolved in 300 parts of 
water. The skins must not be previously passed 
through dilute sulphuric acid. 

10. For a pure light blue, " water-blue B B " 
is taken ; and for redder shades, " water-blue 
R." 

11. Dark blues were formerly obtained by 
the use of a red dye-ware over a vatted 



Dyeing. 



161 



Dyeing. 



ground. The result is better obtained by 
grounding in "water-blue R," and topping 
witb "nigrosin" dissolved in 300 parts of boil- 
ing water. Nigrosin applied directly to leather 
dyes uneven shades. 

12. " Methyl-green " is much used for topping 
skins which have been dyed green with extract 
of indigo and fustic. All sulphuric acid must 
first be carefully washed away. 

13. " Methyl- violet " can be successfully used 
even on the worst skins. 

14. The "B" variety yields blue shades, and 
the " R " produces red shades. The color is dis- 
solved in boiling water, but may be used cold. 
— Chem. Neivs. 

1. Blacks.— 34 gal. vinegar, J^ lb. dry lamp- 
black, 31b. sifted iron rust; mix, let stand for a 
week, lay three coats on hot; and rub with lin- 
seed oil. See also Blacking. 

2. 14, lb. good galls, well broken, 34 lb. logwood, 
3 oz, iron sulphate; makes about 2 gal. 

3. Wet with iron liquor and rub with a piece 
of iron; then oil, or give a dressing of composi- 
tion made by melting 2 oz. black rosin and 
adding 3 oz. beeswax. When thoroughly melt- 
ed take from the fire and add Y% oz. fine lamp- 
black, which has had M drm. Prussian blue 
mixed with it; thin with turps just before it 
gets too cold. Apply a coat of this with a rag, 
and polish with a soft brush. 

4. Ball Black.— For harness leather straps this 
is made of 34 oz. isinglass, 34 oz. indigo, 4 oz. 
logwood, 2 oz. soft soap, 4 oz. glue, softened, 
and 1 pt. vinegar; the whole is mixed, warmed, 
strained, and allowed to cool, when it is ready 
for use. 

5. Hatters 1 Black.— This black is unequaled 
for finishing. It is made by dissolving 1 lb. ex- 
tract of logwood, J^j oz. bichromate of potash, 
and 1 oz. copperas in 1 gal. water. 

6. Patent Leather Black.— Mix together 3^ lb. 
each of ivory black, purified lampblack and 
pulverized indigo, 3 oz. dissolved gum arabic, 4 
oz. brown sugar and 34 oz. glue, dissolved in 1 pt. 
water; heat the whole to boil over a slow fire, 
then remove and stir until cool, and roll into 
balls. 

7. Vinegar Black.— This is the most simple 
and useful coloring liquid for the trimming 
shop for blacking leather straps. To make the 
simplest, and without doubt the best, procure 
shavings from an ironturner, and cover them 
with pure cider vinegar; heat up and set aside 
for a week or two, then heat again and set in 
a cool place for two weeks ; pour off the vine- 
gar, allow it to stand for a few days, drain off, 
and cork up in bottles. This will keep a long 
time, and while producing a deep black on 
leather, it will not stain the hands. 

8. 4*2 oz. bruised gallnuts and 17*5 oz. green 
nutshells are boiled in 26*25 oz. rainwater; when 
the mixture has boiled one hour the liquor is 
strained through a cloth; the leather to be col- 
ored is first stained with the solution of iron 
filings, common salt and vinegar, as given un- 
der purple, before the above decoction is ap- 
plied. 

9. Black on Leather.— Dissolve 1% oz. solid 
logwood extract and % oz. solid fustic extract 
in boiling water, and make up to 35 fluid oz. 
The leather, which must have been previously 
cleaned and stretched out, is brushed over five 
times at 100° Fah.; 155 grn. of chromate of pot- 
ash and 77grn. bluestone are then dissolved in 
the same quantity of water; the leather is 
brushed twice with the solution, and then again 
with the decoction of logwood: 150 grn. of liquid 
ammonia are then poured into 35 fluid oz. of 
water, and the leather is gone over with that. 
To make the leather supple, stir up 150 grn. yelk 
of egg in 75 grn. of glycerine, make it up with 
water to 35 fluid oz., and rub the leather with 
it. Let it get half dry, and rub with a clean 
woolen rag.— R. 

Blue Black.— The following is recommended 
as a good composition for dyeing leather a blue 
black: Beeswax, 3 oz.; black resin ?oz.- melt 



together, and then add Prussian blue, 1 oz.; 
lampblack, 3-i oz. While the mixture is cooling, 
add turpentine till a suitable consistency is 
obtained. It should be applied with a soft rag, 
and the leather afterward polished with a 
brush. 

Staining Light Leather, Black.— Simple treat- 
ment with solution of iron sulphate or copperas 
will dye leather black. Acetate of iron may be 
used instead of above with advantage. The 
leather may first be mordanted with solution of 
logwood extract. 

Blue on Leather.— 1. Extract 155 grn. of gall- 
nuts in 35 fl. oz. of water and bi'ush over. Dis- 
solve 155 grn. of soluble aniline blue and 75 grn. 
of glue in 35 fl. oz. of water. Brush over three 
times; dry and finish with yelk of egg.—R. 

2. 2*2 lb. elderberries are boiled with 1*05 oz. 
alum, free from iron, in 2*2 lb. wine vine- 
gar, and this solution is also filtered. If leather 
is to be colored blue, the decoction of elder- 
berries is applied uniformly with a sponge. 
When the coating is dry, it is brushed over 
lightly with solution of blue vitriol in vine- 
gar. 

Browns, Russets, Reds, Yellows.— The use of 
russet and brown leather for reins necessitates 
the employment of stains of various shades in 
the workshop in order that the reins or other 
straps may be of a uniform color after being 
worked. In most cases rein leather is stained 
by the currier, but when worked the freshly 
cut edges need to be stained to correspond with 
the grain. The stains used are generally made 
of Spanish saffron and annatto, or of saffron 
alone, made up in various ways, the most com- 
mon and reliable being the following : 1. Boil 
a given amount of saffron in water until the 
color is extracted; cut a quantity of annatto 
in urine and mix the two together, the propor- 
tions of each determining the shade. The more 
annatto used the darker is the color. 

2. Another manner of preparing this stain is 
to boil y 2 oz. Spanish saffron and 34 oz. annatto 
in water until the dye is extracted, to which 
must be added some alcohol to set the color. 

3. To make a stain of saffron alone, boil a 
quantity in water until the dye is extracted ; 
strain off, and when cold add alcohol in order 
to set the color. The shade may be changed 
by adding oxalic acid in varying quantities, 
according to the color required. The propor- 
tion cannot be given with any degree of ac- 
curacy, as the color is a matter of taste and 
can be regulated by using greater or less pro- 
portions of each article. 

4. Another saffron stain is made by boiling 
saffron in a small quantity of water until the 
color is extracted, and reducing with urine. In 
using any of these stains apply them with a 
cloth, and when nearly dry rub with a woolen 
rag slightly waxed. 

5. A yellow stain is produced by boiling fustic 
berries in alum water ; the shade may be dark- 
ened by the addition of a small quantity of 
pewdered Brazil wood boiled with the berries. 

6. Another yellowish-red stain is made of 
Brazil wood and yellow berries in proportion 
to suit, boiling them in water until the color- 
ing matter is extracted. This can be applied 
to sides that have not been stained, when in- 
tended for flat reins, halters, etc., in the fol- 
lowing manner: Lay the leather upon a table 
and rub the flesh side with a warm stretching 
iron ; turn it over and moisten the grain side 
with water, and rub with a copper stretching 
iron until the leather is nearly dry ; then apply 
the coloring matter to the grain and rub with 
a copper slicker. When the leather is perfectly 
dry rub the grain with a glass slicker. An edge 
stain is made by adding a small quantity of 
alum to the above-mentioned ingredients. 

7. A brown stain is made by boiling equal 
parts of pine and alder barks in six times their 
bulk of water until all the coloring matter is 
extracted, and when cold adding a small 
quantity of alcohol. Saffron boiled for twelve 



I>yeing. 



162 



Dyeing. 



or fifteen hours gives a good brown stain, to 
which alcohol must be added to make it set. 

8. Picric acid and water, in proportions of 1 
to 10, heated to a blood heat, make a good yel- 
low stain. Weld boiled in water also makes a 
yellow stain. An orange-yellow is produced 
by boiling- fustic berries in alum water. This 
stain may be converted into a rich brown by 
washing the leather to which it has been ap- 
plied, before the stain is fairly dry, with an 
alkali. 

9. A red stain is produced by boiling Brazil 
wood in lye. If mixed with weld it produces 
a brownish yellow, well adapted for use on 
halters and bridles. 

10. An edge stain for russet leather is made 
by cutting 11 oz. annatto in 2 qt. urine, allow- 
ing it to stand for twenty-four hours, then 
adding 3 qt. water and boiling until reduced to 
one-half the original quantity. All stains ap- 
pear to better advantage, and are rendered 
more durable, by being covered with a shellac 
varnish, which should be applied after the reins 
are all dry, and then finished up. The shellac 
should be applied with a sponge. 

11. A bright orange stain is made by mixing 
yellow aniline with alum water. 

12. 1 oz. oxalic acid, 1 oz. spirits of salts, 1 scr. 
bruised cochineal and 1 pt. boiling water, make 
a good brown stain. 

13. Another red stain is made by dissolving 1 
oz. cochineal in y% pt. hot water, and adding 1 
gill spirits of hartshorn. 

14. A bright crimson stain is alum or tin salts 
and a decoction of cochineal. 

15. For sole leather, 185 dr. Paris yellow, 37 
dr. chrome yellow, 312 dr. pipeclay, 250 dr. alum, 
250 dr. quercitron, 185 dr. sulphuric acid, 1% pt. 
tragacanth solution, boiled together with 7 pt. 
water, and the mixture, when cold, suitably 
applied. 

16. Brown on Leather.— Dissolve 75 grn. of 
tannin in 35 fluid oz. Bismarck, and brush the 
stretched leather. Dissolve 75 grn. Bismarck 
brown and 45 grn. white glue in 35 fluid oz. 
water, and brush at 100° Fahr. If a darker 
shade is desired, brush over with a solution of 
15 to 45 grn. of methyl violet in 35 fluid oz. 
water, and let dry. Finish with yelk of egg as 
above.— B. 

17. Brown.— 17*5 oz. dried and powdered nut- 
shells are boiled for one hour in 52*5 oz. milk of 
lime, and strained through a cloth. This de- 
coction is applied frequently to the leather. 
4*2 oz. ground logwood, 4"2 oz. annatto are boiled 
in 17'5 oz. rain water, and a solution of 0'52 oz. 
carbonate of potash in 2'62 oz. vinegar is added 
to the above decoction. 

18. A brown stain is also obtained by rubbing 
together upon a marble slab, 4'2 oz. umber, 0*52 
oz. finest lampblack, in oil, with 17*5 oz. ox- 
gall. 

19. Yellow. — 0*52 oz. saffron, cut in small 
pieces, are digested in 2*1 oz. alcohol 801 strong, 
for several days at a moderate heat. The solu- 
tion is filtered, and applied directly to the 
leather. 

20. Yellow.— 17*5 oz. ground yellow wood or 
17'5 oz. birch leaves are boiled for one hour in 
2'2 lb. vinegar, and the fluid is strained. The 
articles to be stained are first covered with a 
solution of 1'05 oz. carbonate of potash, with a 
sponge to the leather, which has first been 
stretched, and when this has become dry, apply 
the coloring liquor also with a sponge. 

21. Bright Yellow.— P05 oz. finely powdered 
turmeric and 052 oz. gamboge are digested at a 
gentle heat for a few days in 26 '25 oz. alcohol 
8U% strong, and the fluid is then filtered. The 
process is the same as 20, either with or with- 
out alum or carbonate of potash. 

22. 17*5 oz. barberries are boiled in 2*2 lb. 
water, and the decoction is filtered. In this 
case also a solution of alum or carbonate of 
potash in water is used before applying the de- 
coction to the article. 



23. Yellow.— 17'5 oz. wold are boiled in 3*3 lb. 
water for one hour, and used in the same 
manner as 22. 

24. Yellow on Leather.— Brush over with a 
solution of soda at Yq° Baume, dry and brush 
over with nitrate of iron at the same strength; 
repeat, if not dark enough. Finish with yelk 
of egg. This will be a buff rather than a 
yellow.— B. 

Gray on Leather.— Dissolve 155 grn. of tan- 
nin in 35 fluid oz. of water, and brush. Dis- 
solve 30 grn. of copperas in 35 fluid oz. of water 
and brush. If not dark enough, repeat. Dry 
and rub with rye meal.— B. 

Green.— 1. T57 oz. verdigris and 0*52 oz. sal 
ammoniac are dissolved in 8*75 oz. wine vinegar. 
If a small quantity of saffron extract is added 
to this, a yellowish -green color, the so-called 
parrot-green, is obtained. 2. If leather is first 
coated with a solution of Berlin blue, and then 
with a yellow stain, a beautiful durable green 
will be obtained. 

Green on Leather.— Extract % oz. of gall- 
nuts in 35 fluid oz. of water, and brush over 
the leather three times; dissolve 155 grn. ex- 
tract of indigo and the same weight of alum in 
35 fluid oz. of water, and brush over and dry 
with the cold solution. Dissolve 155 grn. ex- 
tract of fustic in the same quantity of water, 
and brush twice. Dissolve 77 grn. glue in the 
same quantity of water; dry, and finish with 
yelk of egg as above.— B. 

Lilac on Leather. — Dissolve 155 grn. of tannin 
in 35 oz. of water, and brush. Then dissolve 
77,155, or 30 grn. methyl violet, according to 
shade, in 35 fluid oz. of water, and brush over 
thrice. Dissolve 155 grn. of glue and the same 
weight of glycerine in 35 fluid oz. of water, 
brush and dry.— B. 

Mode on Leather.— Extract 45 grn. of log- 
wood in 35 fluid oz. of water, and dissolve it in 
30 grn. of orchil. Brush the leather with the 
solution at 110° Fahr. Next dissolve 30 grn. 
copperas in 35 fluid oz. of water; brush with the 
solution, and then brush with water. If a 
reddish tint is desired, dissolve along with the 
copperas 30 grn. of alum. When dry rub the 
leather with a woolen rag and rye meal.— B. 

Purple.— 8*75 oz. Brazil wood shavings, or 2T 
oz. scarlet berries, are boiled in 2'2 lb. water in 
an earthen pot or in a bright copper boiler. 
The decoction is filtered and compounded with 
a sufficient quantity of fluid chloride of zinc to 
obtain either a lighter or a darker color. 

Crimson.— A solution of 0T4 oz. cochineal, 
0*14 oz. cream of tartar, 0'42 oz. solution of 
zinc, is prepared. The mixture is thoroughly 
shaken, and the contents of the bottle are ex- 
posed to heat for twenty-four hours. Spirit of 
sal-ammoniac is then added in drops until the 
desired color is obtained. 

Red.— 1. 8 - 75oz. shavings red Brazil wood are 
placed in a bottle, 2*2 lb. wine vinegar is poured 
over them, and they are digested for eight 
days, and stirred frequently in the meanwhile. 
The solution is then filtered through a cloth. 
Meantime a solution of 1*05 oz. alum free from 
iron in 8*75 oz. water is prepared and the above 
preparation of Brazil wood is added to this 
under constant stirring. A very beautiful red 
is obtained in this manner. The shavings of 
Brazil wood may also be boiled in rain water, 
and this be compounded with a solution of 
bitartrate of potash. 

2. Cochineal.— P05 oz. of the finest cochineal 
is powdered and digested in* 17*5 oz. alcohol 80/1 
strong, until it is dissolved; the solution is then 
filtered. More or less cochineal is taken ac- 
cording as the color is required to be darker or 
lighter. 

3. Scarlet.— 1*05 oz. scarlet berries are bruised 
and dissolved in 4*2 oz. alcohol, 801 strong, and 
the solution is filtered. 

Violet.— 17'5 oz. Brazil wood are boiled for 
one hour in 0*44 oz. water, and the decoction is 
then filtered. Another solution of 4*2 oz. cop- 
peras in 8 75 oz. water is prepared, and this is 



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163 



Dyeing. 



mixed with the decoction of Brazil wood. 
Violet stains are also obtained by mixing red 
and bine stains together. 

Linen Dyeing.— The properties of linen , as 
far as its behavior with mordants and dye wares 
is concerned, do not essentially differ from 
those of cotton. It is, however, less able to re- 
sist strong acids and chemicals. The propor- 
tion of linen goods dyed and printed is but 
small in comparison with those sold in the 
white state. Coarse linen yarns are very largely 
used in the warps of certain classes of carpet- 
ing.— ft 

Black (50 lb. yarn) —Boil 10 pails of decoction 
of logwood with 2 lb. bluestone and 2 lb. soda 
ash. When dissolved, cool down to 180° F., 
enter the yarn dry, and work for twenty min- 
utes. Lift, rinse and dry.— ft 

Black Linen Sewing Thread.— "Wet out in boil- 
ing water, and enter in a water at 212° F., 
made up of 17 oz. solid extract of logwood, and 
3% oz. solid extract of bark. Work for an hour, 
lift, and hang out in the air for twelve hours. 
Re-enter in the extract beck, which should be 
at 88° F , give eight turns and lift. Work for 
a quarter of an hour in a fresh cold water,with 
634 oz. bluestone, lift, and dissolve 17 oz. soda 
ash in the old extract bath. Enter yarns and 
give ten turns. Lift, return to the bluestone 
water, seven turns. Take out, return to the 
.extract beck, and give seven more turns.— ft 

Next dissolve in the bluestone water 7 oz. 
copperas. Enter yarns, give ten turns, and re- 
turn to the extract bath for 7 turns. .Make up 
a fresh boiling water with 8% oz. curd soap, 
and give seven turns. Oil or glycerine may be 
added to the soap beck to insure softness.— ft 

Black (40 lb.).— Steep for an hour in a solution 
of 4 lb. extract of logwood. Squeeze well and 
pass eight times through a cold water with 7J>£ 
oz. bichromate and 12 oz. bluestone. Take out 
and squeeze, and dissolve in the old extract 
beck 1 lb. soda ash. Enter, heat to 167° P., take 
out, squeeze again, dissolve in the beck 1 lb. 
copperas. Work for half an hour, and rinse. 
To hinder the goods from smearing take 
through a water containing a little gum.— ft 

Fast Black (50 lb. yarn.).— Steep overnight in 
the hot decoction of 15 lb. sumac. In the morn- 
ing lift and take through a warm water made 
up with 5 lb. copperas, 1 lb. bluestone, and 2 lb. 
whiting. Work in a cold, weak limewater, 
rinse, and return to the sumac cistern, to which 
must be previously added six pails decoction of 
logwood, and 1 lb. of starch paste.— ft 

Dyeing and Finishing Black Linen Sewing 
Thread (11 lb.). — Wet out in boiling water, and 
enter in a beck at 212° F., made up of 17J4 oz. 
solid extract of logwood, and 334 oz. solid ex- 
tract of bark. Work for an hour, lift, and 
hang out in the air for twelve hours. Keturn 
now to the extract beck, which should be at 
about 88° F., give eight turns and take out. 
Work for a quarter of an hour in a fresh cold 
beck of 634 oz. blue vitriol ; take out and dis- 
solve in the old logwood beck 17J4 oz. of soda 
ash. Enter and give ten turns. Take out, re- 
turn to the blue vitriol beck, give seven turns. 
Take out, return to the extract beck, and give 
seven more turns. Next, dissolve in the blue 
vitriol beck 7 oz. copperas, enter the yarn, give 
ten turns, and return to the logwood beck for 
seven turns. Finally, make up a fresh boiling 
beck of 8% oz. curd soap, and give seven turns. 
Oil or glycerine may be added to the soap beck 
to insure softness. After drying, the thread is 
run over cold rollers, being twisted slowly all 
the time, that it may be flattened in different 
directions. It is essential that the thread 
should not be washed or undergo any other 
treatment after the soap beck.— R. 

Blues.— For linen the cold copperas vat, or 
the improved hydrosulphite vat, may be used 
exactly as for cotton. 

'Topped Blues (11 lb.).— 1. Give a light blue in 
the vat, sour, rinse, and add to a cold water 1 
oz. tin crystals, and 3 lb. oz. nitrate of iron. 



Work for 2 hours, lift, make up a fresh cold wa- 
ter with 2% to 334 lb. logwood and 17 oz. alum. 
Dry cold for a quarter of an hour and rinse. 
If the color is not to rub off, take through 
a lukewarm water with 434 oz. glue and dye. 
—ft 

2. Vat as before, and make up a water with 
" indigo substitute, " a mixture of induline and 
extract of logwood. Enter, work at 144° F. for 
thirty minutes, and sadden in a fresh water 
with 1J4 oz. chromate of potash and % oz. blue- 
stone.— ft 

3. Vat as before, and work for an hour in a 
water of 11 lb. logwood and 17 oz. alum. Make 
up a fresh cold water with 2 lb. 3 oz. copperas. 
Give ten turns, and according to shade give 
two or three dips in both becks. If not deep 
enough, add a little nitrate of iron to the log- 
wood. Kinse and take through weak glue 
water.— ft 

Blue without Indigo (on 55 lb yarn).— Put the 
yarn for two or three hours in water with 8% 
oz. copperas, and dry without rinsing. Steep 
for three hours in a water with 26 oz. alum; 
wash, wring and dye in a decoction of logwood, 
to which the solution of 1% oz. alum and of 
the same weight of sugar of lead has been 
added. Give three turns and the dyeing is 
complete.— ft 

Light Blue for Linen (72 yd. 29 in. wide).— Boil 
the goods for an hour with 2 lb. 3 oz. soda ash, 
rinse, and give a light blue in the cold vat. 
Sour with 334 lb. sulphuric acid and rinse. For 
the finishing, prepare a mixture of. 108 pt. with 
2 lb. 3 oz. wheat starch, and the clear solution of 
% oz. of gentiana violet B and 8% oz. of alum, 
pass through this at 122° F., and calender. If 
the color is not required to be quite fast, give a 
rather paler shade in the vat, and prepare the 
following finishing: Boil out 11 lb. St, Domingo 
logwood in water, and dissolve in the clear de- 
coction 1734 oz. alum. Boil up in the liquor 334 
lb. starch, let cool, and stir in it 1734 oz. sul- 
phate of zinc and % oz. tin crystals. With this 
make up 105 pt., work in it for half an hour, 
dry and calender. The goods must pass evenly 
through the mixture, as folds and creases make 
the color uneven.— R. 

Light Blue (pieces 62 yd. 29 in. wide).— Boil 
with 35 oz. soda ash, rinse, and give a light blue 
in the vat. Sour with 334 lb sulphuric acid and 
rinse. Mix ]08 pt. water with 35 oz. wheat 
starch, and the clear solution of % oz. gen- 
tiana violet B, and 8M oz. alum. Take through 
this at 122° F. and calender. If the color need 
not be quite fast, give a paler shade in the vat, 
and prepare the following finish: Boil 11 lb. 
logwood in water, and dissolve in the clear de- 
coction 17 oz. alum. Boil in the liquor 334 lb. 
starch, let cool, and stir in 17 oz. sulphate of 
zinc, and % oz. tin crystals. Make up 105 pt., 
work in it for half an hour, dry, and calender. 
Let the pieces run evenly through the mixture, 
—ft 

Aniline Blue (50 lb.).— Dissolve 4 oz. aniline 
blue in 1 pt. hot methylated spirit, and stir the 
solution well into a water at 140° F. Stir in 
also 2 lb. acetic acid, and the solution of 3 lb. 
sulphate ot soda crystals. Enter, raise gradu- 
ally to about 210° F., turning constantly; lift, 
rinse and dry.— ft 

Prussiate Blue (50 lb.).— Add to a water, 
slightly warm, 3 lb. nitrate of iron, and 2 lb. 
tin crystals. Enter, and give five turns, pass 
into a fresh water made up with the solution of 
2 lb. yellow prussiate, and 1 lb. oil. of vitriol. 
Lift, drain and re-enter in the iron bath. If 
not dark enough, take again through the prus- 
siate. Lift, rinse and dry.— ft 

Another Brown (50 lb.).— Add to a water at 
140° P., 51b. alum; 51b. "aniline spirit," and 10 
pails logwood liquor. Work for twenty min- 
utes, rinse, and dry.— ft 

Catechu Fast Brown (50 lb.).— Steep yarns 
overnight in the decoction of 10 lb. cutch or 
gambir. Lift, work in a hot solution of bichro- 
mate of potash, lift, rinse, and diy.— ft 



Dyeing. 



164 



Dyeing. 



Madder Brown (50 lb.)— Add to a water 5 lb. 
boiled madder and 5 lb. alurn. Enter yarn at 
150° F. Five turns, add 2 lb. double muriate, 
work fifteen minutes, lift, rinse, and dry.— C. 

Light Green (10 lb.).— Digest for six hours 
with 6J4 lb. sumac. Wring out and enter for 
half an hour in the following mordant : Alum, 
500 grn.; sugar of lead, 250 grn. Wring out and 
dye with 100 grn. iodine green.— C. 

Fast Green (110 lb.).— Boil for four hours in 
the solution of 4 lb. 6 oz. silicate of soda, blue 
slightly in the cold vat, take through vitriol 
sours, wash, take through weak lime water, and 
wash again. Steep overnight in a water at 
167° F. with 334 lb. blue vitriol. Wash the next 
morning, and take through a fresh water at 
167° F. with 534 lb. fustic, saddening with log- 
wood if needed.— C. 

Green (50 lb.).— Add to a water 5 lb. alum, 2 
lb double muriate, 2 oz. tin crystals, and 34 lb. 
flavine. Boil together for ten minutes, cool, 
enter yarn, work very quickly and then more 
slowly for twenty minutes. Lift and rinse. 

Make up a cold water with a solution of 1 lb. 
extract of indigo and 6 lb. alum. 

Enter yarns, turn quickly at first, and let 
steep for some hours, turning occasionally. 
Lift and dry without rinsing.— C. 

Greenish Gray (22 lb.).— Dissolve 17 oz. soda 
ash in a water, and boil for an hour. Wash, and 
take through a fresh water with 17 oz. sulphuric 
acid, and wash again. Stir up 2 lb. 3 oz. of the 
best chloride of lime to a uniform paste, and 
allow to settle. Soak the goods in the clear liquid 
for six hours, turning occasionally. Lift, and 
take through a fresh water to which 35 oz. 
muriatic acid have been added. Rinse well. 
Boil out 8J4 oz. sumac and 35 oz. bark in suffi- 
cient water. Enter the goods for an hour in 
the clear liquid at 122° F., press, and pass into a 
fresh water with 834 oz. copperas. Work here 
for fifteen minutes, and take through water. 
Make up a water at 122° F. with 35 oz. alum ; 
enter the goods, and add by degrees very small 
quantities solution of bark and extract of in- 
digo till the shade is hit. Rinse and dry.— C. 

Iron Gray (11 lb.).— Work for an hour in a 
boiling water with 35 oz. sumac. Wring and 
work for another hour in a fresh water with 
the same weight of copperas.— C. 

Lilac (50 lb.).— Add to a decoction of logwood 
at a hand heat 4 lb. alum, and 2 lb. double 
muriate. Work for twenty minutes, lift, rinse 
and dry.— C. 

Bluish Mode (11 lb.).— Mordant at 167° F. with 
35 oz. sumac, and work in a cold water with 35 
oz. copperas. Rinse, and dye up in a fresh 
water with alum, extract of indigo, and ma- 
genta as required.— C. 

Reddish Mode (11 lb.).— Boil out 7 oz. prepared 
catechu in water, work the yarn, in the solution 
at 144° F. for half an hour ; lift, and work in a 
water at 180° F. for half an hour, with 334 oz. 
chromate of potash. Rinse, and top in a fresh 
beck with alum, extract of indigo, and ma- 
genta.— C. 

Greenish Mode (11 lb.).— Work for an hour in 
a water at 167° F. with 35 oz. sumac, and 7 oz. 
solid extract of fustic. Lift, and work for half 
an hour in a cold water, with 35 oz. copperas. 
Make up a fresh water at 167° F. with 334 oz. 
solid extract of fustic, 8% oz. alum, adding ex- 
tract of indigo as required, and a very little 
magenta. Top in this beCk.— C. 

Aniline Orange (on 11 ib. linen yarn.)— Dye as 
for yellow and top in a fresh water with 34 oz. 
saffranine, or rather less.— C. 

Chrome Orange (11 lb.).— Boil up 334 lb. sugar 
of lead in water with an equal weight litharge 
till the sediment is white. Let settle, and steep 
the yarn for an hour in the clear, hot liquid. 
Lift, and take through a cold water with 17 oz. 
lime. Rinse slightly and work in a cold water 
with 17 oz. chromate of potash, and the same 
weight of sulphuric acid for a quarter of an 
hour. Redden for three minutes in a boiling- 
water with 8% oz. of lime. If a redder shade is 



needed, top in a fresh cold water with y A oz- 
magenta.— C, 

Madder Orange (50 lb.).— Add to a hot water 
2 lb. flavine, 10 lb. alum, 6 lb. double muriate, 
J4 lb. tin crystals, and 5 lb. madder. Boil for 
ten minutes, cool to 170° F., enter yarns, turn 
very rapidly at first and then more slowly for 
about a quarter of an hour. Lift, rinse, and 
dry.— C. 

Annatto Orange (50 lb.).— Boil 1 lb. annatto in 

4 lb. soda ash, and add the decoction to a water 
at 160°. Enter yarn, work to shade, rinse, and 
dry. This is a bright, but not very fast, orange. 

Rose on Linen (11 lb.).— Work in a boiling hot 
beck of 7 oz. tannin and Z% oz. curd soap ; add 
to the water the solution of 3J4 oz. tin crystals, 
and dye with y§ to M oz. saffranine at 110° F. 

Reds, Magenta (100 lb.).— Dissolve 3 oz. ma- 
genta, and add the solution to a water at 150° 
F. Stir well, enter, and work for twenty 
minutes. Lift, and dry without rinsing. — C 

Fast Sanders Red (100 lb.).— Ground slightly 
with annatto ; mordant by steeping overnight 
in bichloride (oxy-muriate) of tin at 1134° Tw. 
Rinse, wring, and enter in a beck made up with 

5 lb. sanders, and work at a boil for twenty 
minutes. Take through vitriol sours at 34° Tw., 
wring, and rinse.— C. 

Crimson (50 lb.).— Steep in the decoction of 10 
lb. sumac. Work well in a water to which 3 lb. 
of "aniline spirit" have been added. Enter 
in a water at 140° F., to which has been added 
the decoction of 15 lb. redwood, working for 
twenty minutes. Lift, rinse, and dry. — 0. 

Red (11 lb.).— Boil for five hours with 34 lb. 
soda-ash and 2 lb. 3 oz. lime, rinse and pass into 
a water containing 8% oz. muriatic acid. Rinse 
again and prepare a bleach by stirring up in 
cold water 8% oz. chloride of lime. The yarn is 
steeped six to seven hours in the clear liquid. 
If the yarn appears white, rinse in cold water, 
take through muriatic sours at 34° Tw., rinse, 
and work in boiling water containing 1734 oz. 
tannin. Wring and dry at 167° F. in a fresh 
water containing 1% oz. yellowish saffranine. 
— C 

Rose (on 11 lb. linen yarn).— Work for half an 
hour at a boil with 7 oz. tannin and 3J4 oz. curd 
soap. Lift, and add to the beck the solution of 
334 oz. tin crystals, and dye at 112° F. with the 
solution of % to % oz. aniline red according to 
shade.— C. 

Another Red (50 lb.).— Boil together 5 lb. 
sumac, 5 lb. alum, 2 oz. tin crystals, and 1 lb. 
flavine. Cool the decoction down to 180° F., 
enter yarns, work for a quarter of an hour, and 
lift. Take it without rinsing through a cold 
water, to which 3 lb. "aniline spirit" has been 
added. Each lot of yarn is worked in this mor- 
dant from about one and a-half minute, and a 
little more of the spirit is added for each lot. 
Drain, and make up a water at 125° F. with the 
decoction of 15 lb. redwood. Turn quickly at 
first, and afterward more slowly for twenty 
minutes. It is an improvement to add to the 
color-bath 2 lb. whiting, in order to neutralize 
the acid. Lift, rinse Avell, and dry.— C. 

Golden Yellow (on 11 lb. linen yarn). — Steep 
for three hours in a boiling water with 17 oz. 
tannin, wring out and dye in a fresh cold water 
with 3J4 to 434 oz. aniline orange or phosphine. 

Yellow (100 lb.).— Boil together for fifteen 
minutes 2 lb. flavine, 10 lb. alum, 8 lb. double 
muriate, and 34 lb. tin crystals. Cool to 170 F M 
enter yarn, and work with the usual precau- 
tions to shade. Lift, rinse, and dry. — C. 

Marble, to Stain or Dye.— I. In staining mar- 
ble it is necessary to heat it hot, but not so hot 
as to injure it, the proper heat being that at 
which the colors nearly boil. Blue is produced 
with an alkaline indigo dye. Red by dragon's 
blood in alcohol. Yellow by gamboge in alco- 
hol. Gold color with (sal ammoniac) ammo- 
nium chloride, zinc sulphate, and verdigris, 
equal parts. Green, sap green in alcoholic po- 



Dyeing. 



165 



Dyeing. 



tassium hydroxide. Brown, tincture of log- 
wood. Crimson by a solution of alkanet root 
in turpentine. Black spots may be produced 
with silver nitrate. As a general rule, how- 
ever, we believe marble tables are made by in- 
laying rather than by staining. 

2. Marble can be stained different colors by the 
f ollowing substances: Blue, solution of litmus; 
green, wax colored with verdigris; yellow, 
tincture of gamboge or turmeric; red, tinc- 
ture of alkanet or dragon's blood; crimson, 
alkanet in turpentine; flesh, wax tinged with 
turpentine; brown, tincture of logwood; gold, 
equal parts of verdigris, sal ammoniac, and 
sulphate of zinc in fine powder. 

Pasteboard, to Dye.— To color white paste- 
board the color of leather, soak in solution of 
copperas and then in ammonia. 

Pearl Buttons, to Dye.— Wash with lukewarm 
solution of potash, then place in a strong aque- 
ous solution of the desired color and let them 
stand, with frequent stirring, in a warm place. 
To cause the color to penetrate, an immersion 
of two weeks may be needed. Use the aniline 
colors. 

Silk Dyeing. — Silk occupies, in several re- 
spects, an intermediate position between the 
truly animal and the vegetable fibers. Like 
wool, it is a highly nitrogenous body, but con- 
tains no sulphur. It takes up very many of 
the colors which can only be worked upon 
vegetable fiber by the aid of mordants. It tol- 
erates acids better than cotton, but less fully 
than wool. Like the latter fiber, it is unable to 
bear the action of strong alkalies, especially at 
high temperatures. Like cotton, it can be 
dyed a Prussian blue by working alternately 
in a solution of nitrate of iron and in one of 
prussiate of potash. It has a strong affinity 
for iron and for tannin. Cochineal does not 
work as advantageously upon silk as upon 
wool, and a true " grain scarlet 1 ' upon silk can 
scarcely be said to exist. On the other hand, 
carthamine and the aniline colors appear here 
to the greatest advantage. The great attrac- 
tion of these colors for silk simplifies silk-dye- 
ing exceedingly. Such colors as aniline or- 
ange, cyanose rose, rose Bengale, phloxine, the 
various shades of rosine, magenta, the aniline 
violets, malachite green, the aniline blues, re- 
quire merely to be dissolved and mixed with 
perfectly clear water in a clear pan. A little 
acetic or tartaric acid is often added, and in 
case of the azo colors (such as ponceau, gren- 
adine, etc.) a little oil of vitriol. — C. 

Lyons Black. — The silk is first entered in 
black liquor at 25$ or 30$ and washed. Then it 
is worked in a hot soap lye, and passed hot into 
a water containing 22$ of yellow prussiate of 
potash, and washed, it is then steeped in the 
black liquor, washed, and soaked for twelve 
hours in a saturated decoction of catechu, and 
washed. It is finally dyed in a bath of log- 
wood, containing 25$ of soap.— C. 

Blue on Silk Garments (17J4 oz.).— "Wash and 
work for a quarter of an hour in a boiling ket- 
tle of % oz. Nicholson blue, and 33^ oz. borax. 
Lift, drain, and take through a cold beck of 
314 oz. sulphuric acid.— B. 

Bleu de Lyon. — Clear water with sulphuric 
acid, and give the silks five or six turns. Add 
the coloring matter to the beck in several suc- 
cessive portions as the dyeing advances. Be- 
gin to dye in the cold, and raise gradually to a 
boil. Soap, rinse, and give a slight brighten- 
ing in the cold with sulphuric acid.— C. 

Soluble Blue.— As Bleu de Lyon, but without 
soaping.— C. 

Aniline Blue with Soap (11 lb.)— Add to a 
water at 165° F., 1 lb. 1 oz. sulphuric acid and 
B}4 oz. white soap in solution. 

Stir up very well and add in four successive 
portions, 1% oz. blue, previously dissolved in 
water. 

Dye, wash, and rinse with sulphuric acid. 
— r. 



Peacock Blue.— 1. 80 lb. silk. 1 pt. sulphuric 
acid at 170° Tw., 10 oz. methylin blue crystal 
dye at 120° to 160° F.— G. 

2. Peacock Blue.— 80 lb. cloth or yarn. 3 oz. 
biborate of soda (borax), 11 oz. peacock blue 
crystals. Enter at 140° F., and bring to boil in 
twenty minutes. — G. 

Prussiate Blue (40 lb.).— Enter in a water, 60 
gal., at 120—130° F., with 9 lb. nitrate of iron 
at 120° Tw., and 1 lb. 10 oz. tin crystals. Give 
nine turns, wash, and give nine turns in a 
warm water with 2 lb. yellow prussiate and 
1 lb. oil of vitriol. Return without washing to 
the first bath, and give nine turns more. Wash, 
and give nine more turns in the prussiate bath. 
Add to the first bath 2 lb. nitrate of iron and 
10 oz. tin crystals, nine turns and wash. Fi- 
nally, give nine turns in the prussiate bath, to 
which 12 oz. prussiate and 1 lb. sulphuric acid 
have been added. Wring out, and leave for six 
hours in a covered bowl. Wash, raise, and dry 
in the air.— C. 

Brown on Silk.— Steep the ungummed silk 
overnight in alum- water at 100° F. Take out 
the next morning, and dye in a water with log- 
wood, redwood, and fustic, as the shade re- 
quires. For mediums 20 oz. of each of the 
three woods suffice for 11 lb. of silk. The beck 
is kept at from 167° to 191° F., and the goods 
are turned from thirty to sixty minutes.— C. 

Light Brown on Silk Garments (17J4 oz.) — 
Wash for fifteen minutes at 167° F. in a clear 
beck, made up with \% oz. genuine cutch; lift 
and enter in a fresh beck at the same heat, 
with % oz. chromate of potash, and work in 
this f or'a quarter of an hour; rinse and dye up 
at 167° F. with a little vesuvin and magenta. 
Vesuvin should predominate for yellowish 
tones, and magenta in red ones.— B. 

Olive Bronze for Half Silk Yarn.— 6 lb. pre- 
pared cutch, 31b. yellow cutch (Terra japonica), 
and 2 lb. Cyprus are boiled together, then the 
bath cooled down to about 100° Fahr.; the yarn, 
50 lb., introduced, turned for three hours, 
taken out and placed in a fresh hot bath, dark- 
ened with 2 lb. bichromate of potash, passed 
for half an hour into the first bath, with the 
addition of 4 lb. curcuma and darkened in a 
fresh cold bath with nitrous iron (nitrate of 
iron ?) up to the required shade. 

Corinth Brown en Silk Garments (17^ oz.). — 
Make up the kettle with &/& oz. orchil, 1 oz. 
turmeric, 1 oz. sulphuric acid, % oz. violet lake, 
and 1-6 oz. magenta and dye at a boil.— B. 

Brown on Mixed Silk and Cotton.— Boil J4 lb- 
catechu in a water, and make up a beck at 100° 
F., steep the goods in this for five hours, turn- 
ing frequently. Lift, wring, and pass into a 
weak chrome bath at 122° F. Work for half 
an hour, wash and dry. If the cotton is too 
light it may be darkened with a decoction of 
logwood.— C. 

Brown on Silk Waste.— Dye with extract of 
orchil, nigrosine, turmeric, soap lye and sul- 
phuric acid. Enter at 112° F., raise to a boil in 
three turns, wash well, whiz and dry.— C. 

Chamois on Silk Waste.— Dye with the same 
wares as yellow at 122°— 132° F.— C. 

Green on Silk Waste.— Prepare with a 
solution of silicate of soda at 167° F., using 
8% oz. silicate of soda to every 2 lb. 3 oz. 
of silk. Drain and whiz without wring- 
ing. Then boil with 3J^ to 5)4 oz. neu- 
tral soap. For methyl-green and iodine- 
green the silk is steeped with a solution of the 
color and a very little soap lye at 100° F. Raise 
the heat very gradually to 144° F., wash and 
finish in lukewarm beck with picric acid and 
very little tartaric acid. Dark green may be 
produced with a soluble aniline blue, turmeric, 
sulphuric acid, and old soap lye. Enter at 110° 
F., and raise in three turns to a boil. Wash 
and finish with acetic and picric acids. It is 
well to dye the green too much on the blue 
side, and afterward dye to shade with picric 
acid. Turmeric alone gives too flat a sliade. 

-a 



Dyeing. 



166 



Dyeing. 



Iron Gray on Silk Thread (111b.)— After boil- 
ing wash well twice, and mordant twice with 
iron. For light shades take 17 oz. oil of vitriol 
and 34 oz. nitrite of iron, for mediums 4 lb. 6 
oz. nitrate % .of iron, and for heavy shades 8% 
lb. Pass the silk through the back from seven 
to nine times, and wash twice; dye at 112° F. 
in a water made up of logwood, redwood, and 
fustic, and finally finish off in a fresh beck at 
122° F. and wash.— C. 

Iron Gray on Silk Yarn (11 lb.).— After un- 
gumming, the silk is well washed twice and 
mordanted cold, with 2 lb. 3 oz. nitrate of iron 
and 1734 oz. sulphuric acid for light shades. 
For mediums, 4 lb. 6 oz. nitrate of iron may 
be taken, and for darker shades 8% lb. Give 
the silk seven to nine turns in the iron and 
wash twice. Then dye with a mixture of log- 
wood, peachwood and fustic, according to 
pattern, at 110° Fahr. Wash once. 

Silver Gray on Silk Garments (1734 oz.).— Make 
up a beck with 33^ oz. alum, and add solution 
of indulin and magenta, as may be needed. 
Enter the goods and dye at boil.— R. 

Gray (5 lb. silk).— Add to 2 quarts ammon- 
iacal cochineal at 3° Tw., 1 oz. tartaric and 
citric acid, 3^ oz. extract of indigo, and 34 oz. 
picric acid. Dissolve well before entering the 
silk and dye to shade.— C. 

Pansy for Silk Garments (1734 oz ).— Dye at 
167° F., having first washed the articles well 
in a beck of 43^ oz. curd soap and solution 
of aniline violet more or less according to 
shade.— R. 

Ponceau on Silk (20 lb.).— Boil for two hours 
with 5 lb. curd soap; enter dye bath at 120° F., 
containing enough of the soap lye to lather 
freely, along with }4 lb. oil of vitriol and 2^ oz. 
coccinine (Farbwerke, Hoechst). The color is 
dissolved separately and added in three differ- 
ent portions, while the heat is raised to a boil, 
turning to shade. Wash and take through a 
water with acetic acid. — C. 

Magenta.— Clear the dye-bath with tartaric 
acid. Pour in the solution of the coloring mat- 
ter, and dye in the cold. If a more violet 
tone is needed, ground with a Hof mann's vio- 
let, according to the shade required, and top 
with magenta.— C. 

Saffranine Rose on Silk. — The silk is prepared 
as for white, stoved, rinsed, and washed twice 
in boiling soap lye. A fresh water at 122° F. is 
made up with the needful quantity of saffra- 
nine, and soured with a fresh solution of tar- 
taric acid. In this the silk is dyed to shade. 

Poppy Red. —Make up a cochineal liquor at 4° 
Tw., and for every 5 lb. cochineal thus ex- 
tracted, use 12 11. oz. of the tin spirit given 
below, and dye. Lift, and leave the silk covered 
for twelve hours, wash slightly, take through 
citric acid and dry. The tin spirit is made with 
4 lb. muriatic acid, 2 lb. aquafortis, and 334 oz. 
tin, added by degrees.— C. 

Another Poppy Red.— Prepare the silk first 
in a so called stannate of soda, as given below ; 
take through vitriol sours, wash well, and pass 
into a solution of red liquor at 8° Tw., thickened 
with 1 lb. British gum per gal. Dry and air for 
twenty-four hours, wash well, dye in decoction 
of cochineal and raise with nitrate of tin. The 
so-called stannate of soda„is made by adding 7 lb. 
percnloride of tin to 3 gal. caustic soda at 35° 
Tw., to which is then added 1 lb. oxalic acid 
dissolved in 1 gal. water. Set at 4° Tw., and use 
it in the cold. To make the red liquor, dissolve 
1 lb. alum in 2 qt. water. Precipitate the 
alumina by adding 1 lb. soda crystals dissolved 
in 1 qt. water. Collect the precipitate and dis- 
solve it in 1 qt. strong acetic acid.— C. 

Campobello Yellow on Silk. — Dissolve in 
water, enter the silk, and dye to shade at 122° 
to 140° F— C. 

Yellow on Silk Waste.-Dye at 110°— 132° F. 
with aniline golden yellow, picric acid, a little 
aniline orange and tartaric acid.— C. 

Washing Silks for Redyeing.— Brush well, 
and lay the pieces of the dress on a table cov- 



ered with clean paper. Mix 334 oz. ox gall and 
the same weight of ammonia in 9 oz. warm 
water, and apply it with a sponge on both sides. 
Roll the silk while still damp on a wooden rol- 
ler, avoiding all creases. Merino and woolen 
stuffs may be similarly treated.— R. 

Skins, to Bye.— It has been complained that 
fine skins dyed with aniline colors lose their 
proper tint, and, in order to prevent this, Dr. 
Reimann proposes the three following methods: 

1. In 2 liters of water dissolve 180 grm. of gum 
arabic, stir the solution well, and rub the dyed 
skin with it. 

2. In 2 liters of alcohol at 96° dissolve 180 grn. 
of shellac in a bain-marie ; rub the dyed leather 
with this solution, taking care not to use the 
same brush for two different colors. 

3. Add 120 grn. of liquid ammonia to 2 liters 
of water heated to 75° centigrade, and then dis- 
solve in the solution 90 grn. of cassine ; stir the 
mixture till the boiling point is reached ; then 
decant, and with the clarified mixture rub the 
dry dyed skin as before, and let it dry again. 

In order to render the skin supple after dye- 
ing, mix 10 grm. of yelk of egg and 5 grn. of 
glycerine in a liter of water ; rub the skin with 
this mixture, let it half dry,* and then rub it 
well with a piece of woolen rag only. 

Straw Hats, Bleaching and Byeing.— Put the 
straw hats into a pan of boiling water and let 
them steep overnight. The next morning 
make up a strong soap beck and brush them 
well therein. Put them in the stove without 
rinsing for twenty-four hours, then rinse and 
dry. 

Straw, to Bye.— 1. Black. In order to obtain 
a level color, a solution of gluten is added to a 
lye of soda, which is allowed to stand for 
twenty-four hours and filtered. The hats 
are then steeped for twelve hours in the 
clear liquid. The straw is thus freed from 
grease, and the mordants of nitrate, sulphate, 
or acetate of iron, as well as the decoction of 
logwood mixed with sumac or galls, is very 
evenly taken up by the fiber. A slight addition 
of bichromate of potash improves the tone of 
the dye, and the goods are finished with gum or 
gelatine.— Baden Oewerbezeitung. 

2. For 11 lb. of hats : Copperas, 2 lb. 3 oz. ; 
red argol, 1 lb. V/% oz. ; bluestone, 1734 oz. 

If possible steep the hats overnight in an old 
black dye beck, and dye up the next morning in 
a fresh water with about 4 lb. 6 oz. good log- 
wood and a little turmeric. 

The hats thus dyed appear at first rather 
brownish, but they assume a fine black luster 
on brushing. 

Black on Straw Hats.— The hats are first 
steeped in a beck of soda at 5° Iiaume at the 
heat of 122° F., for three hours, rinsed, and 
soaked overnight in a sumac beck, containing 
234 lb. sumac per 5 hats. In the morning take 
out and drain and, soak for three hours in a cold 
beck of black liquor at 2° B. Take out, drain, 
and lay the hats separately to air for six hours; 
rinse and dye at 144° F., with 234 lb. logwood per 
11 lb. of hats till the shade is reached. Lift, 
drain, dip singly in a lukewarm beck contain- 
ing 8% oz. glue per 17 pt. of water ; dry and rub 
with a hard brush.— R. 

Blue Linings for Hats.— In producing these 
the cloth is not dyed, but the thickened color is 
applied to it in the following manner: Prepare 
the color with 22 gal. of water, 30 lb. starch, 2 
lb. tallow, 44 lb. ultramarine blue ; mix, boil, 
pass through sieve ; print on the roller first on 
one side, then on the other, and dry on the 
cylinder. 

Catechu Brown.— For 11 lb. of hats : Boil with 
sulphate of alumina, 1734 oz. ; bisulphate of 
soda, 8% oz. ; oil of vitriol, 4% oz. Add to the 
bath orchil, indigo, carmine, and turmeric, ac- 
cording to shade, and boil.— Teinturier Pratique. 

Brown on Straw (11 lb.).— 1. Boil for two 
hours with 4 lb. 6 oz. fustic, 334 lb. orchil, 1^4 
oz. afgol, and the same weight of logwood. 



Dyeing. 



167 



Dyeing. 



2. Boil for an hour in the solution of 334 lb. 
catechu, drain and work in a fresh beck made 
up of 2 lb. 3 oz. copperas, and rinse.— R. 

Iron Gray (for 11 lb. of hats).— Steep in a de- 
coction of sumac and dye cold in a beck made 
up with benzoline and a little acetic acid. There 
are three sorts of benzoline, so that the tone 
of the gray may be varied at will. These ben- 
zoline grays are much brighter than those ob- 
tained with the old processes. 

Aniline Green.— Straw is placed in boiling 
water, then well washed with cold water and 
bleached in a bath containing 20 gr. bleaching 
powder to 7 or 9 gr. sulphuric acid. It is then 
thoroughly washed and mordanted with su- 
mac, alum and tartaric acid (not too dilute a 
liquor). Finally, it is dyed with aniline green 
and picric acid until the required shade is ob- 
tained, after digesting for some time.— Muster- 
Zeitung. 

Magenta Red.— The first operation for dyeing 
this or any other color on straw is to steep the 
latter in a bath acidulated with sulphuric acid 
for twelve hours^ For magenta, take an acid 
bath of 4° to 5° Be. The straw, after washing, 
is immersed for twelve hours in a bath kept at 
30° to 40° C, containing the necessary amount 
of dye. Now wash well and dry. Other ani- 
line colors do not dye straw with the same 
facility. 

Maroon, with Logwood.— Clean the straw by 
boiling with a solution of carbonate of soda, 
then steep in a bath of logwood for two hours. 
To give a bluish tint, add some blue stone to 
the bath ; if too much of the latter is used the 
straw will have a greenish hue. This is a loose 
color, only employed on account of its cheap- 
ness. 

Yellow.— To produce the yellow shade which 
is in such demand, give them a bath with a 
little picric acid, soured with a little oil of 
vitriol, and let them dry on the block. For a 
gloss rinse in gum arabic water or water in 
which gelatine has been soaked. 

Wool Dyeing.— Under this head we include 
not merely wool, but alpaca, goats' hair, and 
other true animal fibers, and also the treat- 
ment of mixed goods, in which the warp is of 
cotton, linen, jute, etc., and the weft of wool. 
Wool is dyed both loose or in the unmanufac- 
tured state, in yarns, in piece goods, and in 
rags or shoddy, and in each of these conditions 
it requires certain modifications of treatment. 
Wool is, with few special exceptions, dyed at a 
boiling heat. It bears contact with acids much 
better than does cotton, but it is more readily 
affected by alkalies, especially at high temper- 
atures. Superheated steam also reduces it to 
a jelly. The mordants used in wool dyeing are 
very frequently added to the dye pan along 
with the dye wares and the goods to be dyed, 
and all are boiled together— a procedure rarely 
admissible with cotton. Considerable care is 
needed in order to obtain level shades on wool- 
en yarns, and still more so upon piece goods. 
For this purpose the articles to be dyed are 
very frequently entered into the dye liquor at 
a temperature considerably below the boiling 
point; they are turned at first with consider- 
able rapidity, and— especially in the case of the 
aniline dyes--the color is added in successive 
portions.— C. 

Blacks.— Aniline Black on Wool (2 lb.).— Dis- 
solve 3 oz. permanganate and 43^ oz. Epsom 
in 5 gal. hot water. When cool enter the wool 
and let soak till the liquid retains merely a 
slight yellow color. Press, and without wash- 
ing enter in 2 gal. cold water made up with 12 
oz. aniline oil and 20 oz. muriatic acid. Press 
the wool, and wash in a very weak solution of 
carbonate of soda. Pass into a solution of y§ 
oz. bichromate potash in 2^ gal. water, when 
it takes a deep black. Wash, and dry.— C. 

Blue Black on Loose Wool (480 lb.).— Give a 
medium blue ground in the vat, air, wash, and 
boil the wool for two hours with 30 lb. log- 
wood 50 lb. sanders, 5 lb. fustic, and 2 lb. red 



argol. Sadden in the same beck with 7 lb. cop- 
peras.— C. 

Full Blue Black for Piece Goods (27 lb.).— 
Make up a water with 2 lb. 2 oz. argol, 634 oz. 
chromate of potash, 334 oz. bluestone, and the 
same weight of oil of vitriol. Enter at a hand 
heat, raise to a boil, and work at that heat for 
an hour. Lift, rinse and dry with 24 lb. log- 
wood and 334 oz. oil of vitriol. Wince for 
three-quarters of an hour in the boiling li- 
quid, lift, rinse, and dry. If not blue enough, 
cool the beck, add 17 oz. ammonia, stir up, re- 
enter, and wince for fifteen minutes.— C. 

Deep Black on Piece Goods (110 lb.).— Boil for 
an hour and a half with 2% lb. chromate of 
potash, 334 lb. red argol, and 34 lb. bluestone. 
Let cool in the flot, and dye for one hour at a 
boil with 44 lb. logwood and 13 lb. catechu. 
Lift, add 26 oz. bluestone, cool, re-enter, and 
boil for fifteen minutes longer.— C. 

Chrome Black on Wool (55 lb.).— Boil for an 
hour and a half with 17 oz. chromate of pot- 
ash, the same weight of bluestone, and of oil 
of vitriol. Lift, and dye in a fresh water with 
22 lb. logwood and 4J4 lb. fustic, boiling for an 
hour.— C. 

Fast Black on Yarns and Cloth (22 lb.).— Boil 
for an hour with 9% oz. chromate of potash, 
the same weight of bluestone and 8 oz. oil of 
vitriol. Let grow cold in the dye liquor. Dye 
in a fresh water with 9% lb. logwood, 2J4 lb. 
fustic and 434 oz. sulphate of zinc. Boil for an 
hour, lift, cool, rinse and dry. If a very blue 
shade is required, leave out the fustic— C. 

Black on Wool for Fulling (110 lb.).— Boil for 
two hours with logwood, 43 lb.; fustic, 1534 lb-; 
sumac, 13 lb.; red argol, 534 lb. Replace the 
water lost by evaporation and sprinkle the 
wool with a solution of 534 lb. copperas and 334 
lb. bluestone, and boil for one hour. For a 
blue-black sprinkle the wool, when lukewarm, 
with 4 lb. 6 oz. of ammonia. For deep jet black 
sprinkle with 334 lb. bichromate of potash, dis- 
solved in boiling water, and boil for a quarter 
of an hour.— C. 

Black on Knitting Yarns (55 lb.).— Boil for 
forty-five minutes with 30 oz. chromate of pot- 
ash, 334 oz. bluestone, the same weight of argol 
and 7 oz. sulphuric acid. Take through water 
and dye at a boil for forty-five minutes with 33 
lb. logwood.— C. 

Black on Wool (160 lb.).— Boil for one hour 
and three-quarters with 4 lb. bichromate of 
potash, 3 lb. bluestone, 34 lb. muriate of tin, 34 
lb. oil of vitriol and 10 lb. fustic. Dye in a fresh 
water with 50 lb. logwood, entering at 170° F., 
and boiling for one hour.— C. 

Another Black on Wool (100 lb.).— Boil for 
one hour and a half with 2J4 lb. of bichromate 
of potash and 1 lb. argol. Dye in a fresh water 
with the decoction of 30 lb. logwood, 10 lb. fus- 
tic, 3 lb. argol and 34 lb. oil of vitriol. Enter at 
170° F. and boil for one hour.— G. 

Another Black on Wool (100 lb.).— Prepare for 
two hours at a boil with 8 lb. copperas, 3 lb. 
bluestone, 3 lb. argol and 10 lb. fustic. Dye in 
a fresh water with the decoction of 30 lb. log- 
wood, entering at 170° F. and boiling for one 
hour.— C. 

Alizarine Black on Wool (100 lb.).— Prepare 
with 12 lb. copperas, 4 lb. bluestone and 4 lb. 
red argol, boiling for one hour and a half. Dye 
in a fresh water with 7 lb. alizarine, 44 lb. log- 
wood, 6 lb. fustic, 6 lb. sumac, 3 lb. chalk.— C. 

Black on Thick Half Woolen (10 lb.).— Dye in 
the clear decoction of 3 lb. logwood, % lb. 
sumac and 34 lb. fustic. Raise to a boil and 
keep up for half an hour. Lift and pass into a 
cold water with 34 lb. copperas, letting it steep 
for an hour. Pass into a boiling bath of 2 to 3 
oz. yellow prussiate and work for an hour. 
Repeat all these three baths and rinse well. It 
is better to rinse each time after the logwood 
bath.— C. 

Black on Merino (16 lb. 6 oz.).— Make up a 
beck with 33-6 oz. chromate of potash, \% oz. 
blue vitriol, 8% oz. argol and 634 oz. sulphuric 



Dyeing. 168 

acid. Boil up, cool down and enter the goods 
previously washed and rinsed. Boil for three- 
quarters of an hour, lift, take through water 
and dye at a boil for three-quarters of an hour 
in a fresh beck made up with 22 lb. St. Domingo 
logwood, with the addition of 6J4 oz. sulphuric 
acid. If a bluish shade is desired, cool and add 
17 l /i oz. ammonia. Kinse and dry. To finish, 
take the pieces through 17*4 oz. gum traga- 
canth, dissolve in 70 qt. water.— R. 

Black on Wool from Alizarine Colors. A: 
lied Shade Black.— For 100 lb. wool. Mordant 
/by boiling from two to two and a-half hours in 
a bath containing bichromate of potash, 31b.; 
tartar, 2)4 lb. Dye in a bath containing alizar- 
ine blue WX, 32J4 lb., cceruleine W, 1)4 lb., 
alizarine orange W, 3 lb. )4 oz. 

B : Reddish Shade. — Mordant as before. Dye 
with alizarine blue WX, 32J4 lb., cceruleine W, 
1)4 lb., alizarine orange, 2\£ lb. 

C : Blue Black.— Mordant as before. Dye in a 
bath containing alizarine blue WX, 363^ lb., 
cceruleine W, 1)4 lb., alizarine orange W, 1)4 lb. 
Enter the wool in the cold, work for half hour, 
then gradually raise to boil and dye boiling for 
1)4 hours. Then lift, wash and dry. — Textile 
Mercury. 

Blue Black.— Blue black on 100 lb. loose 
wool. Mordant for one hour at boil in a bath 
containing 2%% bichromate of potash, 2)4% red 
argols. Wash off and dye for one hour in a 
boiling bath of 8 lb. extract logwood, 51°. Pole 
well, lift out, let drain, and sadden with 2 lb. 
copperas. Enter and pole for one half houi\ 
Lift out and wash. 

Black on Woolen Knitting Yarns (55 lb.). — 
Boil for forty-five minutes with 30J4 oz. chrom- 
ate of potash, 3)4 oz. bluestone, the same weight 
argol, and 7 oz. sulphuric acid. Take through 
water, and dye at a boil for three-quarters of 
an hour with 33 lb. logwood. -jR. 

Black on Woolen Piece Goods (110 lb.).— Boil 
for ninety minutes with 8% lb. copperas. 4 lb. 6 
oz. bluestone, the same weight of argol, and 11 
lb. fustic. Dye afterward with 44 lb. logwood. 
— R. 

Past Black on WOolen Yarn (11 lb.).— Boil for 
one hour with 4)4 oz. chromate of potash and 
the same weight of prepared tartar finely 
ground ; rinse immediately, and let cool in the 
liquor, and dye with 6^ lb. logwood, adding a 
little fustic according to shade, and 7 oz. log- 
wood. Boil for three-quarters of an hour. 
After dyeing drain and take the yarns four 
times through the prepared beck; rinse, and 
then take three times through an old soda- 
beck. Rinse when the dyeing is complete.— 
R. 

Black on Woolen Knitting Yarns (55 lb.).— 
Boil for forty-five minutes with 30J4 oz. chrom- 
ate of potash, 3)4 oz. bluestone, the same weight 
argol, and 7 oz. sulphuric acid. Take through 
water, and dye at a boil for three-quarters of 
an hour with 33 lb. logwood.— R. 

1. Superior Jet Black.— 5 pieces = 100 lb. 
cloth; dyeing vessel containing about 160 gal. 
hot water, in which dissolve 3 lb. bichromate of 
potash; work in this at boil for one hour, after- 
ward wash in cold water. Then in same vessel 
again charged with 150 gal. hot water, add 34 lb. 
ground logwood and 7 lb. fustic, ground or 
chipped; enter just below boiling, and immedi- 
ately raise to boil, and work in it for one hour 
and twenty minutes. Wash in cold water and 
dry— G. 

2. Black for Alpaca Yarns containing 30$ 
of Cotton (55 lb.).— Por the mordant, take as 
little cold water as practicable and add black 
liquor till it makes 5)4° Tw., and the following 
substances, which are dissolved separately, each 
in a small quantity of water, and to the solu- 
tions are added : Sugar of lead, 17 oz.; crude red 
potash, 17 oz.; copperas, 4 lb. 6 oz.; chromate of 
potash, 17 oz.; sal ammoniac, 7 oz. Let the mix- 
ture settle well, and steep the yarns in the clear 
for one hour and a half. Lift, whiz, dry rap- 
i ily, take through a weak soda bath, and dye 



Dyeing. 

in a fresh water with logwood, 17^j lb.; fustic, 4 
lb. 6 oz.— C. 

Black for Mixed Goods (100 lb.).— Boil 40 lb. 
logwood, 10 lb. fustic, 20 lb. sumac, 3 lb. red 
argol. Cool, enter, and boil for an hour. Lift, 
and add 6 lb. copperas and 4 lb. bluestone. 
Boil again for an hour; lift, cool down, and 
tone in the same water with 5 lb. ammonia and 
2 lb. soda ash.— C. 

Blues, Logwood Blue (100 lb.).— Give a ground 
in the vat, wash, and mordant at a boil for one 
hour and a half with 8 lb. alum, 5 lb. sulphate of 
copper, 6 lb. tin crystals, 4 lb. bichromate of 
potash, 2 lb. argol and 2 lb. sulphuric acid. Dye 
in a fresh water with 20 lb. logwood and 4 
lb. Santa Marta wood, without bringing to a 
boil.— C. 

Logwood Blue Process in use at Aix la 
Chapelle (100 lb.).— Boil for two hours with 13 
lb. alum, 6)4 lb. argol, 2)4 lb. tin crystals and y 2 
lb. sulphuric acid. Let the wood lie for a night, 
and then dye with 40 lb. logwood and 1 lb. car- 
bonate of soda cry stals.—C. 

Logwood Blue Process in use at Verviers (100 
lb.).— Boil for two hours with 10 lb. alum and 1 
lb. bichromate of potash. After boiling, let the 
wool lie overnight and dye in the morning with 
20 lb. logwood.— C. 

Logwood Blue, Dutch Process (100 lb.).— Boil 
for two hours and a half with 5 lb. sulphate of 
alumina, 41b. chrome alum, and 1 lb. bluestone. 
Let lie overnight and dye the next morning 
with 6 lb. extract of logwood and 1 lb. carbon- 
ate of soda. — C. 

Dark Blue on Cloth (110 lb.).— Boil for an hour 
with 5)4 lb. alum, 2% lb. red argol, 17 lb. chro- 
mate of potash and 2% lb. bichloride of tin. 
Let cool in the not. Dye for one hour at a boil 
with 22 lb. logwood and 11 lb. extract of in- 
digo.— C. 

Extract Blue on Wool and Cloth (55 lb.).— 
Make up a water with 17 oz. sulphate of soda, 
the same weight of oil of vitriol, and from 7 to 
17 oz. extract of indigo. Boil up, cool, enter, 
then turn continually to shade at a boil. — C. 

Nicholson Blue (50 lb.). — Make up a water 
with 1 lb. borax and 7 oz. Nicholson blue. En- 
ter at 170° F., give four to five turns, and raise 
to a boil, turning to shade. Wash, and raise 
color in a water acidulated with sulphuric acid. 
Wash and dry.— C. 

Methylene Blue (100 lb. Wool).— Mordant for 
one hour and a half with 2)4 lb. bichromate of 
potash and 2 lb. argol, at a boil. Dye in a fresh 
water with 1 lb. methylene blue O O (of the 
Baden Aniline Company), boiling for three- 
quarters of an hour and letting the wool after- 
ward steep in the hot liquor for four to eight 
hours. This shade stands fulling.— C. 

Blue on Wool and Cloth (44 lb.).— Boil for an 
hour with 5)4 lb. alum, 5)4 lb. argol, 1 lb. oxalic 
acid, )4 lb. tin crystals. Dye in a fresh beck 
with %% to 11 lb. logwood.— G. 

Nemours Blue on Cloth (11 lb.).— Boil for one 
hour and a half with Q4 oz. chromate of potash, 
M to 1)4 oz. oil of vitriol, and 8% oz. argol. Let 
cool in the liquor, rinse and dye with 4)4 to 5j4 
lb. logwood, 1 lb. sanders*and Mlb. fustic, boil- 
ing for an hour. — C. 

Aniline Blue on Yarns to bear Fulling (55 
lb.).— Make up a water for 5)4 lb. sulphate of 
alumina, 4J4 lb. sulphate of soda, 26J^ oz. tartar, 
17 oz. perchloride of tin and the clear solution 
of 3 oz. aniline blue. Boil up, enter the yarns, 
and dye at a boil. Take out, whiz and rinse.— C. 

Guernsey Blue on Flannel (100 lb.).— Boil up 
30 lb. barwood, cool, enter the flannel, and boil 
for three-quarters of an hour. Then dissolve 
in a water 2 lb. Guernsey blue and V4 lb. sul- 
phate of zinc. Enter the flannel at a hand- 
heat, raise slowly to a boil, and boil for two 
hours. Lift, rinse well in cold water and raise 
the shade in a bath containing 1)4 lb. sul- 
phate of zinc and 8 lb. oil of vitrol. Rinse and 
dry.— C. 

Prussiate Blue on Worsteds (1001b.).— Dissolve 
in separate vessels and in cold water : 9 lb. red 



Dyeing. 



169 



Dyeing. 



prussiate, 2}^ lb. tartaric acid, 2J^ lb. oxalic 
acid and 2 lb. tin composition. When well dis- 
solved pour together and stir well. Add the 
above mixture to a water at 100° F., and then 
add 12 lb. good oil of vitriol. Enter the goods, 
turn well, heat slow up to the boiling point and 
boil lor half an hour. For darker shades add 
the decoction of 14 lb. logwood chips and a few 
pounds of muriate of tin. Cool the dye before 
re-entering the goods and turn very quickly to 
get a level shade. For a finer shade leave out 
the logwood, rinse well, and top in a fresh cold 
bath with a little aniline blue.— C. 

Scotch Blue on Worsted— One Bath (50 lb. 
worsted).— Dissolve 10 lb. Glauber salts, 5 lb. 
alum, 34 lb. red tartar, y<z gal. sulphuric acid, 20 
lb. indigo paste (medium quality), 3 lb. orchil 
carmine (Pickhardt & Kuttroff ). Enter the yarn 
at 180° F., give eight turns, bring to boiling, 
then give about six turns, whiz well and dry. 

Note 1. To get the shade even it is advisable 
to begin with 15 lb. indigo paste and 23^ lb. 
orchil, add balance when boiling. 

2. In using common or medium indigo paste, 
it is advisable to p.dd sulphuric acid after dis- 
solving all other drugs, then skim the liquor 
from the impurities which rise to the top. 

3. Should the shade turn to red, 1 pt. sul- 
phuric acid will reduce the same. 34 oz. methyl 
purple, or a finer quality of indigo paste, will 
produce more brightness of color. 

Fast Blue without Indigo (120 lb.).— Boil for 
two hours with 3 lb. bluestone, 3 lb. oxalate of 
potash, 15 lb. alum, 6 lb. argol and 2 lb. chrome, 
let cool in the not, and dye in a fresh water 
with 50 lb. logwood, boiling for two hours.— C. 

Dark Gendarme Blue on Worsted (50 lb.).— 
Add to a water 1 lb. borax, 3 oz. Nicholson blue, 
and 6 oz. alkali green (Meister, Lucius & 
Bruening, of Hoechst). Enter at 160° F., turn 
for ten minutes while raising to a boil, and 
boil for half an hour. Enter in a fresh water 
at 130° F., with % lb. oil of vitriol. Give four 
or five turns, and wash.— C. 

Dark Navy Blue on Worsted (50 lb.).— Dissolve 
10 lb. sulphate of soda, 2 lb. induline, 2 lb. ex- 
tract of orchil, and 6 lb. extract of indigo, and 
add 2 qt. oil of vitriol. Enter at 180° F., turn 
continually, raising to a boil, and boil to shade. 

Dark Sapphire on Worsted (50 lb.).— Give a 
Guernsey blue bottom in the usual manner, 
with 6 oz. Guernsey blue ; wash and raise in a 
water with 2 lb. sulphuric acid. Dissolve in a 
fresh water 3 lb. sulphate of soda, 3^j lb. argol, 1 
lb. alum, 3 lb. indigo extract, and V/% lb. picric 
acid.— C. 

Blue on Yarn (100 lb.).— Make up water at 
160° F., with 10 lb. sulphate of soda, 2 lb. oil of 
vitriol, 1 lb. "soluble blue R. S." (Monnet & 
Co., Geneva). Enter, turn to shade while rais- 
ing to a boil ; wash and dry.— C. 

Blue on Coarse Wooled Yarns (55 lb.).— Indi- 
gotine for dark colors (Frankel & Runge, of 
Berlin), 1034 oz.; orange (Badin Anilin Co.), 134 
oz.; methyl violet, 34 oz. Dissolve well, and add 
to the water. Add further : Oil of vitriol, 2 lb. 
3 oz.; sulphate of soda, 5^ lb.; red argol, 8% oz. 
Enter yarns at 122° F., and boil for an hour. — C. 

Benzyl Blue.— Dissolve in 100 to 200 parts 
water, and dye at a boil without any mordant. 
— C. 

Fast and Bright Brown (2201b. Woolen Cloth). 
—Take 63^ lb. argol, fustic, Sanders, madder, 
logwood, and sumac to shade. Boil for an 
hour and a half, and sadden with bluestone, 
and lastly with copperas. For a brighter shade 
to the same weight of goods, take 5>£ lb. chro- 
mate of potash, 334 lb. each of argol and sulphu- 
ric acid ; boil for two hours, and dye with fustic, 
sanders, madder, and logwood, and sadden with 
copperas. 

Navy Blue for Ladies' Cloth (44 lb.).— First 
bath 4 lb. soda and % lb. Prussian blue, in which 
the cloth is turned for an hour at 200° F.; it is 
then washed and placed in a second water, 
strongly soured, and containing 10 oz. methyl 
violet. Finish below the boiling heat.— C. 



Marine Blue on Mixed Goods (22 lb.).— Give a 
ground with Nicholson blue, working for half 
an hour at a boil, with 43>£ oz. Nicholson blue of 
the reddest shade and 834 oz. soda crystals. 
Rinse slightly and raise in a fresh hot water 
with 10V6 oz. oil of vitriol, and bring up to shade 
in the same water with a little orchil liquor and 
picric acid. After the wool or worsted has 
thus been dyed, the goods are steeped overnight 
in a lukewarm solution of 334 oz. tannin, and 
then worked for half an hour in a cold solution 
of aquafortis at iy 2 ° Tw. Dye to shade with 
bluish methyl violet and a little extract of log- 
wood, souring lastly with a little vitriol. — C. 

Blue.— Blue on 200 lb. blanket yarn— half cot- 
ton and half wool. Dyed separately, then 
mixed and spun. The cotton is dyed as fol- 
lows— 100 lb. raw cotton : 3 lb. benzo-azurine, 

3 lb. refined alkali, 10 lb. Glauber's salt. Boil in 
the stock, and boil slowly for one hour. 

Wool is dyed as follows— 100 lb. raw wool : 
Boil up 134 lb. Guernsey blue, 4 lb. oil of vitriol, 
8 lb. Glauber's salt. Enter wool at 160° F., raise 
to boil, and work at boil for one hour. Draw 
off and wash. 

Blue on Camel's Hair.— Blue on 100 lb. camel's 
hair : 34 lb. alkali blue, B, % lb. Guernsey blue, 

4 lb. oil of vitriol, 8 lb. Glauber's salt. Boil in 
the stock, pole well, and boil gently for one 
hour. Draw off and wash. 

Dark Blue on Woolen Rep (22 lb.).— Dye at a 
boil with alum, 17 oz.; argol, 7 oz.; and the 
necessary quantity of extract of indigo. When 
the shade is almost reached, top with a little 
orchil liquor and a few drops of sulphuric 
acid. 

Lavender Blue on Wool (110 lb.).— Boil for an 
hour with 2 lb. 3 oz. logwood, 434 oz. extract of 
indigo, 1734 oz. orchil, 434 oz. alum, and the 
same weight of copperas.— R. 

Deep Blue on Woolen Piece Goods (110 lb.)— 
Boil for an hour with 5 lb. 7 oz. alum, 2% lb. 
argol, 1734 oz. chromate of potash, and 334 lb. 
perchloride of tin. Let cool in the liquor, and 
then dye at a boil for one hour, with 22 lb. log- 
wood and 11 lb. extract of indigo. — R. 

Extract Blue for Wool and Woolen Piece 
Goods (55 lb.).— Make up the beck with 1734 oz. 
sulphate of soda, the same weight of sulphuric 
acid, and from 7 to 1734 oz. indigo, carmine ac- 
cording to shade. Boil up, cool and enter, 
boiling with continual turning till the shade is 
obtained.—!?. 

New Blue on Flannel.— Red prussiate, 8%, sul- 
phuric acid, 8%. Enter at a hand heat and raise 
gradually to aboil, which is kept up for half an 
hour, and cool. Take out and add to the beck 
a strained solution of about 34$ of the new 
" acid magenta" and the same weight salt of 
tin, and dye for another half hour. It is well 
before adding the magenta to take out a part 
of the flot, and make up with cold water. If 
several successive lots are to be dyed in the 
same bath the proportion of sulphuric acid and 
of magenta may be lessened after the first lot. 

Puteaux Blue on Woolen Cloth or Yarns (100 
lb.).— The dyeing is done in wooden or stone 
tanks, the use of copper being entirely avoided. 
Steam is introduced by a leaden pipe. Put into 
the water 3 lb. oxalic acid, and boil for fifteen 
minutes. Stop boiling, and add 4 to 5 lb. am- 
monia and 10 lb. dye. Re-enter the goods, and 
boil for three-quarters of an hour; the bath 
should then be of a light violet ; add 3 to 4 lb. 
oxalic acid, and dye in an hour and a half. The 
dyeing can be hastened by adding 1 to 2 lb. 
more oxalic or acetic acid. After dyeing im- 
merse the goods in water and steep for fifteen 
minutes in a water at 122° F., containing 4 lb. 
acetate, sulphate, or chloride of zinc, with 2 lb. 
acetic, sulphuric, or muriatic acid. Wash as 
usual. If the wool is to be fulled after dyeing, 
instead of the zinc process boil it for ten or 
twenty minutes with 3 to 4 lb. ground galls and 
1 to 2 lb. acetic acid.— C. 

Navy Blue on Mixed Goods (10 lb.).— Boil with 
3 oz. each argol and chromate of potash. Rinse, 



Dyeing. 



170 



Dyeing. 



prepare with 2 lb. sumac, and dye at a gentle 
boil with 1 lb. logwood and 34 oz. aniline violet. 
Lift and work at a hand-heat for half an hour 
in a water with 2 lb. logwood. Lift, drain, and 
sadden in a fresh water with 34 lb. bluestone. 
Lift, and rinse well. Or, prepare with 2 lb. 
sumac, drain, take through black liquor at 234° 
Tw., rinse, and finally dye at a hand-heat with 
214 oz. methyl violet.— C. 

Dark Chocolate, Cloth or Yarn (80 lb.).— 80 to 
100 gal. water, 3 lb. bichromate of potash, 15 lb. 
peachwood ground, 334 lb. logwood ground, 134 
lb. tartrate of potash. Boil thirty to forty 
minutes. — G. 

Dark Olive Brown on Wool.— For 100 lb. wool. 
Dye in a bath at the boil for one and a half 
hours with fustic, 55 lb.; logwood, 10 oz.; sumac, 
134 lb.; cloth red B, 6 oz.; fast brown G, 34 lb.; 
fast yellow, 1 oz. Darken in a bath of blue- 
stone, 4 1b.; copperas, 234 lb., for ten minutes ; 
wash and dry. 

Bronze on Cloth (45 lb.). — Boil for one hour 
and a half with 5!4 lb. alum, 2% lb. argol, and 
the same weight of bluestone. Lift, and dye at 
a boil for one hour in a fresh beck, with 32 lb. 
fustic, 2% lb. logwood, and 13% lb. madder. 
Take out and sadden with 334 lb. copperas, or 
more, according to shade. — C. 

Light Brown on Yarn (110 lb.)— Boil for one 
hour and a half with 27 oz. chromate of potash, 
17 oz. argol, and 14 oz. alum. Dye at a boil for 
an hour with 35 lb. fustic, 8J4 lb. camwood, and 
34 lb. madder.— C. 

Brown on Yarn (110 lb.).— Boil for one hour 
and a half with 27 oz. chromate of potash, and 
an equal weight of argol. Lift, and dye at a 
boil with 44 lb. fustic, 35 lb. camwood, and 11 
lb. logwood.— C. 

Dark Brown (54 lb.). — Give a rather full 
ground in the vat, and boil for two hours in a 
water with alum, 22 lb.; argol, 634 lb.; copperas, 
26 oz., and fustic, 17 lb. Lift, cool, and dye hot, 
but not boiling, with 66 lb. logwood and 13 lb. 
sumac. At the end of an hour add 434 lb. cop- 
peras. Wash in water containing a little soda, 
and lastly, in pure water.— C. 

Fast and Bright Brown (220 lb. woolen cloth). 
—Take 6J4 lb. argol, fustic, sanders, madder, 
logwood, and sumac to shade. Boil for one and 
a half hours, and sadden with bluestone, and 
lastly with copperas. For a brighter shade to 
the same weight of goods, take 534 lb. chromate 
of potash, 3J4 lb. each of argol and sulphuric 
acid ; boil for two hours, and dye with fustic, 
sanders, madder, and logwood, and sadden 
with copperas.— R. 

Golden Bronze (54 lb.).— Boil for two hours In 
a water with fustic, 26 lb.; sumac and sanders, 
13 lb. each. Lift, add copperas, 6J4 lb., and blue- 
stone, 434 lb. Re-enter, and boil for half an 
hour, and rinse.- -C. 

Olive Bronze (54 lb.).— Give a half shade in 
the vat, and dye with argol, 634 lb.; bluestone, 
434 lb.; fustic, 87 lb.; sanders and turmeric, 11 
lb. each; madder extract, 634 lb. 'Boil two 
hours, lift, and wash. Add to the bath 634 lb. 
copperas dissolved, and re-enter. Lastly, pass 
through water containing a little carbonate of 
soda, and rinse in plain water. — C. 

Metallic Luster on Browns (44 lb.).— Take the 
dyed cloth through a water at 150° F., with 634 
lb. bluestone, and 1634 lb. ammonia. Rinse 
slightly, and take through a water with 13 lb. 
hyposulphite of soda.— C. 

Brown on Yarn (55 lb.).— Boil for forty-live 
minutes with 30 oz. chromate of potash. Take 
through water the day after, and dye with 26 
lb. peachwood and 34 oz. fustic. For very pale 
shades, 3 oz. sulphate of alumina may be added 
to the beck. For very dark shades, sadden with 
logwood.— C. 

Golden Brown on Cloth (110 lb.)— Boil out 88 
lb. fustic and add to the decoction 27 lb. calia- 
tura wood, 8% lb. turmeric and 534 lb. argol. 
Boil for an hour, lift, add 534 lb. bluestone, boil 
for half an hour, lift and sadden with 5 oz. cop- 
peras.— C. 



Reddish Brown on Wool (10 lb.). — Prepare at 
a boil with 34 lb. bichromate of potash, 2 oz. oil 
of vitriol, 1 lb. alum, for one hour and a half. 
Dye at a boil for one hour with 3 lb. redwood, 

1 lb. camwood, 1 lb. f ustic. — C. 

Brown on Wool (100 lb.).— Boil for an hour 
and a half in a water with 2 lb. bichromate of 
potash and 2 lb. argol. Boil in a fresh water in 
a bag 40 lb. fustic. Take out the bag and add 
to the water 20 lb. camwood, 7 lb. madder, 7 lb. 
cutch. Boil for fifteen minutes longer ; cool, 
enter the prepared wool and boil one hour. 
Sadden with 134 lb. each copperas and blue- 
stone and boil for twenty minutes longer. — C. 

Brown on Alpaca (10 lb.).— Dissolve 1 lb. alum, 
% lb. argol, % lb. cudbear. Boil for twenty 
minutes ; cool, enter the goods and boil for an 
hour; lift and rinse. Enter the goods in an- 
other hot water with the decoction of 4 lb. 
cutch. Give six turns (or, as it is often called, 
six "ends"). Lift and pass into another hot 
water containing solution of 1 lb. bichromate 
of potash ; give six turns, lift, drain and pass 
back into the cutch bath. Rinse and finish with 
the decoction of 4 lb. redwood. A darker shade 
is got by giving the goods a little logwood after 
the redwood bath. Work the goods in the log- 
wood bath for an hour at a boil. Lift and add 
to the same bath 1 oz. tin crystals and 1 oz. oil 
of vitriol. Re-enter the goods, six turns, rinse 
and dry. — C. 

Brown on Worsteds (100 lb.).— Prepare with a 
solution of 2 lb. bichromate of potash, 2 lb. 
argol and 1 lb. tin crystals. Boil for two hours, 
turning well, lift and wash. Boil in a fresh 
water for an hour in a bag 10 lb. redwood, 40 lb. 
fustic, 4 lb. logwood. Take out the bag and 
add to the same bath 10 lb. cutch, 10 lb. cam- 
wood, 16 lb. madder, 2 lb. argol. Let boil fifteen 
minutes longer, cool and enter the cloth, turn- 
ing Avell and boiling for an hour. Lift and add 
to the same bath 2 lb. each copperas and blue- 
stone. Cool the dye after these ingredients are 
dissolved. Enter, turn well and boil for fifteen 
minutes.— C. 

Brown on Shoddy containing Cotton (100 lb.). 
—Boil for half an hour 30 lb. fustic, 3 lb. alum, 
prepared tartar, 2 lb., and bluestone, 1 lb. Add 
to the liquor 1 lb. bichromate of potash and 12 
oz. magenta. Enter, boil very gently, sadden 
with logwood and tint with turmeric if re- 
quired.— C. 

Dark Brown on Felt (35 lb.).— Chromate of 
potash, 1734 oz.; oil of vitriol, 334 lb. Boil for 
thirty minutes and add extract of logwood, 41b. 
6 oz.; G. & G.'s brown, 8M lb. Boil for one 
hour, lift, and air. -Muster Zeitung fur Farberei. 

Gold Brown on Worsted (50 lb.).— Dissolve 3 
lb. alum, 1 lb. tartar, 3 lb. sulphuric acid, 12 oz. 
fast yellow, 5 oz. "orange A," 1 oz. "fast red 
R" (all these three colors from the Baden Ani- 
line Co.), 4 oz. extract of indigo. Enter at 180° 
F., and turn till even. — C. 

Alizarine Brown (100 lb.).— Mordant with 3 lb. 
bichromate of potash, and 34 lb. bluestone, boil- 
ing for one hour and a half. Enter in a 
fresh water with 5 lb. alizarine, 9 lb. extract of 
fustic, 6 lb. sumac, and boil for one hour and a 
half. Sadden with 2 lb. copperas, and boil for 
half an hour.; then leave in the liquor for four 
hours.— C. 

Maroon with Alizarine (100 lb.).— Mordant at 
a boil for two hours with 134 lb. bichromate of 
potash and 2 lb. red argol. Enter in a fresh 
water with 10 lb. alizarine, ti lb. sumac, and 21b. 
chalk. The shade may be modified by leaving 
out some or all of the sumac— C. 

Dark Brown on Worsted (75 lb.).— Boil 2 lb. 
alum, 10 lb. sulphate of soda, and 4 oz. red argol 
with 18 oz. " maroon S," 8 oz. " fast yellow," and 

2 oz. "orange A" (all three of the Baden Ani- 
line Co.), and 12 lb. extract of indigo. Enter at 
180° F., raise to 212° F., and boil for one hour.— 
C. 

Fast Seal Brown.— Fast seal brown on 100 lb. 
wool yarn : Mordant with 234 lb. bichromate of 
potash, 5 lb. red argols. Enter yarn at 160° F., 



Dyeing. 



171 



Dyeing. 



raise temperature to boiling point, turn for one 
hour, lift out and rinse. Dye in a bath of 10 lb. 
Alizarine, 2 A. B.; 6 lb. extract of logwood, 51°. 
Enter yarn at 160° F., bring temperature to boil- 
ing point, and work for one and one half hours 
at that heat. Lift out, rinse, and dry. 

Brown on Woolen Yarn (55 lb.).— Boil for 
three quarters of an hour with 30 oz. chro- 
mate of potash. Take through water the day 
after, and dye with 26J4 lb. peachwood and 2 lb. 
3 oz. fustic. Lighter or darker shades can be 
obtained by boiling for a shorter or longer time. 
For very pale shades, 334 oz. sulphate of alumina 
may be added to the beck ; and for very dark 
shades, sadden with logwood.— JR. 

Brown on Woolen Piece Goods. — Boil for one 
hour with 2 lb. 3 oz. chromate of potash, and 
the same weight of argol. Let cool in the Hot, 
and dye at a boil for one hour, with 441b. fustic, 
11 lb. madder, and 11 lb. camwood. Take out, 
and dissolve in the beck 2 lb. 3 oz. copperas, and 
1734 oz. blue vitriol. Re-enter, and boil for an 
hour longer.— R. 

Reddish Brown (22 lb. wool). — Sulphate of 
zinc, 1734 oz.; oil of vitriol, 20% oz.; fast brown 
(Gutbier & Gotze's), 4 lb. 6 oz.; acid magenta, 
8% oz. This red brown is quite fast, a nd may 
be converted into good black by means of log- 
wood and soda. 

Red Brown on Wool (50 lb.). — Boil 6 lb. sul- 
phate of soda, 234 lb. alum, 4 oz. " orange II," 
and 6 oz. " claret red " (both of the Farbwerke, 
Hoechst on the Main), and 5 lb. extract of 
indigo. Enter at 160° F., turn well, raise to a 
boil, and dye to shade. If the " orange II " is 
reduced or omitted, a more purple tone is 
obtained.— C. 

Maroon on Yarn (100 lb.). — Chromate of 
potash, 2 lb.; ground fustic, 6% lb.; ground log- 
wood, 1 i% lb.; ground sanders, 60 lb.; turmeric, 
2 lb. Mordant in the chrome bath for two 
hours, and leave the yarn in flat heaps in a 
cool, dark place till morning. Wash, and enter 
in the dye beck at 158°— 167° F., and do not push 
to a boil till the shade appears even. Boil for 
one hour and a half. Wash off at once after 
dyeing. Darker shades may be produced by 
increasing the quantities. If orchil is substi- 
tuted for sanders, the quantity of fustic must 
be a little increased, as orchil gives a cherry 
red with chrome. — C. 

Dead Leaf (55 lb.).— Prepare at a boil with 
bichromate of potash 17 oz., argol 2 lb. 2 oz. 
Dye with catechu 634 lb., young fustic 434 lb., 
logwood 234 lb.— C. 

Very Dark Olive Brown on Half Woolen 
Reps (22 lb.).— The wool is first dyed as follows : 
Boil with argol %% oz., madder 7 oz., extract of 
fustic 2% oz., sumac 8% oz., for forty-five 
minutes. Sadden in the same beck with 1% 
oz. copperas. Finally, dye to shade with picric 
acid and logwood. Steep overnight in a strong, 
lukewarm decoction of fustic, and work for an 
hour in a cold nitrate of iron at 234° Tw. 
Rinse, and dye in the cold with decoctions of 
fustic and logwood.— C. 

Dark Brown, 5 pieces = 100 lb. Cloth— 20 lb. 
turmeric, 4 lb. extract of indigo, 15 lb. cudbear, 
2 pt. sulphuric acid, 170° Tw., 10 lb. sulphate of 
soda; enter at boil and work for about ninety 
minutes.— O. 

Chrome Puce on Woolen Reps (22 lb.).— Boil 
the goods for one hour and a half with bichro- 
mate of potash, 834 oz.; sulphuric acid, % oz. 
Let lie overnight, and dye, without rinsing in a 
fresh beck, with extract of fustic, 14 oz.; ex- 
. tract of logwood, 3J4 oz.; madder, 14 oz.; callia- 
tura wood, 534 oz. Boil for half an hour, darken 
with the decoction of 17 oz. logwood, and finally 
sadden, without boiling, with % oz. to 1 oz. cop- 
peras.— C. 

Fast Brown on Mixed Goods with Linen 
Warps (260 lb.).— Wash with soda crystals andt 
boil with argol 1534 lb., and alum 1634 lb. Keep 
at the boil for an hour; lift, cool, rinse, and dye 
with 66 lb. madder, boiling for half an hour. 
Sadden with 33 lb. logwood. To dye the linen. 



work for two hours at 150° F., in a decoction of 
44 lb. prepared catechu; lift, and enter hi a boil- 
ing water with 334 lb. bichromate. Rinse and 
sadden, if needed, in a fresh water with 17 lb. 
logwood. The tone may be modified by adding 
a little acid magenta.— C. 

Chamois (11 lb.).— Make up a water with 
6 34oz. oxalic acid, 334 oz. tin crystals, 1 to 1% oz. 
cochineal, and a trace of flavine. Boil up, cool, 
enter, and dye to a shade, raising rapidly to a 
boil.— C. 

Cinnamon on Yarns (110 lb.).— Boil for one 
hour and a half with 20 oz. chromate of potash, 
14 oz. argol, 27 oz. alum; and dye by boiling for 
an hour with 221b. camwood, 334 oz. madder 
and 634 lb. f ustic— C. 

Cinnamon on Yarns (55 lb.).— Boil up 6% lb. 
orchil, 234 lb. extract of bark, 9 oz. turmeric,, 
234 lb. alum, 2% lb. argol, 8 oz. biuestone. Cool, 
enter yarns, and boil for half an hour. Lift, 
add 8 oz. oil of vitriol, and boil for fifteen min- 
utes longer. — C. 

Cinnamon on Wool (100 lb.).— Boil for ninety 
minutes with 10 lb. extract of fustic and 50 lb. 
sanders. Sadden with 1% lb. biuestone, and boil 
for another hour. Cool, add five jugs of lant 
(stale urine), and let the wool steep for an 
hour.— C. 

Claret, 5 pieces, = 10U lb. Cloth.— 80 to 100 gal. 
of water, 30 lb. cudbear, 3 gills sulphuric acid at 
170° Tw.; 1 lb. extract of indigo, 2 oz. magenta 
(acid) crystals; heat up to near boil before en- 
tering, and work for seventy-five minutes at 
boil.— G. 

Drab on Yarn (110 lb.). — Boil for an hour with 
2 lb. 3 oz. logwood, 34 lb. fustic and the same 
weight each of camwood, copperas and argol. 
— C. 

Drab on Cloth (110 lb.).— Boil together 334 lb. 
sumac, 634 lb. madder, with the decoction of 334 
oz. sanders and 6 oz. fustic. Add 334 oz. argol ; 
cool, enter, boil for an hour, and sadden with 
1M oz. copperas.— C. 

Drab on Wool (110 lb.).— Boil for one hour 
with 2 lb. 3 oz. logwood, 8% oz. fustic, the same 
weight of camwood, the same of copperas, and 
the same of tartar. — R. 

Dark Drab on Wool (50 lb.).— Boil 4 lb. of 
peachwood, 5 lb. fustic and 2 lb. logwood. Take 
out the ware, cool, enter the goods, and boil for 
one hour and a quarter and sadden with cop- 
peras.— C. 

Silver Drab on Wool (100 lb.).— Boil out in 
a water 134 lb. ground logwood and % lb. orchil. 
Enter, boil for seventy-five minutes, sadden 
with 3 oz. copperas, and boil for twenty minutes 
more. — C. 

Drab on Worsted.— One Bath. 100 lb. wor- 
sted ; boil 5 lb. alum ; 5 lb. Glauber salts. Then 
add 3 lb. extract of indigo, 134 lb. orchil, 1 oz. 
picric acid, 34 oz. blue violet, BB (E. Sehlbach & 
Co.). Enter the yarn at 160° F., give six turns, 
bring to boiling heat, and boil about half hour, 
give six turns, whiz well and dry. If the water 
is cloudy use about 4 oz. oxalic acid, and skim 
the same before using dye stuffs. 

Dark Fawn Drab on Worsted (50 lb.).-Dissolve 
at a boil 1 lb. red argol, 3 lb. alum, 2 lb. oil of 
vitriol, 2 lb. extract of indigo, 34 lb. extract of 
orchil, 2 oz. " orange Y " (Levinstein & Co., 
Manchester). Cool to 180° F.; give ten turns, 
and wash.— C. 

Dark Fawn on Wool.— For 100 lb. wool. Work 
in a bath with tartar, 334 lb. ; sumac, 534 lb. ; 
fustic, 13 lb. ; Brazil wood, 10 lb. ; for one and 
a half hours at the boil. Sadden with copperas. 
1 lb. Boil one hour longer, then add Brazil 
wood, 5 lb. ; sanders wood, 1 lb., and boil 24 
hour longer. 

Gold on Venetian Carpet Yarn.— One Bath— 
80 lb. yarn. Dissolve 4 lb. oxalic acid, 2 lb. tin 
crystal, J4 lb. tin solution or yellow mordant, 1 
lb. flavine, 6 oz. cochineal. This vat has to be 
cleansed by 34 lb. oxymuriate of tin, at 120° F. 
A thick mass will come to the surface and has to 
be carefully skimmed, otherwise the color 
would not be blight. Enter yarn at 160° F.» 



Dyeinj 



Dyeing. 



turn continually to boiling heat, to shade 
desired. 

Note. — A more decided yellow tint can be 
produced by adding- more yellow mordant. 
Caution must be observed not to exceed the use 
of it, as the yarn will be harsh. Where the 
water contains lime, a small quantity of crys- 
tal tartar will be beneficial to make the yarn 
more even and soft. 

Green (100 lb. wool).— Boil for ninety minutes 
with 3 lb. bichromate of potash and 3 lb. sul- 
phate of soda crystals. Make up a fresh water 
with 15 lb. viridine (Baden Anilin Fabrik) and 
10 lb. sumac. Enter at 160° F., raise to a boil, 
and keep at that temperature for one hour. 
This color bears fulling, and is not affected by 
acids and light. — C. 

Acid Green (50 lb. yarn).— Mordant for an 
hour at 180° F., with 2 lb. hyposulphite of soda 
and 2 lb. muriatic acid. Lift, and take through 
a water with 2}^ oz. ammonia. Make up a 
water at 120° F. with 8 oz. acid green F II. 
<Bindschedler & Busch, of Bale), and turn to 
shade, raising the heat to a boil. Lift, wash, 
and dry.— C. 

Light Green (100 lb. wool).— Mordant at a boil 
with 214, lb. bichromate of potash and 2 lb. 
tartar, for ninety minutes. Dye in a fresh 
water with 1 lb. methylene blue and 1 lb. 
extract of fustic. Boil for forty-five minutes, 
and let steep for four to eight hours. — C. 

Iodine Green, on Cloth. — Enter the cloth in a 
bath made slightly alkaline with ammonia for 
two or three hours. Wash, and take through 
weak vitriol sours. Enter in color bath, and 
^iye to shade. The longer the bath is used the 
finer are the shades dyed.— C. 

Iodine Green on Wool (30 lb.).— Wash clean, 
put in a water with 3 oz. stannate of soda and 
1% oz. iodine green powder, previously dissolved 
in boiling water. Enter the wool, and boil for 
forty-five minutes, lift, and enter in a fresh 
water which has been cleared with a little tin 
crystals, and to which 2 lb. oil of vitriol has 
been added, and work to shade at a boil.— C. 

Fast Green on Wool (219 lb.).— Prepare at a 
boil for one hour and a half with 19 lb. sulphate 
of alumina, 4% lb. chromate of potash, the 
same weight of oil of vitriol, and 26 oz. tin crys- 
tals. Boil up in the dye-pan 1 lb. sulphate of 
alumina, and remove scum if needed, add 46 lb. 
acid extract of indigo, 18 oz. French extract of 
fustic, and 1 lb. salt. Boil for one hour and a 
half to two hours.— C. 

Green.— 3 pieces = 100 lb. cloth.— 80 to 100 gal. 
water, 10 lb. alum, 1 pt. sulphuric acid, at 170° 
Tw., 10 lb. extract of indigo, 134 lb. picric acid. 
Boil and enter, and work for ninety minutes. 
— O. 

Dark Green.— 5 pieces=100 lb. cloth.— 2 pt. 
sulphuric acid, 170° Tw., 5 lb. sulphate of soda, 
15 lb. extract of indigo, V/% lb. picric acid, 5 lb. 
cudbear. Enter at boil and work for ninety 
minutes. — O. 

Bottle Green (219 lb.).— Boil for an hour and a 
half with 6}4 lb. bichromate of potash and 334 
lb. argol, and dye at a boil for the same length 
of time in a water made up with 8% lb. French 
extract of fustic, 2 lb. 2 oz. extract of logwood, 
and 17££ lb. madder. Sadden with 20 oz. cop- 
peras, and boil for half an hour longer.— C. 

Fast Green on Wool (219 lb.).— Prepare at a 
boil for ninety minutes with 19^ lb. sulphate 
of alumina (cake alum) ; 4 lb. 14 oz, chromate of 
potash, the same weight of sulphuric acid, and 
1 lb. 10 oz. tin crystals. Then boil up in the 
dye-pan 1 lb. 13^ oz. sulphate of alumina, and 
remove scum if needful; add 46 lb. "■chemic ,, 
(some extract of indigo), 18 oz. French extract 
of fustic, and 1734 oz. salt. Boil for one and a 
half to two hours. The chemic is prepared 
with 6 lb. 9 oz. indigo, and 26 lb. 4 oz. fuming 
sulphuric acid, diluting with 44 lb. water, after 
standing for twenty-four hours.— B. 

Scotch Green on Worsted.— One bath, 50 lb. 
worsted. Dissolve 10 lb. Glauber salts, 5 lb. 
alum, % lb. red tartar, 20 lb. indigo paste, 4 



oz. picric acid, 3^ gal. sulphuric acid. Proceed 
the same with drugs as recipe No. 2, Scotch 
blue. 

Billiard Green on Cloth (110 lb.).— Dissolve in 
a water 16 lb. 6 oz. alum, boil in it 22 lb. fustic, 
and add 5 lb. 7 oz. extract of indigo. 

Greenish Mode (Reseda) on Wool (55 lb.). — 
Boil for 90 minutes with 1334 ° z - chromate of 
potash and the same weight of tartar; let cool 
in the not, and dye by boiling for an hour with 
8^4 oz. fustic, and the same weight of logwood. 
—B. 

Green on Yarn (11 lb.).— Add to a water 26 oz. 
ground fustic, boil up, remove the wood, dis- 
solve 334 lb. alum and 1 lb. argol in the bath, 
stir well up, and add 3 oz. extract of indigo, 
let dissolve, cool, enter yarn, and dye for half 
an hour at a boil.— C. 

Aurantine Green (128 lb. yarn or wool).— Dis- 
solve 10 lb. alum, 4 lb extract indigo, 2 lb. tar- 
tar, 4 lb. oil of vitriol, 5 lb. salt to 1 lb. auran- 
tine. The aurantine is dissolved separately in 
2 gal. water with 3 oz. tin crystals. When dis- 
solved add to the dye-beck. Cool, enter, raise 
to a boil, and dye to shade.— C. 

Green on Shoddy (100 lb.).— Boil with 12 lb. 
alum, 2 lb. chromate of potash, 2 lb. common 
salt, 1 lb. tin crystals, and 2 lb. oil of vitriol. 
Dye in a fresh water made up with 4 lb. alum, 2 
lb. common salt, 5 lb. extract of indigo, and 2 
lb. fustic— C. 

Brilliant Green on Wool (55 lb.).— Dye with 
8 oz. Nicholson blue and 34 oz. borax. After 
two hours a sample is plunged into dilute sul- 
phuric acid to see if the shade has been reached. 
As soon as this point is gained, the goods are 
drained and plunged into a water containing 
26 oz, sulphuric acid and 534 oz. picric acid.— C. 

Green on Worsted (25 lb.).— Dissolve 3 oz. new 
acid green (F. Bayer & Co., of Barmen), 3 lb. 
sulphate of soda, }/& lb. oil of vitriol. Clear the 
liquid, if needful, enter at 150° F., turn briskly, 
and raise slowly to a boil. The green should 
be dissolved in the cold. — C. 

Dark Peacock Green on Worsted Yarn (25 
lb.).— Dye in an alkaline bath with 2 oz. Nichol- 
son blue and 3 oz. Victoria green (Baden Ani- 
line Co.), for three-quarters of an hour. Lift, 
rinse, and finish in sours at 150° F., giving five 
turns. — C. 

Dark Green on Flannel (100 lb.).— Mordant 
with 2% lb. bichromate of potash and 2 lb. tar- 
tar, boiling for one hour and a half. Dye in a 
fresh water with 1% lb. methylene blue O 
(Baden Aniline Co.) and 13^ lb. each extracts 
of logwood and fustic, boiling for three-quar- 
ters of an hour.— C. 

Fast Dark Green on Wool (100 lb.).— Boil for 
one hour and a half with 134 lb. bichromate of 
potash, % lb. tin crystals, 8 lb. alum and 1 pt. 
oil of vitriol. Enter in a fresh water with 15 
lb. extract of indigo, 2 lb. extract of fustic, 4 
lb. alum and 4 lb. salt. Boil till level.— C. 

Olive Green on Wool (100 lb.).— Add to a boil- 
ing water lib. "new yellow, 1 ' 4 oz. "orchil sub- 
stitute" (both of Lutz & Moebius, New York), 
23^ lb. extract indigo, 8 lb. sulphate of soda, 3 
lb. oil of vitriol and 2 lb. alum. Work the yarn 
at a boil for one hour and a quarter.— C. 

Etincelle Green on Woolen Yarn (100 lb.). — 
Prepare for an hour in a water at 180° F., con- 
taining 8 lb. hyposulphite of soda and 8 lb. mu- 
riatic acid. Lift, and wash in a fresh water, 
cold, with 4 oz. ammonia.- Make up a fresh 
water at 120° F., with lib. green etincelle (Mon- 
net & Co., of Geneva). ' Enter yarn, turn to . 
shade, raising temperature to a boil, lift, wash, 
and dry. The solid greens J and J 4 of the 
same firm are dyed in the same manner. — C. 

Emerald Green on Worsted (50 lb. yarn). — 
Dissolve in very pure water 6 oz. emerald green 
(Baden Aniline Co.) and 4 oz. oil of vitriol. 
Enter at 160° F., and turn constantly while 
raising temperature to 180° F.— C. 

Sea Green on Coarse Woolen Yarn (55 lb.). — 
Make up a water with prepared tartar, 8 lb.; 
sulphate of soda, 2 lb.; argol, 8% oz. Dissolve 



I>yeinj 



173 



Dyeing. 



separately in a pot. Light green (Baden Ani- 
line Co.), 7 /s oz.; indigotine, 1% oz.; cochineal 
waste, 5 to 7 oz.— C. 

Imperial Green.— To dissolve the color (of G. 
Dore & Co., of Frankfort-on-the-Main), add 
the color along with an equal weight of acetic 
acid at 9^° Tw., to about ten times its weight 
of hot water. Raise to a boil, and filter. En- 
ter at 140° F., and gradually raise to a boil. 
The addition of more acetic acid gives a bluer 
tone, while picric acid, with very little sul- 
phuric, turns it yellower. — C. 
I Dark Steel Green on Half Woolens (56 lb.).— 
Mordant for an hour at a boil with 83^ oz. chro- 
mate of potash, 7 oz. oil of vitriol, and the 
jsame weight of tin crystals. Let the goods lie 
overnight, and dye in a fresh water with 19 
Joz. extract of indigo, 4*4 oz. extract fustic, and 
14 oz. extract logwood, boiling for half an hour. 
They are then, if needful, brought up to shade 
with a little decoction of logwood, steeped 
overnight in a little lukewarm solution of 8H> 
tannin, taken through cold black liquor at 134° 
Tw. for half an hour, aired, rinsed, and cotton 
dyed in the cold with the solution of 7 oz. 
i methyl green B, \% oz. extract of fustic, and 
the same weight extract of logwood.— C. 

Reddish Gray on Yarns (55 lb.).— Boil for an 
hour with 6J^ lb. fustic, 5)4 lb. catechu, 4J^ oz. 
chromate of potash, and 13 oz. copperas.— C. 

Gray Mode (110 lb.).— Boil for an hour with 
4J4 oz. alum, 53^ lb. sulphate of soda, 17 oz. oil 
of vitriol, 1% oz. extract of indigo, and the 
same weight of orchil liquor.— C, 

Slate Gray (55 lb.).— Boil the wool or pieces 
with 11 lb. logwood, 17 oz. sulphate of soda, and 
8 oz. sulphuric acid. Lift, and dissolve in the 
beck 8 oz. copperas, re-enter, and boil for an- 
other half hour. If a very blue tone is requir- 
en, top with ammonia.— C. 

Pearl Gray on Wool and Yarns (218 lb.).— Give 
a light blue ground in the vat, and rinse well. 
Add to a water 34 oz. perchloride of tin, boil 
up and skim carefully. Add 5^ lb. chloride of 
tin and 26 oz. ammoniacal cochineal, and dye 
for forty-five minutes at a boil.— C. 

Light Gray on Wool (55 lb.).— Boil for an hour 
with 8% oz. perchloride of tin, 1 lb. 9 oz. alum, 
\% oz. extract of indigo and 1 oz. cochineal.— C. 

Reddish Gray on Yarn (40 lb.).— Alum, 51b.; 
argol, 13^ lb.; extract of indigo, 10 oz,; fustic, 1 
lb., and orchil 10 oz. Boil, cool, enter and dye 
at a boil of three-quarters of an hour.— C. 

Mode Gray on Yarn (100 lb.).— Boil for thirty 
minutes with 25 lb. alum and 3 lb. argol. Lift, 
and add to the same beck 10 lb. extract of in- 
digo, 15 lb. fustic and 1 lb. picric acid. Enter 
at a boil, and work for forty minutes. — C. 

Slate Gray on Alpaca (50 lb.).— Boil with 4 lb. 
alum and 2 lb. argol, and dye with 3 lb. ground 
logwood, 4 oz. cudbear, and 2 oz. extract of in- 
digo.— C. 

Greenish Gray on Cloth (10 lb.).— Boil oz. 
galls, 34 lb. fustic and 1 lb. argol. Cool, enter 
goods ; boil for half an hour, lift, and add 3 oz. 
copperas ; re-enter, and dye to shade at a boil. 

Reddish Gray on Cloth (10 lb,).— Boil 6 oz. 
galls, 34 lb madder and 1 lb. argol. Cool, enter 
the cloth; boil for half an hour, lift, and add 34 
lb. copperas; re-enter, and dye to shade at a 
boil.— C. 

Lead Color on Wool (260 lb.).— Boil for an hour 
with logwood 22 lb., sumac 34 oz., fustic and 
alum 1 lb. each, argol 34 lb. At the end of this 
time sprinkle the solution of 2 lb. 10 oz. into the 
beck and boil for half an hour longer.— C. 

Fast Ash Gray on Cloth (70 lb.).— Give a me- 
dium blue in the vat, and enter in a water with 
334 lb. sumac, the same weight of tartar, 4% lb. 
calliatura wood, 634 lb. madder, 334 lb. ground 
fustic, and 1 lb. 10 oz. ground logwood. Boil 
the pieces for an hour and sadden with 8-% oz. 
copperas.— C. 

Wood Gray (on 132 lb.).— Boil for an hour 
with 34 oz. argoi, 13 oz. madder, 8% oz. fustic, 
26 oz. sumac and 134 piggins logwood liquor. 
Sadden with 1 oz. copperas.— C. 



Silver Gray on Half Woolen Cloth (20 lb.).— 
Dissolve 2 oz. tannin in a hot water, and turn 
for an hour. Sadden in a fresh water with 1 lb. 
nitrite of iron to shade.— C. 

Fast Pearl Gray (120 lb.).— Dry a light blue in 
the vat, rinse, and make up a boiling water 
with 3 lb. alum, 3 lb. tartar, 2J4 lb. cochineal 
and lib. sulphate of tin. Enter, and boil for 
twenty-five minutes.— C. 

Ivory on Woolen Cloth (for two pieces of 42 
lb.).— A bath is made of 2 lb. alum, 2 lb. tartar, 
1 oz. indigo carmine and 2 oz. madder, in which 
the cloth is boiled for one hour. 

Jacquineaux on Worsted (50 lb.).— Prepare 2 
lb. alum, 4 lb. Glauber salts, 2 oz. fast red, R, 2 
oz. fast red, RRR— (Pickhardt & Kuttroffj. 
Enter at 150° F., turn continually, and raise to 
boiling, which will produce scarlet shade. 
Second bath, 4 oz. fuchsine, 34 lb. orchil car- 
mine (Pickhardt & Kuttroff). Enter at 150° F., 
raise to 21)0° F. 

Note 1.— In the first bath it is liable to turn 
uneven, but by careful working and quick 
turning, it can be avoided.- 2.— This is a valu- 
able substitute for cochineal. 

Wood Color on Half Woolens (4 lb. 6 oz.).— 
Sulphate of soda 2 lb. 3oz., sulphate of alumina 
4 lb. 6 oz., orchil 2 piggins, turmeric 11 lb. Dye, 
wash, and pass into a water, to which have 
been added bichromate of potash, turmeric, 
and redwood.— C. 

Blue Lavender on Yarns (110 lb ).— Boil for an 
hour with 2 lb. 3 oz. logwood, 434 oz. extract of 
indigo, 1 lb. orchil, J4 lb. each alum and cop- 
peras.— C. 

Lavender on Wool (100 lb.).— Boil out with 5 
lb. logwood, 31b. orchil, and 34 lb. camwood; 
enter the goods, boil for one hour and a 
quarter, and sadden with 10 oz. copperas.— C. 

"Modes" on Alpaca (100 lb.). — The term 
"modes," often met with in French and Ger- 
man receipts for dyeing, has no exact equiva- 
lent in English. It includes a number of very 
impure colors, which are neither brown, gray, 
drab, nor olive, but incline sometimes to one 
and sometimes to another. 

Shade 1.— Boil with 2 lb. argol, 3 lb. madder, 
% lb. fustic, 34 lb. ground logwood, % lb. galls, 
34 lb. cudbear, and 2 oz. extract of indigo. Sad- 
den with 34 lb. copperas. 

Shade 2.-2 lb. argol, 5 lb. madder, 134 lb. 
ground fustic, 34 lb. galls, 34 lb. cudbear, and 
1 lb. ground logwood. Sadde . with 1 lb. cop- 
peras. 

Shade 3.— Boil with 134 lb. bichromate potash 
and 1 lb. argol. Dye with 12 oz. ground log- 
wood, 1 lb. ground fustic, 8 lb. madder, and 4 
oz. galls. Sadden with 1 oz. copperas. 

Shade 4.— Boil with 8 lb. madder, 3 lb. callia- 
tura wood, 1 oz. galls, 1 lb. argol, and 20 oz. 
ground fustic. Sadden with 2 oz. copperas and 
4 oz. cudbear. 

Shade 5.— 1 lb. argol, 4 lb. madder, 134 lh. 
ground fustic, 1 oz. galls and 8 oz. cudbeaiv 
Sadden with 134 oz. copperas. 

Shade 6.— Boil with 4 lb. alum and 1 lb. argol, 
and dye with 234 lb. ground fustic and 4 oz. 
madder. Sadden with 1 oz. copperas.— C. 

Medium Blue Mode on Half Woolens (100 
lb.) — The wool is first dyed with Nicholson blue, 
i 7 5 lb.; soda, 134 lb., at a boiling heat for an 
hour, and raised in a fresh, hot water, with the 
necessary quantity of sulphuric acid. The 
goods are then steeped overnight in the hot 
solution of tannin 1J4 lb. and hasmatine & lb. 
They are then taken through a cold black 
liquor at 234° Tw., rinsed, taken again through 
the tannin bath and rinsed. Instead of hrema- 
tine, decoction of logwood may be used, and 
the goods may be topped with extract of indigo, 
methyl blue or methyl violet, according to the 
shade required.— 0. 

Yellowish Mode for Mixed Goods (10 lb.).— 
Boil 1 lb. good catechu in water ; let settle and 
dissolve 134 oz. bluestone in the clear solution. 
Raise to a boil and work the goods first at that 
heat, and afterward at 12^° F. Lift, drain and 



Dyeing. 



174 



Dyeing. 



make up a cold water with 3^2 lb. nitrate of iron. 
Work for an hour, drain in the centrifugal, 
and make up a fresh boiling- water with 1^ oz. 
chromate of potash. Work for quarter of an 
hour, rinse and dry. For yellower tones, a 
little fustic and alum may be added ; and for 
redder tones, peachwood and magenta.— C. 

Mulberry on Wool (11 lb.).— Boil for an hour 
and a half with 2% oz. chromate of potash, 7 
oz. alum, 1% oz. bluestone and 53^ oz. prepared 
tartar. Let cool in the not, or rinse at once. 
Then dye in a water with 30 oz. logwood, 5}4 lb. 
earn wood and 1 lb. cudbear, boiling for seventy- 
five minutes. — C. 

Mulberry on Cloth (841b.).— Boil with lj/ 2 lb. 
bichromate of potash, and dye in a fresh water 
with 101b. camwood, 10 lb. logwood, 10 lb. cud- 
bear, boiling for half an hour and adding 1 qt. 
ammonia. — 0. 

Greenish Mode on Yarns (55 lb.).— Boil for an 
hour with 13 oz. chromate of potash and the 
same weight of argol. Let cool in the liquid 
and dye in a fresh water at a boil for one hour, 
Avith 2 lb. 3 oz. fustic, 9 oz. sanders and the same 
weight of sumac— C. 

Greenish Olive on Yarns (55 lb.).— Prepare as 
in the last receipt and dye with catechu 2 lb. 
3 oz., fustic 6^ lb. and logwood 17 oz.— C. 

Another Olive on Yarns (55 lb.).— Prepare as 
above and dye with 2 lb. 3 oz. logwood, 17 oz. 
fustic and the same weight each of sumac and 

Golden Olive on Wool (219 lb.) —Boil for an 
hour and a half with 6% lb. chromate of potash, 
3)4 lb. bluestone and 1 lb. 10 oz. oil of vitriol. 
Dye with 12 lb. French extract of fustic, 17 oz. 
French extract of logwood, 6^ lb. sanders, and 
the same weight of madder. Boil for an hour 
and a quarter, sadden with 26 oz. copperas and 
boil for half an hour longer.— C. 

Golden Olive on Cloth (1101b.).— Boil together, 
the decoction of 88 lb. fustic, 22 lb. turmeric, 
2% lb. orchil, 11 lb. alum and 4 lb. 6 oz. argol. 
Cool, enter and boil for an hour.— C, 

Light Olive on Wool (50 lb.).— Boil for an 
hour and a half with J>£ lb. chromate of potash, 
}4 lb. argol, and 34 lb. alum. Dye in a fresh 
water with 34 lb. logwood, 1 lb. fustic and 34 lb. 
camwood. — C. 

Olives on Carpet Yarn (100 lb.).— Dye in water 
slightly soured with oil of vitriol, at 160° F., 
With 1 lb. olive No. 1 (Clayton Aniline Company, 
Manchester). Raise to a boil, work for thirty 
minutes and wash. Use the "olive" in two 
halves — one to begin with and the other in 
about fifteen minutes. 

Olives No. 2 and No. 3, used in the same man- 
ner, give different shades.— C. 

Olive on Woolen Reps (10 lb.).— Boil for 
forty-five minutes with alum 5J4 oz., oil of 
vitriol 4% oz. Lift and add to the same bath, 
picric acid 63^ oz., extract of indigo 6 to 634 oz. 
Boil for forty-five minutes, lift, and add orchil 
14 to 153^ oz. Boil till even, and wash.— C. 

Bronze Olive on Cloth (50 lb.).— Boil for two 
hours with fustic, 38 lb. ; logwood, 3 lb. ;pallia- 
tura wood, 3^ lb. ; sumac, 3 lb.; argol, 2 lb. Sad- 
den with bluestone, 2 lb. Boil for an hour, and 
then add copperas, 2 lb. and boil for an hour 
longer.— C. 

New Orange (100 lb. yarn).— Dissolve in a 
water 10 lb. sulphate of soda, V/o, lb. of the 
" New Atlas Orange 11 (Brooke, Simpson & 
Spiller) and 2 lb. oil of vitriol. Enter at 180° F., 
raise to 212° F. and boil for fifteen minutes.— C. 

Orange (50 lb. yarn).— Make up a water at 170° 
F. with 8 oz. " orange" (Bindschedler, Busch & 
Co.). Add 13^ lb. oil of vitriol. Give three to 
five turns, raising to a boil and boil for ten 
minutes.— C. 

Orange (110 lb. cloth).— Boil up in a water 26 oz. 
perchloride of tin ; add 5 lb. oxalic acid, 3J4 lb. 
tin crystals, 17 oz. fiavine and from 7 to 17 
oz. cochineal. Cool, enter the cloth, and boil 
for three-quarters of an hour.— C. 

Aurantine Orange on Yarn (100 lb.).— Add 
to a water 1 lb. aurantine, 2 lb. tartar, 3 lb. 



cochineal, 3^ lb. tin crystals, 8 lb. muriate of 
tin and 5 lb. muriatic acid. Boil ten minutes 
before entering the yarn ; cool, enter, turn for 
ten minutes and boil for half an hour. Rinse 
and dry.— C. 

Orange on Worsted (50 lb.).— Prepare bath 
with 2^ lb. oil of vitriol and 3^ lb. fast orange 
(Reid, Halliday & Sons, Huddersfield). Enter 
at 180° F., raise to a boil, turn to shade and 
wash.— C. 

Light Orange on Cloth (84 lb.).— Boilup in a 
water 8 lb. fustic, add 20 oz. ground cochineal, 

1 gal. nitrate of tin and 4 lb. tartar crystals. 
Boil for three minutes and enter.— C. 

Orange on Half Woolens (4 lb. 6 oz).— Dye in 
one bath. Dissolve annatto, 63^ lb., in carbon- 
ate of soda, 4 lb. 6 oz. Dissolve at a boil and 
add turmeric according to the shade. Enter in 
the dye beck cold and raise the heat till the 
shade is obtained. Wash.— C. 

Dyeing Cochineal Red on Flannel f22 lb. 
flannel). — 1 lb. 10 oz. oxalic acid, 8% oz. tin 
crystals, 2 lb. 3 oz. cochineal and % oz. flavine 
are boiled well together, cooled, the goods en- 
tered and winced till the desired shade is pro- 
duced. If a blue tone is required no flavine is 
added, but for yellow tones as much as 1% oz. 
flavine may be used. 

Scarlet (50 b. yarn).— Make up a water with 
5 lb. sulphate of soda, 1 lb. oil of vitriol, and 10 
oz. ponceau 3 R C (of A. Poirrier, of Paris). 
Enter yarn at 180°, give three turns, raise to a 
boil, which is kept up for fifteen minutes. 
Lift, wash and dry.— C. 

Scarlet (50 lb. yarn).— Make up water at 170° 
F., with 8 oz. "scarlet R R" (Bindschedler, 
Busch & Co., of Bale), and 1J^ lb. oil of vitriol. 
Enter, give three to five turns while raising to 
a boil ; boil for ten minutes, wash and dry.— C. 

New Atlas Scarlet (100 lb. yarn).— Dissolve in 
a water 1% lb. New Atlas Scarlet No. 1 (Brooke, 
Simpson & Spiller), 10 lb. sulphate of soda, and 

2 lb. oil of vitriol. Enter at 180° F., raise to 
212° F., and boil for a quarter of an hour.— C. 

Crimson on Cloth (20 lb.).— Dissolve 1% oz. 
magenta crystals in 1 lb. glycerine at a boil, 
filter, and add the solution to a water in which 
3^ lb. picric acid and 34 lb. carbonate of soda 
crystals are dissolved. Boil the bath for a 
quarter of an hour, and skim off any impuri- 
ties which rise to the surface. Enter the cloth, 
and dye to shade at a boil. Drain, but do not 
rinse. — C 

Cochineal Pink (30 lb.).— Make up a water 
with 1 pt. tin solution and % lb. of tartaric 
acid; let it boil, skim, add % lb. cochineal, let 
cool a little. Enter the wool, and boil for half 
an hour. The tin solution is made by dissolv- 
ing 5 lb. tin in a mixture of 10 lb. muriatic and 
10 lb. nitric acids.— C. 

Fast Cochineal Crimson on Wool (10 lb.).— Boil 
a water for ten minutes with 3*£ lb. tartar crys- 
tals, and skim if needed. Add 1 lb. alum and 
% lb. tin solution. Boil the wool in this mor- 
dant for half an hour, and then dye with 134 lb. 
ammoniacal cochineal paste and a small quan- 
tity of tin solution. — C. 

Fast Alizarine Red on Yarn (22 lb.).— Boil for 
one hour and a half with 334 lb. sulphate of 
alumina and 17 oz. tartar. Rinse well, and dye 
with 14 oz. alizarine paste at 10$, entering the 
goods in the cold beck, and raising to a boil. If 
the spent beck is mixed with 17 oz. sulphate of 
alumina, the same weight bisulphate' of soda, 
a little fustic and indigo-extract residues, it 
produces a fine brown.— C. 

Another Alizarine Red. — Put the wool or 
woolen goods in a solution of 34 oz. soap, in 22 
lb. water at 110° F., for twenty minutes. Press 
between cloths, dry in hot air, take thi'ough 
red liquor at 5° Tw., to which has been added a 
solution of 1 oz. sulpho-muriate of tin per pt., 
and dry in hot air. Take through a solution 
of 60 grn. silicate of soda at 92° Tw. for 35 fl. oz. 
Heat to 110° F., wash, and drain in the cen- 
trifugal. Dye with alizarine for reds, using for 
35 oz. wool, 7 oz. alizarine at 10° F.— C. 



Dyeing. 



175 



Dyeing. 



Rose on Wool, for Fulling (110 lb.).— Boil up 
13 lb. 2 oz. alum, 534 lb. argol, 8% oz. perchloride 
of tin, the same weight of tin crytals and 2 lb. 
3 oz. cochineal. Cool, enter the wool and dye 
for an hour.— C. 

Crimson 3n Yarn, for Fulling (55 lb.).— Make 
up a water with 8% oz. perchloride of tin and 
an equal weight of oil of vitriol. Add a clear 
solution of magenta as required. Enter yarns, 
dve at a boil, rinse and dry.— C. 

Full Ked on Yarn, for Fulling (74 lb.).— Boil 
up a water with 34 oz. perchloride of tin, add to 
the beck 434 lb. oxalic acid, 2^4 lb. tin crystals, 
ll'34 oz. flavine and 20 oz. cochineal. Cool, enter 
the yarn and dye at a boil for half an hour. 
Add 4 lb. 6 oz. alum and boil for fifteen min- 
utes longer.— C. 

Aurantine Ponceau (80 lb.).— Boil up 2 oz. 
aurantine, 6 oz. tin crystals, 10 lb. cochineal, 2 
lb. tartar, J4 lb. tin crystals. Boil ten minutes, 
cool, enter yarn, turn ten minutes, boil for half 
an hour, rinse and dry. — C. 

Aurantine Scarlet (80 lb.).— Add to a water 8 
lb. cochineal, 2 lb. tartar, 8 lb. muriate of tin, 6 
oz. tin crystals and 2 oz. aurantine. Work as 
in the last receipt.— C. 

Crimson on Alpaca (100 lb.).— Prepare at a boil 
with 4 lb. alum and 34 lb. tartar, and dye with 
10 oz. best magenta. — C. 

Magenta on Shoddy (100 lb.).— Boil with 8 lb. 
alum and 1 lb. argol, and dye with 10 oz. ma- 
genta.— C. 

Rouge de Gravelotte. — A cochineal red, 
grounded as usual with cochineal, oxalic acid 
and tin crystals, and topped in a fresh water 
with magenta, or preferably with saffranine. 
— C. 

Ponceau on Cloth (100 lb.).— Clear the water 
at a boil with 34 lb. perchloride of tin, boil 234 
lb. bark, tied up in a bag, for fifteen minutes. 
Take out the bag and add 4 lb. oxalic acid, 3 lb. 
tin crystals, 1 lb. tartaric acid, 1 lb. tartar crys- 
tals and 6J4 to 7 lb. ground cochineal. Boil up, 
cool and enter the goods previously wetted.— C. 

Red for Woolen Yarns, for Fulling (100 lb.).— 
Boil with 8 lb. cochineal, 8 lb. tartar crystals, 4 
lb. oxalic acid, 4 lb. tin crystals, 6 lb. tin solu- 
tion and 6 lb. young fustic lake. The tin solu- 
tion is made by dissolving 10 lb. tin crystals and 
25 lb. bichloride of tin in 334 gal. hot water.— C. 

Fiery Madder Red on Wool, to bear Fulling 
(100 lb.).— Boil for an hour with 12 lb. alum, 10 
lb. tartar, 2 lb. oxalic acid. Rinse and dye with 
50 lb. madder, boiling slowly for one hour and a 
half to two hours. The color is faster if 25 lb. 
alum are taken; 13 lb. garancine may be used 
instead of the madder, or about 5 lb. alizarine 
for red.— C. 

Rose and Crimson on Woolen Yarns.— Dis- 
solve 2 parts magenta, 2 parts silicate of soda, 1 
part sulphate of soda, and (for the crimson) a 
little picric acid. Work the yarn at 167° F. 
The magenta must be well dissolved and 
strained to prevent spotting. After dyeing, 
work the yarns for a quarter of an hour in a 
fresh, cold water with two parts hyposulphite 
of soda.— C. 

Salmon.— 5 pieces =100 lb. of cloth, dye vessel, 
water usual quantity, 2 pt. protochloride of 
tin, 120° Tw., 4 oz. flavine, 6 oz. cochineal, 41b. 
bitartrate of potash. Enter at boil, and work 
for 40 minutes. Wash.— O. 

Sang de Boeuf on Yarns (11 lb.).— Boil for 
three-quarters of an hour with 2% oz. chro- 
mate of potash, 34 oz. bluestone, 13 oz. argol, 1 
oz. sulphuric acid. Let the yarn cool in the 
bath, and then dye in a fresh water with 434 lb. 
peachwood and 434 to 534 oz. logwood. Boil 
for half an hour.— C. 

Darker Sang de Boeuf on Yarns (11 lb.).— 
Prepare at a boil with 434 oz. chromate of 
potash, \% oz. bluestone, 13 oz. argol, 134 oz. oil 
of vitriol. Let cool in the liquid, and dye for 
half an hour at a boil with 434 lb. peachwood, 
34 lb. fustic and 1 lb. logwood. The woods are 
used in the form of clear decoctions, added by 
degrees.— C. 



Scarlet on Worsted (50 lb.).— Dissolve 334 oz. 
scarlet XXB and 2 oz. orange (both of Banning, 
Bissell & Co., New York), 8 lb. sulphate of soda, 
134 lb. oil of vitriol, 34 lb. alum. Cool, enter at 
180° F., raise to a boil and turn to shade.— C. 

Garnet on Floss Worsted (60 lb.).— Boil 6 lb. 
sulphate of soda, 2 lb. alum, 3 lb. sulphuric acid, 
6 oz. orange A, % lb. maroon S, 2 oz. magenta 

5 (all three of the Baden Aniline Co.). Cool, 
enter yarn and boil to shade. After boiling 
half an hour, add 34 lb. extract of indigo.— C. 

Crimson on Carpet Yarn (100 lb.).— Dissolve 
10 lb. sulphate of soda, 2 lb. alum, 3 lb. oil of 
vitriol, 34 lb. scarlet and 3 oz. magenta (both of 
Levinstein & Co., Manchester). Enter at 180° 
F., ten turns while raising to 212° F., and turn 
to shade.— C. 

Ruby (100 lb. yarn).— Dissolve 134 lb. orselline 
(Clayton Aniline Co., Manchester). Enter at 
160° F. and raise to a boil, turning to shade. 
The addition of alum brightens.— C. 

Garnet on Worsted Yarn (50 lb.).— Boil 5 lb. 
sulphate of soda, 3 lb. oil of vitriol, 10 oz. 
nacarat, and 3 oz. orange (both of the Berlin 
Aktien Gesellschaft), and 34 lb. extract of 
indigo. Enter, boil for three-quarters of an 
hour, turning to shade.— C. 

Scarlet on Worsted (50 lb.). — Dissolve 3 lb. 
alum, 3 lb. sulphate of soda, 234 lb. oil of 
vitriol, 1 lb. fast scarlet R (Reid, Halliday & 
Sons, Huddersfield). Enter at. 180° F., five 
turns, raise to a boil and turn to shade. 
Wash.— C. 

Rose Bengale on Woolen Yarn (50 lb.).— Dis- 
solve in water 4 lb. alum and 3 oz. "rose Ben- 
gale B " (Farbwerke, Hoechst am Main). En- 
ter yarn at 180 F., and turn to shade, raising 
temperature to a boil. — C. 

Fast Cardinal on Wool (100 lb.).— Dissolve 134 
lb. orange 23 and 5 oz. acid magenta (Bredt & 
Co., New York), along with 13 lb. sulphate of 
soda and 2 qts. oil of vitriol. Enter and boil to 
shade.— C. 

Phloxine on Woolen Yarn (50 lb.).— Dissolve 
in a hot water 341b. phloxine BB (P. Monnet 

6 Co., Geneva). Enter yarn at 180° F., five 
turns while raising to a boil. Lift and add 34 
lb. acetic acid. Re-enter, give four turns.— C 

Eosine on Woolen Yarn (50 lb.).— Dissolve 6 
oz. eosine (P. Monnet & Co.), enter yarn and 
work in the same manner as phloxine. 

The " Eosine J" of the same firm is dyed as 
follows (100 lb.): Dissolve 20 oz. eosine J, and 
add the half of it and 1 pt. acetic acid to a water 
at 120° F. Enter yarn, work for half an hour ; 
lift and add the remainder of the color to the 
acid. Re-enter yarn, work for another half 
hour, raising the heat to 180° F. Wash and dry. 

The " Rose Bengal NT" of the same firm is 
also dyed in the same manner.— C. 

Flesh Color on Worsted (50 lb.).— Clear the 
water well, if needful, by boiling it up with a 
little sulphate of soda and sulphuric acid. 
After skimming add 5 lb. sulphate of soda and 
1 lb. oil of vitriol with % oz. scarlet RRR (Farb- 
werke, Hoechst am Main). Enter at 150° F., 
turn well, heating to 180° F. and work to 

cVi q r\ o 

Fast Bluish Cardinal on Wool (50 lb.).— Boil 
up 6 oz. magenta S and 1 oz. orange A (both of 
the Baden Aniline Co.), 10 lb. sulphate of soda, 
5 lb. alum and add 3 lb. oil of vitriol. Cool, 
enter yarn at 150° F., turn till level, raise to a 
boil, which is kept up for one hour.— C. 

Scarlet.— 75 lb. cloth or yarn, 1% lb. eosine 
dissolved in the bath, say at 120° F. ^49° C), add 
3 gills sulphuric acid at 170° T w. Enter the goods 
say at 140° to 145° F. (60°-63° C), and gradually 
bring to boil in from fifteen to twenty minutes 
and take out.— O. 

Rocceline Scarlet (11 lb.).— Boil for an hour 
and a half with y± oz. stannate of soda and the 
same weight each of tartaric acid and oxalate 
of potash. Lift and dye in a fresh water, boil- 
ing for one hour with 334 oz. rocceline and % 
oz. saffranine of a yellowish tone. Let the 
wool cool in the liquor, lift and rinse. Darker 



Dyeing. 



1T6 



Dyeing. 



shades may be obtained in a similar manner by 
preparing- the same quantity of wool with 1% 
oz. oxalate of potash and % oz. alum.— C. 

"Fast Red on Cloth (60 lb.).— Prepare a clean 
water at a boil, and add 34 lb. alum, 34 lb. solid 
chloride of tin and 1 lb. powdered starch. 
Skim carefully and take the cloth through 
slightly to dampen the same. Add to the bath 
8 lb. alum, 2 lb. tartaric emetic, % pt. acetic 
acid, the solution of 2 oz. aniline orange. When 
well mixed, enter and raise to boiling point in 
half an hour. Let cool down to 170° F. and add, 
in three doses, the solution of 6 oz. eosine B ; 
gradually increase the temperature again while 
turning the cloth, and shade off with 2 oz. ani- 
line orange and % pt. acetic acid. This red may 
be dyed in copper vessels and is only half the 
price of a cochineal red. It may be dyed over 
black checks without interfering with the 
black.— C. 

Another Fast Red on Cloth (24 lb.).— Boil in a 
water containing 4 lb. alum, 12 lb. madder, 434 
lb. tartar crystals, and 3 lb. nitrate of tin. Let 
lie twenty-four hours and pass into a water 
with 5 lb. cochineal, 34 lb. tartar, and boil for 
an hour. Add 5 lb, lacdye and 2 lb. nitrate of 
tin; boil for an hour and pass into a bath of 3 
lb. madder and 2 lb. nitrate of tin.— C. 

New Scarlet on "Wool (60 lb.).— Yarn well 
scoured, washed in warm water and whizzed. 
Run beck three-quarters full of water and boil. 
Put in 10 oz. "scarlet OO" (A. Poirrier, of Paris, 
and Thompson, of Manchester). Boil well and 
add 91b. sulphate of soda and 1 qt. oil vitriol. Fill 
up with cold water, stir well and enter yarn. 
Keep turning for fifteen to twenty minutes 
and heat gradually to a boil in seventy-five min- 
utes. This is a very fast scarlet.— C. 

Garnet on Half Woolens.— Boil for half an 
hour with a water containing 634 oz. bichro- 
mate of potash, 434 oz. oil of vitriol and 2 oz. 
bluestone. Rinse and enter in a water at 122° 
F., containing magenta 1% oz. and methyl vio- 
let 34 oz. Heat to a boil, lift, wash and rinse. 
— C. 

Claret on Half Woolens.— Boil for half an 
hour with bichromate of potash 634 oz., oil of 
vitriol 434 oz. and bluestone 2 oz. Rinse and 
dye with magenta 1% oz., aniline scarlet 1% 
oz., orchil 6% lb., and turmeric 12 oz. Enter 
cold, raise slowly to a boil, and after boiling 
for an hour and a half lift and wash.— C. 

Corinthe on Damask (20 yds.).— Boil for half 
an hour with alum 17 oz., argol 17 oz. Then add 
orchil 2 lb. 2 oz., extract of indigo 834 oz., oil of 
vitriol 34 oz. Dye to shade at boil. Lift and 
rinse.— C. 

Dark Garnet on Half Woolens (22 lb.).— Dye 
the wool to shade in boiling water with orchil, 
a little extract of indigo and prepared tartar. 
Steep overnight at a hand heat with cathechu, 
2 lb. 3 oz.; bluestone, 7 oz. Sadden at hand 
heat with chromate of potash, 334 oz.; cop- 
peras, 1% oz. Steep overnight in the cold solu- 
tion of 2 lb. 3 oz. alum, and dye the cotton to 
shade in the cold, with the decoctions of peach- 
wood, fustic and logwood.— C. 

Red on Half Woolens (11 lb.).— Boil for an 
hour with 17 oz. white argol and the same weight 
of argol. Dye at a boil for fifteen minutes 
with 4 lb. 14 oz. peachwood and 2% lb. fustic. 
Rinse, steep for fifteen minutes in the decoc- 
tion of 21b. 3 oz. fustic and work for the same 
length of time in red cotton spirits at 4° Tw. 
Let drain and cotton dye to shade in the cold 
decoction of 17 oz. peachwood and the same 
weight of f ustic— C. 

Reseda on Yarns (55 lb.).— Boil for an hour 
and a half with 13 oz. each chromate of potash 
and argol. Let cool in the liquor, and dye at 
a boil for an hour with J4 lb. fustic and 1 lb. log- 
wood.— C. 

Solid Shades for "Wool.— Ash Gray.— Boil for 
90 minutes with 4$ of gallnuts, 2 of sumac, 4 of 
logwood, 3 of copperas, diminishing the pro- 
portion of the ware for light shades. 



Mode Gray.— Boil for the same length of time 
with 3$ of gallnuts, 1 logwood, 4 orchil, % sol- 
uble iodine violet, and 1 copperas. 

Olive.— Boil as above with 50$ of fustic or 15 
extract of fustic, 5 logwood, 4 bluestone, 4 
argol, 3 orchil and 1 copperas. 

Jet Black— Boil for 90 minutes with 234$ of bi- 
chrome and 2 of sulphuric acid. Lift, spread 
out and let lie till quite cold, and dye in a sec- 
ond water with 40$ of logwood, 8 fustic and V/% 
bluestone. After boiling for an hour, wash 
dry. 

Blue Black.— Prepare as above with 234$ of 
bichrome and 2$ sulphuric acid. Then boil for 
the same length of time in a second water with 
40$ logwood and 134$ bluestone. Wash and dry. 

Bright blue.— Prepare as above with 3$ of 
bichrome, 2$ sulphuric acid and 2$ alum. Dye 
in a second water with 25$ logwood, and the 
solution of 34 soluble aniline violet. Wash and 
dry. 

Reddish Brown.— Boil for 90 minutes with 3$ 
of bichrome and 2$ sulphuric acid. Let cool 
in the flot, and enter in a cold water made up 
of 30$ of peachwood, 5$ of fustic and 34 of aliz- 
arine orchil. Raise to a "boil, and keep it up 
for halLan hour.— Teinturier Pratique. 

Darker Shade of Reseda (551b.). — Prepare as 
above and dye with 8 oz. logwood, lib. extract 
of indigo and 434 oz. orchil.— C. 

Light Reseda on Yarn .(100 lb.).— Boil 10 lb. 
alum, 3 lb. argol, 2 oz. oil of vitriol, 5 oz. ex- 
tract of indigo, 7 oz. orchil paste and 234 oz. 
picric acid, or, in place of the latter, 2 lb. fus- 
tic. Boil up cool, enter the goods and boil for 
forty-five minutes.— C. 

Reseda on Wool (50 lb,). 11 — Boil for seventy- 
five minutes with % lb. chromate of potash, 34 
lb. argol, 34 lb. alum. Dye in a fresh water 
with 34 lb. logwood, 1 lb. fustic and 34 lb. cam- 
wood.— C. 

Light Salmon on Yarn (100 lb.).— Oxalic acid, 
71b.; tin crystals, 2 lb.; cochineal, 12 oz., and 
flavine, 3 oz. Boil, cool, enter and boil for 
three-quarters of an hour. By adding more 
flavine the shade may be turned to an orange 
and to a red by more cochineal. 

Slate Braid.— One Bath.— 1001b. braid. Cleanse 
the vat with 2 lb. alum; add 10 lb. alum, 10 lb. 
Glauber salts, lib. red tartar, 4 lb. indigo paste, 
2 lb. orchil carmine (Pickhardt & Kuttroff), 1 oz. 
picric acid, 34 gal. sulphuric acid. „ Commence 
with 3 lb. indigo paste, 134 lb. orchil carmine, 
% oz. picric acid. Enter at 180° F., give it six 
turns, then add balance of drugs, bring to boil 
and give six turns to shade, dry slowly. 

Note.— For a fresh vat, 20 lb. alum, 20 lb. 
Glauber salts and 1 gal. sulphuric acid will be 
required. 

Slate on Wool (100 lb.).— Boil 4 lb. logwood, 2 
oz. camwood, 1 lb. fustic, 2 oz. madder, 2 oz. 
sumac, 2 oz. indigo extract.— C. 

Lighter Shade of Slate (100 lb.).— Boil for fif- 
teen minutes 2 lb. logwood, 4 oz. camwood, 12 
oz. fustic, 4 oz. madder, 4 oz. sumac, 2 oz. ex- 
tract of indigo. Cool, enter, work well and 
boil for one hour. Sadden as above and boil 
for twenty minutes longer.— C. 

Scarlet Braid (one bath).— 100 lb. braid Dis- 
solve 51b. oxalic acid, 2341b. tin crystals, 634 lb. 
cochineal, 6 oz. flavine. Enter at 180" F. and 
boil for one hour, giving eight turns in that 
time. 

Note 1. — Braids ought to be always well 
scoured, warm wash to avoid dark spots. 

Note 2.— Do not use water containing lime. 

Stone Color, Dark, on Wool (220 .lb.).— Boil 
with 634 lb. each fustic and madder. 13 lb. 
sumac and 234 lb. ai'gol for an hour and a half : 
sadden with 34 oz. copperas and boil for three- 
quarters of an hour longer.— C. 

Stone Color, Light (220 lb.).— Boil for an hour 
with 634 lb. alum, half that weight of argol, 
1434 lb. ground logwood, 1334 lb. sumac, 334 lb. 
ground fustic and 634 lb. madder. Sadden with 
19 oz. copperas, boiling for half an hour 
longer.— C. 



Dyeing. 



177 



Dyeing, 



Violet on Wool (55 lb.).— Dissolve 4*4 oz. 
methyl violet of a suitable shade in water. 
Add the solution to the beck, in which 2 lb. 3 
oz. of sulphate of soda are also dissolved. Boil 
up, cool, enter the wool and dye at a brisk 
boil.— C. 

Pansy on Yarn, for Fulling (54 lb.).— Make up 
a water with % lb. perchloride of tin and the 
same weight of sulphuric gfcid. Add a clear 
solution of methyl violet as required. Enter, 
dye at a boil, rinse and dry.— 

Bluish Pansy on Alpaca (100 lb.).— Prepare at 
a boil with 8 lb. alum, 3 lb. choride of tin, 2 lb. 
oil of vitriol and 2 oz. aniline blue of a reddish 
shade, and then top with 8 oz. reddish aniline 
blue and 2 oz. magenta. — C. 

Pansy on Cloth (100 lb.).— Give a light blue 
ground in the vat, rinse and boil for ninety 
minutes with 10 lb. alum, 4 lb. argol, 3^ lb. tin 
crystals, 1 lb. oil vitriol. 

Top at a boil in a fresh water with 20 lb. log- 
wood, 5 lb. redwood, and the solution of 3 to 6 
lb. aniline violet.— C. 

Pansy for Vicuna (10 lb.).— Enter the clean 
yarn in a boiling water with 1 lb. tannin, and 
steep for four to five hours. Wring and steep 
for two hours in bichloride of tin at 2J^° Tw. 
Rinse, wring and dye to shade in methyl violet 
BBBB at a hand heat.— G. 

Gentiana Violet on Wool (11 lb.).— Dissolve in 
a water 7 oz. argol and the necessary amount 
of color, previously dissolved; boil and skim. 
The goods are entered, and after three turns 
the shade is level. The color is dissolved in 
water at 140° F., and quickly raised to a boil, 
which is kept up for five minutes. The solution 
is then strained. One pound of color requires 
-30 lb. (3 gal.) of water.— C. 

Violet 2 B on Worsted Yarn (50 lb.).— Dissolve 
4 oz. violet 2 B (Bindschedler & Busch) in 
water at 180° F. Enter, give four to six turns 
while raising to 212° F., and boil to shade.— C. 

Purple on Wollen Yarn (50 lb.).— Dissolve 5 lb. 
sulphate of soda and 5 oz. Violet de Paris 350 
NB (A. Poirrier, of Paris). Cool down to 150° 
F., enter quickly, bring to a boil, and turn to 
shade.— C. 

Violet on Woolen Yarn (50 lb.)— Dissolve in 
water 5 oz. violet No. 28 (Beid, Halliday & 
Sons, Huddersfleld). Enter yarn at 150° F., 
turn briskly while raising to a boil. Let cool, 
and wash. — C. 

Violet on Woolen Yarns (11 lb.).— Dye with 
methyl violet, adding 8% oz. prepared tartar. 
The use of this latter ingredient prevents 
smearing.— J?. 

•Violet on Yarn (50 lb.).— Dissolve 5 lb. sul- 
phate of soda, 7 oz. " acid violet " (Farbwerke, 
Hoechst am Main), and 1 lb. oil of vitriol. Enter 
at 15U° F., turn briskly, raise to a boil, and work 
for three-quarters of an hour.— 0. 

Violets on Woolen Yarn (100 lb.). —The violets 
lt 5B, , " t 3B"and"KR,"of Monnet & Co., 
of Geneva, are dyed by simply dissolving in 
water at 180° F., entering, giving six or eight 
turns while raising water to a boil, and boiling 
to shade. Half a pound of each of the above 
colors gives a full shade.— C. 

Alkali Violet on Wool (30 lb. yarn).— Dissolve 
M lb. borax and 5 oz. alkali violet (Farbwerke, 
Hoechst am Main). Enter at 140° F., give four 
turns rapidly, raise to a boil, lift when dark 
enough, wash and raise in a fresh lukewarm 
water with % lb. oil of vitriol. The process is 
the same as for Nicholson blues. — C. 

Deep Dahlia on Piece Goods (100 lb.).— Make 
up a boiling water with 6 lb. alum, 134 lb. bi- 
chromate, % lb. tin crystals and 1 lb. oil of 
vitriol. Work in this for half an hour, and 
either wash or leave in the beck. Then dye 
with 50 lb. logwood, 10 lb. calliatura and 2 lb. 
orchil.— C. 

Very Deep Violet on Piece Goods (100 lb.)— 
Make up a water with 1% lb. chromate, 3 lb. 
alum, y 2 lb. tin crystals, y% lb. sulphuric acid 
and % lb. oxalic acid. Work in this at a boil, 
and rinse and let cool in the not and then boil 



for an hour and a half with 40 lb. logwood, 12 
lb. calliatura and 2 lb. orchil.— C. 

Fast Lilac on Wool (110 lb.).— Boil for an hour 
with 11 lb. peach wood, W/ % lb. logwood, 22 lb. 
alum and 11 lb. argol. Lift, and add 34 oz. bi- 
chloride of tin and boil for a quarter of an 
hour longer. To brighten the color, the solu- 
tion of 33^ oz. methyl violet is added.— C. 

Light Lilac on Worsted (25 lb. yarn).— Clear 
the water, if needful, and add 5 lb. sulphate of 
soda, 2 oz. red argol, 1 lb. sulphuric acid, u z oz. 
violet (Farbwerke, Hoechst am Main) and 1}4 
oz. each of indigo extract and orchil extract. 

Lemon Yellow on Wool (218 lb.).— Boil up 83 
lb. fustic, 13 lb. 2 oz. alum, the same weight of 
tartar, 1% lb. tin crystals. Skim the beck, en- 
ter, and boil the wool for one and a half hours. 
— R. 

Yellow (50 lb. yarn).— Dissolve in a water 5 lb. 
sulphate of soda crystals and 34 lb. " Jaune S " 
(A. Poirrier, of Paris). Add 2 lb. oil of vitriol. 
Enter at 180° F. and give five turns while rais- 
ing to 212° F. Boil for five minutes, wash and 
dry.— C. 

Ocher Yellow on Wool (220 lb.).— Boil with 53^ 
lb. chromate of potash and half the weight 
each of bluestone and argol, for ninety min- 
utes. Dye in a beck make up of 34 lb. French 
extract of fustic and 334 lb. madder, boiling 
for an hour.— C. 

Aurantine Yellow (128 lb.).— Dissolve 1 lb. 
aurantine, 8 lb. alum, 2 lb. tartar, 8 lb. muriate 
of tin, % lb. tin crystals. Boil ten minutes. 
Cool, enter, turn ten minutes and boil half 
an hour. Rinse and dry. — C. 

Deep Yellow (100 lb.).— Dissolve 1 lb. auran- 
tine, 2 lb. alum, 2 lb. tartar, 8 lb. muriate of 
tin, Hs lb. tin crystals. Work as above.— C. 

Light Yellow (64 lb.).— Aurantine 34 lb., alum 
3 lb., half refined tartar 2 lb., muriate of tin, 
61b., tin crystals, 6 oz. Work as above.— C. 

Yellow on Shoddy (100 lb.).— Clear the water 
with perchloride of tin and boil 50 lb. bark for 
half an hour. Add y z lb. white glue, previously 
dissolved ; boil up and skim. Dissolve in the 
clear liquor 3 lb. oxalic acid, 3 lb. tin salt and 1 
lb. bichloride of tin. Boil the goods for an 
hour. — C. 

Straw Color on Yarn (10 lb.).— Boil for forty- 
five minutes with 6 oz. alum, 3 oz. argol, 34 lo. 
fustic and 34 lb. madder.— C. 

Berlin Yellow (50 lb. yarn).— Dissolve in a 
water 5 lb. alum and 34 lb. Berlin yellow 
(Bindschedler & Busch). Enter at 170° F., give 
five turns while raising to a boil and turn to 
shade.— C. 

Fast Yellow (50 lb.).— Make up a water with 
234 lb. sulphuric acid and 34 lb. fast yellow 
(Reid, Halliday & Sons, Huddersfleld). Enter 
at 160° F. Raise to boil, turning to shade, and 
wash. -C. 

Jaune d'Or on Yarn (100 lb.).— Prepare water 
at 160° F., with 1 lb. Jaune d'Or (Monnet & Co., 
Geneva) and 1 lb. acetic acid. Add only half 
the color and the acid. Enter yarn, work for 
thirty minutes, lift and add remainder of color 
and acid. Re-enter, work for thirty minutes 
more, raising the temperature to 180° F., wash 
and dry.— C. 

Golden Yellow on Worsted (25 lb.).— Add to a 
water % lb. of oil o2 vitriol, 3 lb. sulphate of 
soda, Yz lb. alum. Boil up, skim carefully if 
needed, add solution of 34 oz " golden yellow " 
(Clayton Aniline Co., Manchester), cool down 
to 160° F. and enter. Turn briskly, raise tem- 
perature and work to shade.— C. 

Dark Golden Carmelite on Worsted (50 lb.). — 
Dissolve in a water 5 lb. sulphate of soda, 1 lb. 
alum, 1 lb. oil of vitriol, 6 oz. " dark golden 
carmelite" (Clayton Aniline Co., Manchester). 
Enter yarn at 150° F., raise to a boil, and work 
to shade.— C. 

Naphthal Yellow on Worsted (30 lb. yarn).— 
Boil 5 lb. sulphate of soda, Yz lb. oil of vitriol, 
% oz. naphthal yellow (Baden Aniline Co.). 
Enter at 160° F., raise to a boil and turn to 
shade— C. 



Earache. 



178 



Effervescence. 



Aventurine on Half Woolens (4 lb. 6 oz.).— 
Sulphate of soda 2 lb. 3 oz., sulphate of alumina 
4 lb, 6 oz., orchil 1 pig-gin, turmeric 13 lb. 2 oz. 
Dye, wash, and then pass into a catechu beck 
with bichromate of potash and turmeric— C. 

Porcelain White on Wool (218 lb.).— Clear the 
water with 2 lb. 3 oz. perchloride of tin at the 
heat of 100° F., add 1% oz. neutral extract of 
indigo and 2% oz. cudbear, and work the wool 
for half an hour.— R. 

Mixed Goods.— Black on Common Mixed Car- 
pet Yarn for Filling.— 100 lb. yarn. Prepare 25 
lb. extract of logwood, 8 lb. blue vitriol, 81b. sal 
soda. Boil up, enter yarn, give three turns 
slowly, take up, wash, and it is finished. 

Note 1.— The second 100 lb. requires only 151b. 
extract of logwood, 6 lb. blue vitriol, and 6 lb. sal 
soda. 2.— The third 100 lb. requires only 10 lb. 
extract of logwood, 4 lb. blue vitriol, and 4 lb. 
sal soda, and keep it for future use, 3.— This 
is a fair black, and size may be worked with 
it. 

Green on Mixed Garments (11 lb.).— The wool is 
dyed green by boiling for one hour with 2 lb. 3 
oz. alum, 8% oz. argol, 4}^ oz. sulphuric acid, 2 
lb. 3 oz. fustic, and 6J4 oz. extract of indigo. 
It is then entered in a beck at 190° F., with 17)4 
oz. alum and the same weight of fustic. Here 
the goods are worked for an hour, lifted, wrung 
out, and entered in a fresh beck of 2 lb. 3 oz. 
sumac. Here they are soaked for two hours, 
turning frequently, lifted, wrung well out, and 
dyed in a fresh cold beck with methyl green. 
If the shade has to be darkened, decoction of 
logwood is added as required. — R. 

Gray for Half Woolen Garments (11 lb.).— Pre- 
pare for three hours with 2 lb. 12 oz.sumac,wring 
out and boil for three quarters of an hour with 
Q& oz. logwood and 1 oz. fustic. Sadden in the 
same beck with 1% oz. copperas at 200° F.—R. 

Cheap Black on Mixed Cotton and Wool 
Cloth.— Boil in a bath of logwood extract, 25$ ; 
fustic extract, ±%; soda, 13%; bluestone, 8%. 
Work at 120° F. for some minutes, then raise to 
boiling, until a good black is got, after which 
enter in a new bath containing bichromate of 
potash, i%.—R. 

Pansy on Shoddy (109 lb.).— Prepare with 2 lb. 
3 oz. chrome alum, 2 lb. 3 oz. sulphuric acid, and 
% oz. chloride of tin. Then dye to shade with 
aniline violet (soluble in alcohol). — R. 

Green for Half Woolen Garments (11 lb.). — 
Make up a beck with 17J4 oz. alum, 8% oz. argol, 
17J4 oz. fustic, and 3J^ oz. extract of indigo. 
Boil the goods in this for an hour, rinse, pre- 
pare with 3)4 lb. sumac, wring out and top in a 
fresh cold beck with 1% oz. methyl green.— R. 

Earache, Cure for.— 1. Wet a piece of 
cotton with equal parts of chloroform and 
laudanum, place in the ear, and cover up. 

2. Put five drops of chloroform on a little 
cotton or wool in the bowl of a clay pipe, then 
blow the vapor through the stem into the ach- 
ing ear.— Med. Record. 

Earth, Slopes of.— The natural slopes,, of 
earths, with horizontal line, are as follows : 
Gravel (average), 40° ; dry sand, 38° ; sand, 22° ; 
vegetable earth, 28° ; compact earth, 50° ; shin- 
gle, 39° ; rubble, 45° ; clay, well drained, 45° ; 
clay, wet, 16°. 

Earthenware, to Drill.— Use a steel 
drill, ground at the cutting end into a triangu- 
lar-based pyramid. Turn the tool rapidly, and 
aid the action by the application of a solution 
of camphor in turpentine. If no such drill can 
be obtained, make one out of an old three- 
square file, thus : Soften it and file up until the 
edges are sharp, then temper. The extreme 
tip may advantageously be made with a greater 
angle. 

Earthenware, Glazes for. See Glazes. 

Earthenware, Varnish for. See Var- 
nishes. 

Earth Flax, Amianthus. See As- 
bestos. 



Eau de Naples. See Waters. 

Eau de Vie de Dantzick. See IAq- 
uors. 

Eau Romaine, See Waters. 

Eau Sedative. See Waters. 

Eaux. See Wallers. 

Ebonite a»A Vulcanite.— The only dif- 
ference between these two articles is in the 
coloring materials used. These terms are ap- 
plied to a compound of India rubber and sul- 
phur, exact ly the same as the common elastic 
bands, the only difference being in the time 
and heat required to vulcanize or harden the 
compound. 1. Sulphur, 2 to 3 parts, is mixed 
with caoutchouc, 5 parts, and cured for sev- 
eral hours at 75° C, under a pressure of four 
to five atmospheres. Ebonite is apt to become 
porous and conductive in moist air or in sun- 
light. It keeps best when dry and in the dark. 
Heat softens and deforms it. To prevent loss 
of insulation by oxidation of the sulphur, the 
surface should be washed from time to time 
with boiling water, then rinsed with distilled 
water, and dried. The surface should be 
shellaced or paraffined, especially in moist 
climates. 

2. Hard Good Quality.- Best Para rubber, 2 
parts ; sulphur, 1 part, by weight. 

3. American Ebonite.— Rubber, 12 parts; sul- 
phur, 8 parts ; whiting, 1 part ; wash, 1 part, by 
weight. Curing moulds for above : lead, 2 
parts; antimony, 1 part, by weight. 

4. Soft Vulcanized India Rubber.— Para rub- 
ber, 7*5 parts; sulphur, 0*75 parts; lime, 0*01 
parts ; whiting, 7'5 parts ; French chalk, T25 
parts; litharge, 1'5 parts, by weight. 

Ebonizing Wood. See Staining. 
Wood. 

Ebony, Artificial.— 60 parts of charcoal 
obtained from seaweeds previously treated 
with dilute sulphuric acid, and dried, and mix- 
ing it with 10 parts of liquid glue, 5 of gutta 
percha, and 2% of India rubber, care having 
been taken to mix the two latter substances 
with coal oil tar to render them gelatinous; 
then 10 parts of coal tar, 5 of pulverized sul- 
phur, 2 of powdered alum, and 5 of powdered 
resin are added, and the mixture heated to 300° 
F. After having been cooled a substance is ob- 
tained which is equal in many respects to gen- 
uine ebony wood, but is far less expensive, and 
capable of receiving a finer polish. It can only 
be prepared on a large scale. 

Ebony, Imitation. — The wood is im- 
mersed for forty-eight hours in a hot saturated 
solution of alura, and then brushed over sev- 
eral times with a logwood decoction prepared 
as follows; Boil 1 part best logwood with 10 
parts of water, filter through linen and evapo- 
rate at a gentle heat until the volume is re- 
duced one half. To every quart of this add 
from 10 to 15 drops of a saturated solution of 
indigo, completely neutral. After applying 
this dye to the wood, rub the latter with a 
saturated and filtered solution of verdigris in 
hot concentrated acetic acid, and repeat the 
operation until a black of the desired intensity 
is obtained. 

Ebony, to Polish. See Polishing. 

Ectypography. — Etching in relief. 

Edulcoration. — The affusion of water on 
any substance for the purpose of removing the 
portion soluble in that liquid. EdulcOration is 
usually performed by agitating or triturating 
the article with water, and removing the latter 
after subsidence by decantation or filtration. 
It is the method commonly adopted to purify 
precipitates and other powders which are in- 
soluble in water. The washing bottle is a most 
useful instrument for the edulcoration of pre- 
cipitates. 

Effervescence.— The rapid escape of gas in 
small bubbles from a liquid. 



Efflorescence. 



179 



Elaterite. 



Efflorescence.— When a crystallized salt 
parts with its water of crystallization by ex- 
posure to the air, and crumbles into a powder, 
it is said to "effloresce." The spontaneous 
conversion of a crystalline solid into a dry pul- 
verulent form. Crystals which, in a dry at- 
mosphere, lose their water of crystallization 
and become crusted over with a mealy powder 
are said to be efflorescent. 

Egg Drink.— The following* drink for re- 
lieving sickness of stomach was introduced by 
Dr. Halahan, and is very palatable and agree- 
able: Beat up one egg very well, say for 
twenty minutes, then add fresh milk, 1 pt.; 
water, 1 pt.; sugar, to make it palatable; boil 
and let it cool ; drink when cold. If it becomes 
curds and whey it is useless. 

Egg-Nog, or Auld Man's Milk.— Se- 
parate the whites and yelks of a dozen fresh 
eggs. Put the yelks into a basin and beat them 
to a smooth cream with half a pound of finely 
pulverized sugar. Into this stir y% pint of 
brandy, and the same quantity of Jamaica 
rum; mix all well together and add 3 qt. of 
milk or cream, half a nutmeg (grated), and stir 
together. Beat the whites of the eggs to a stiff 
froth ; stir lightly into them 2 or 3 oz. of the 
finest sugar powder, add this to the mixture, 
and dust powdered cinnamon over the top. 

Egg Flip.— Beat up in a bowl y% doz. fresh 
eggs ; add y% lb. pulverized sugar ; stir well to- 
gether, and pour in 1 qt. or more of boiling 
water, about y>, pt. at a time, mixing well as 
you pour it in ; when all is in, add two tumblers 
of best brandy and one of Jamaica rum. 

Eggs, to Tell the Age of. — This method is 
based upon the decrease in the density of eggs 
as they grow old. Dissolve 2 oz. of kitchen 
salt in a pint of water. When a fresh laid egg- 
is placed in this solution it will descend to the 
bottom of the vessel, while one that has been 
laid on the day previous will not quite reach the 
bottom. If the egg be three days old it will 
swim in the liquid, and if it is more than three 
days old it will float on the surface, and pro- 
ject above the latter more and more in pro- 
portion as it is older.— La Nature. 

To Pack Eggs to Keep for Winter.— 1. Dip the 
eggs into a solution of 2 oz. gum arabic in a 
pint of cold water, let them dry and pack in 
powdered, well burned charcoal. 

2. Packing Liquid. — Lime, 1 bushel (slaked 
with water); common salt, 2 or 3 lb.; cream of 
tartar, y> lb.; water, q. s. to form a mixture 
strong enongh to float an egg. Used to pre- 
serve eggs, which it is said it will do for two 
years, by simply keeping them in it. 

3. In the common '•liming 1 ' process a tight 
barrel is half filled with cold water, into which 
is stirred slaked lime and salt in the proportion 
of about y 2 lb. each for every pail or bucket of 
water. Some dealers use no salt, and others 
add a small quantity of niter— *4 lb. to the half 
barrel of pickle. Into this the eggs, which 
must be perfectly fresh and sound, are let down 
with a dish, when they settle to the bottom, 
small end down. The eggs displace the liquid, 
so that when the barrel is full of eggs it is also 
full of the pickle. Eggs thus pickled, if kept 
in a cool place, will ordinarily keep good for 
several months. Long storage in this liquid, 
however, is apt to make the shells brittle and 
impart a limy taste to their contents. This 
may be in a great measure avoided by anoint- 
ing the egg all over with lard before putting 
in the pickle. Eggs thus prepared are said to 
keep perfectly for six months or more when 
stored in a cool cellar. 

4. A much better method of storing eggs is 
the following: Having selected perfectly fresh 
eggs, put them, a dozen or more at a time, into 
a small willow basket, and immerse this for 
five seconds in boiling water containing about 
5 lb. of common brown sugar per gal. of water. 



Place the eggs immediately after on travs to 
dry. The scalding water causes the forma- 
tion of a thin skin of hard albumen next the 
inner surface of the shell, the sugar effectually 
closing all the pores of the latter. 

The cool eggs are then packed, small end 
down, in an intimate mixture of one measure 
of good charcoal, finely powdered, and two 
measures of dry bran. Eggs thus stored have 
been found perfectly fresh and unaltered after 
six months. 

5. A French authority gives the following : 
Melt 4 oz. clear beeswax in a porcelain dish 
over a gentle fire and stir in 8 oz. of olive oil. 
Let the resulting solution of wax in oil cool 
somewhat, then dip the fresh eggs one by one 
into it so as to coat every part of the shell. A 
momentary dip is sufficient, all excess of the 
mixture being wiped off with a cotton cloth. 
The oil is absorbed in the shell, the wax her- 
metically closing all the pores. It is claimed 
that eggs thus treated and packed away in 
powdered charcoal in a cool place have been 
found after two years as fresh and palatable as 
when newly laid. 

6. Pai^affine, which melts to a thin liquid at a 
temperature below the boiling of water, and 
bas the advantage of being odorless, tasteless, 
harmless, and cheap, can be advantageously 
substituted for the wax and oil, and used in a 
similar manner. 

Thus coated and put into the lime pickle the 
eggs may be safely stored for many months; in 
charcoal, under favorable circumstances, for a 
year or more. 

7. Dry salt is frequently recommended as a 
good preservative packing for stored eggs, but 
practical experience has shown that salt alone 
is but little better than dry bran, especially if 
stored in a damp place or exposed to humid 
air. 

8. A mixture of 8 measures of bran with 1 of 
powdered quicklime makes an excellent pack- 
ing for eggs in transportation. 

9. Water glass— silicate of soda— has recently 
been used in Germany for rendering the shells 
of eggs non-porous. A small quantity of the 
clear sirupy solution is smeared over the entire 
surface of the shell. On drying, a thin, hard 
glassy film remains, which serves as an ad- 
mirable protection and substitute for wax, oil, 
gums, etc. Eggs thus coated and stored in 
charcoal powder or a mixture of charcoal and 
bran would keep a very long time. 

10. In storing eggs in charcoal the latter 
should be fresh and perfectly dry. If the eggs 
are not stored when perfectly fresh they will 
not keep under any circumstances. A broken 
egg stored with sound ones will sometimes en- 
danger the whole lot. In packing, the small 
end of the egg should be placed downward; if 
in charcoal or other powder they must be 
packed so that the shell of one egg does not 
touch that of another, the interspaces being 
filled with the powder. 

Under all circumstances stored eggs should 
be kept in as cool a place as possible. Frequent 
change of temperature must also be avoided. 

Elaterite, Elastic Bitumen.— A min- 
eral pitch occurring in fungoid masses. It 
looks much like India rubber, and effaces lead 
pencil marks, hence it obtained the name of 
mineral caoutchouc. 

Elderberry Wine. See Wines. 

Electric Machines, Amalgam for. See 
Amalgams. 

Electro-Chemical Printing Solution 
(Bain's).— Saturated solution of potassium fer- 
ro-cyanide 1 vol., water 2 vols.; or, saturated 
solution of ammonium nitrate 1 vol., water 
2 vols. 

Electrolytic Classification of Ele- 
ments.— This table indicates the electric rela- 
tions of simple or elementary bodies to each 



Electro-Metallurgy. 



180 



Electro-Metallurgy. 



other, but is subject to modifications, and in- 
deed, reversal of order, according to the nature 
of the exciting- fluid in which the pairs of ele- 
ments may be immersed. In the first column 
of negative bodies each element is to be con- 
sidered negative to all below, and positive to 
all above it, and the same applies to the second 
column of positive bodies. The elements are 
therefore negative or positive only in relation 
to each other. 

Electro-Negative Elements. 



Oxygen. 


Iodine. 


Carbon. 


Sulphur. 


Phosphorus. 


Antimony. 


Selenium. 


Arsenic. 


Tellurium. 


Nitrogen. 


Chromium. 


Titanium. 


Fluorine. 


Vanadium. 


Silicon. 


Chlorine. 


Tungsten. 


Hydrogen. 


Bromine. 


Boron. 




Electro-Positive Elements. 


Potassium. 


Uranium. 


Tin. 


Sodium. 


Manganese. 


Bismuth. 


Lithium. 


Zinc. 


Copper. 


Barium. 


Iron. 


Silver. 


Strontium. 


Nickel. 


Mercury. 


Calcium. 


Cobalt. 


Palladium. 


Magnesium. 


Cadmium. 


Platinums 


Aluminum. 


Lead. 


Gold. 

— Watt 



Electro - Metallurgy. — Electro - metal- 
lurgy has two departments, which are distin- 
guished by the preparation of the surfaces to 
be coated. 

Electro-plating is the production of adhesive 
deposits, and depends on the absolute clean- 
ness of the metal surface coated. This will be 
treated first. 

Electrotyping is the production of remov- 
able deposits from either non-metallic moulds 
or from metal surfaces, whose cleanness is de- 
stroyed either by black-leading or by rubbing 
with turpentine containing a trace of wax. 
The preparation of the objects depends (1) 
upon class of deposit required; (2) upon the 
nature of the object itself. In all cases, ordin- 
ary dirt, rust, etc., must be removed, as the 
deposit reproduces every feature of the sur- 
face, even to a finger mark. 

Cleansing.— Copper, brass, zinc and the noble 
metals are cleaned by the suitable acids which 
act on them. Such cleaning solutions may be 
prepared for different metals as follows: 



For copper and 

brass 

Iron 

Iron (cast) 

Zinc 

Silver 







Sul- 


Water. 


Nitric. 


phuric. 


100 


50 


100 


100 


3 


8 


100 


3 


12 


100 




10 


100 


10 





Hydro- 
chloric. 

2 
2 
3 



It is best to make two such solutions,* one 
being reserved for a final dip, during- which a 
strong action occurs upon the surface. As this 
becomes weaker it can be used for the first 
cleansing, accompanied by occasional rubbing 
with sand, etc., according to the nature of the 
object. 

Lead, tin and pewter must not be placed in 
acid, but are cleaned by aid of caustic soda. 

Objects must be carefully freed from acids if 
they are to be transferred to silver or gold 
solutions, but less care is necessary for objects 
cleaned in soda, nor is the same care necessary 
in transferring objects cleaned in acids to an 
acid coppering solution. In such cases the best 
plan is to dip into clean water and at once 
transfer to the depositing cell. 

Cleansing and Preparing Objects for Electro- 
plating.— The first and most important opera- 
tion in the electro-deposition of one metal upon 
another is to effect a thorough chemical cleans- 
ing of the surface of the metal upon which 



the coating is to be deposited, for if this is not 
accomplished the deposited metal will not ad- 
here to the surface. 

In cleansing, different metals usually require 
a somewhat different treatment. 

The surface of most metals when clean soon 
becomes coated with a film of oxide when ex- 
posed to the air, especially when the surface 
exposed is wet, and to avoid this it is usually 
necessary to proceed with the plating immedi- 
ately after cleansing. 

Before proceeding to cleanse the articles they 
are usually "trussed" with copper wire to avoid 
the necessity of handling them during the 
operation or afterward, until the plating is 
finished. A very slight contact with the hand 
is often sufficient to make a second cleansing 
necessary. 

If the article to be plated presents a smooth 
finished or polished surface the deposit will be 
" bright. 1 ' If, on the contrary, the surface is 
rough or unpolished, the deposit will ordinarily 
have a dead luster. If left too long in the acid 
dips used in cleansing, the polished surface is 
apt to have its finish deadened. 

No interval should be allowed between the 
various operations of cleansing. 

Cleansing Copper and Copper Alloys. 

Potash, caustic lib. 

- Water, soft 1 gal. 

Heat nearly to boiling in a cast iron pot pro- 
vided with a cover. 

Brush to remove any loosely adhering foreign 
matters, truss and suspend for a time in the hot 
lye; usually a few minutes will suffice if the 
article is not heavily lacquered. If any of its 
parts are joined with solder it should not be al- 
lowed to remain too long immersed, as the 
caustic liquid attacks solders and their solution 
blackens copper. On removing, rinse thor- 
oughly in running water. 

If the articles are much oxidized, pickle in a 
bath composed of — 

"Water 1 gal. 

Sulphuric acid 1 pt. 

until the darker portion is removed. Rinse in 
running water and dip in the following sol- 
ution : 

Water, soft 1 gal. 

Cyanide of potassium, common. . .8 oz. 

Remove from the bath and quickly go over 
every part with a brush and fine pumice stone 
powder moistened with the cyanide solution. 
Some electroplaters prefer to give the articles 
a preliminary "brightening 1 ' dip in nitric acid, 
or a mixture of nitric and sulphuric acids and. 
salt, followed by rinsing in water, but the 
cyanide, aided by the mechanical action of the 
pumice and brush, does very well without it in 
most cases. After the scoui'ing dip the work 
momentarily in the cyanide solution, rinse 
quickly in running water, and transfer im- 
mediately to the plating bath. 

Where the article is to receive a deposit of 
gold or silver its surface is usually softened by 
slightly amalgamating it with mercury, to in- 
sure perfect adhesion of the deposited metal. 

The amalgamating is performed by dipping 
the article, after the cyanide scouring opera- 
tion, for a few seconds in a solution of — 

Mercuric nitrate.. \ oz. 

Sulphuric acid . . . \ oz. 

Water 1 gal. 

Stir until the solution becomes clear before 
using. Rinse the work quickly on coming from 
the mercury dip, and transfer to the plating 
solution. 

The acid, cyanide and mercury dips maybe 
kept in glass or stoneware jars (avoid jars with 
lead glazing) provided with covers to prevent 
evaporation. 



Electro-Metallurgy. 



181 



Electro-Metallurgy. 



A "dead luster" is imparted to articles of 
copper or copper alloy by dipping them for a 
few minutes in a bath composed of — 

Nitric acid (36°) 201b. 

Sulphuric acid (66°) 10 ' 

Salt rV t 

Zinc sulphate tts 

Mix the acids gradually, add the zinc salt, then 
the salt, a little at a time (out-of-doors to avoid 
the acid vapors), stir well together, and let it 
get cold before using. Rinse thoroughly, and 
pass through the cyanide before putting in the 
plating bath. 

Cleansing Cast Iron. 
Cast iron is freed from grease, etc., by dip- 
ping in hot alkali solution used for a similar 
purpose with copper, and after rinsing thor- 
oughly is pickled in water containing abut If, 
of sulphuric acid for several hours; then rinsed 
in water and scoured with fine sharp sand or 
pumice and a fiber brush. It is then rinsed and 
returned to the acid pickle for a short time, 
rinsed again and put into the plating bath di- 
rectly. If more than If, of acid is used in the 
pickle the time of immersion must be short- 
ened, otherwise the iron will be deeply cor- 
roded, and the carbon which the metal contains, 
and which is not affected by the acid, will not 
yield without a great deal of labor to the sand 
and brush. 

Cast iron does not gild or silver well by direct 
deposit. Copper or bronze deposits are better, 
though not perfect; but if the iron is tinned 
the coat is adherent and will readily receive 
the other metals. 

Cleansing Wrought Iron. 

The cleansing of wrought iron, if much ox- 
idized, is effected in the same manner as cast 
iron; but it will bear a stronger pickle and a 
longer exposure. Whitened, filed, or polished 
iron may be treated like steel. 

Cleansing Steel. 

Dip in the caustic lye used for copper, etc., 
rinse thoroughly, scour with pumice powder 
moistened, rinse and pass through the follow- 
ing dip: 

Water 1 gal. 

Hydrochloric acid 4 lb. 

Rinse quickly (but thoroughly) and plunge in 
the bath. 

Clean wrought iron and steel gild well with- 
out an intermediary coating in hot electro gild- 
ing baths. It is difficult to obtain an adherent 
coating of silver on these metals without inter- 
posing an intermediate coating of copper or 
brass, which renders the further operation of 
silver plating easy. 

Cleansing Zinc, Tin and Lead. 

- Zinc is cleansed by dipping for a few moments 
only (as the alkali quickly attacks the metal) in 
the hot potash lye, rinsing and dipping into 
water containing about lOf, of sulphuric acid 
for a few minutes. Rinse in plenty of hot 
water, and, if necessary, scour with pumice 
stone powder and a stiff brush, moistened with 
a weak cyanide solution or scratch brush. This 
last operation is especially useful when parts 
have been united with tin solder. 

Tin, lead and the alloys of these metals are 
more difficult to cleanse perfectly than zinc or 
iron. Scour rapidly with the hot potash and 
brush, rinse quickly and brush, or dress with a 
piece of soft clean wood. It is very difficult to 
obtain a satisfactory deposit of gold or silver 
directly upon these metals or their alloys. The 
results are much better if a coating of pure 
copper is interposed. 

Scratch Brushing. 

The scratch brush is often resorted to to re- 
move the dead luster on or to impart a smooth 
surface to an object. They are usually made of 
brass or steel wire, and of a variety of shapes 



to suit the object. Some of the forms are shown 
in the annexed cut. 

The wheel brushes are used on the lathe, the 
objects being manipulated in contact with the 




rapidly revolving brush. The brush is usually 
kept moistened by a small stream of water 
while in use. 

Dipping Acid.— This name is given to a mix- 
ture which is frequently used for imparting a 
bright surface to brass work. When required 
for dipping brass work preparatory to nickel- 
plating it is commonly composed of : Sulphuric - 
acid, 4 lb. ; nitric acid, 2 lb. ; water, 2 qt. In 
making the above mixture the nitric acid is first 
added to the water, and the sulphuric acid (or- 
dinary oil of vitriol) is then to be gradually 
poured in, and the mixture stirred with a glass 
rod. When cold it is ready for use. The mix- 
ture should be kept in a stoneware vessel, 
which should be covered with a sheet of stout 
glass. The dipping should always be conducted 
either in an outer yard or near a fireplace, so 
that the fumes may escape, as they are exceed- 
ingly irritating to the lungs when inhaled. The 
instant the articles are removed from the dip- 
ping bath, they should be plunged in a vessel of 
water. 

Pickling Bath.— Cast iron before being nick- 
eled requires to be placed in a cold acid solution 
or " pickle " to dissolve or loosen the oxide 
from its surface. The pickle may be prepared 
in a wooden tub or tank from either of the fol- 
lowing formula? : Sulphuric acid (oil of vitriol), 
Vz lb. ; water, 1 gal. Cast iron work immersed 
in this bath for twenty minutes to half hour 
will generally have its coating of oxide suffi- 
ciently loosened to be easily removed by means 
of a stiff brush, sand and water. When it is de- 
sired that the articles should come out of the 
bath bright instead of the dull black color 
which they present when pickled in the plain 
sulphuric acid bath the following formula may 
be adopted : Sulphuric acid, 1 lb. ; water. 1 gal. 
Dissolve in the above 2 oz. of zinc, which may 
conveniently be applied in its granulated form. 
When dissolved add y% lb. of nitric acid and mix 
well. 

The greatest care should be used in cleansing 
or pickling before nickeling. The fine iron 
work which is made at Wernigerode and other 
places in the Hartz Mountains, is believed to be 
cleansed in this manner. Work of this class is 
inexpensive and is very artistic. 



Electro-Metallurgy. 



182 



Electro-Metallurgy. 



Deposition Jnj Simple Immersion, Tabular Examples of. 



Solution. 



Antim. terchloride 
Bismuth chloride. . 
Copper sulphate. . . 

Copper nitrate 

Copper chloride 
Copper dichloride. 

Gold terchloride 

Gold double cyanide 
Mercury nitrate... 
Mercurous salts... 
Platinum chloride. 
Lead nitrate acetate 

Silver nitrate 

Sil v alcoholic nitrate 
Silv. double cyanide 

Tin chloride 

Zinc salts 

d. Deposition. 



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n. No deposition. 



References. 

o. Not observed, 



d. Quickly deposited. 



Aluminum.— 1. Aluminum may be deposited 
on copper from a dilute solution of the double 
chloride of aluminum and ammonia. 

2. Aluminum is one of the most difficult and 
uncertain of metals to deposit electrolytically. 
The following- recipe is given by Herman Rein- 
bold, who states that it furnishes excellent re- 
sults: Fifty parts by weight of alum are dis- 
solved in 300 of water and to this is added 10 
parts of aluminum chloride. The solution 
is heated by 200° F., and when cold 39 parts of 
cyanide of potassium are added. A feeble cur- 
rent should be used. 

3. Dissolve in distilled water the required 
quantity of aluminum, either the sulphate, 
muriate, nitrate, acetate or cyanide. Concen- 
trate this solution to 20° Baume. Use 3 pairs 
Bunsen's zinco-carbon cells, connected for in- 
tensity. Attach an anode of aluminum to the 
negative wire. Acidulate the solution slightly 
with the appropriate acid heated to 140° F. 
Keep the solution at this temperature during 
the operation. 

Antimony, Deposition of. — The galvanic de- 
position of antimony having been specially 
studied by Mr. Gore, we will borrow from him 
the description of the processes employed. 

Antimony may be deposited by simple im- 
mersion and by means of an electric* current ; 
in the latter case the metal may not only be 
obtained in a state of loose black powder, but 
also in two distinctly different coherent regu- 
line conditions, viz., as a very brittle metal 
of a gray slate color and hard crystalline struc- 
ture ; and also in a highly lustrous steel-black 
deposit of amorphous structure. 

The solution used for obtaining the pure 
gray metal is composed of — 

Distilled water 350 grm. 

Tartar emetic 30 " 

Tartaric acid 30 " 

Pure hydrochloric acid 45 " 

It is not a good conductor and should be used 
with a current of about 1 volt, so as to deposit 
about 1 millimeter per week. 

For obtaining a bright shining deposit the 
following solution can be used: 

Sulphate of antimony 500 grm. 

Potassic carbonate 1 kilo. 

Water 8 liters. 

Bismuth may be deposited from a slightly 
acid solution of the double chloride of bismuth 
and ammonia. 



Brassing Solutions, De Salzede's. Processes. 
— 1. Cyanide of potassium, 12 parts ; carbonate 
of potassium, 610 parts; sulphate of zinc, 48 
parts ; chloride of copper, 25 parts ; nitrate of 
ammonia, 305 pa*rts; water, 5,000 parts. The 
cyanide is to be dissolved in 120 parts of the 
water, and the carbonate of potash, sulphate of 
zinc, and chloride of copper, are to be dissolved 
in the remainder of the water, the temperature 
of which is to be raised to about 150° F. When 
the salts are dissolved, the nitrate of ammonia 
is to be added, and the mixture well stirred 
until the latter is all dissolved. The solution 
should be allowed to stand for several days 
before using, and the clear liquor separated 
from any sediment that may have deposited at 
the bottom of the vessel. 

2. Cyanide of potassium, 50 parts ; carbonate 
of potassium, 500 parts; sulphate of zinc, 35 
parts; chloride of copper, 15 parts; water, 5,000 
parts. This solution is to be made up in the 
same way as No. 1. 

3. Bronzing Solution. This solution is the 
same as No. 1, except that 25 parts chloride of 
tin are substituted for the sulphate of zinc. 

4. Bronzing Solution. This is the same as No. 
2, with the exception that 12 parts chloride of 
tin are substituted for the sulphate of zinc. 
This solution is worked warm, that is, at about 
97° F. 

Electro Deposition of Brass.— 5-17. Brass has 
been deposited from a great variety of brass- 
ing solutions, as will be seen by reference to the 
annexed table. Among the first attempts to 
deposit brass, may be mentioned that of M. De 
Ruolz in 1841, who employed a mixed solution 
of the double cyanides of copper, zinc, and 
potassium. Cyanide of potassium forms an 
important ingredient in the majority of brass- 
ing solutions, but ammonia in some form is also 
necessary to keep the solutions in working 
order. 

The following general conditions are to be 
observed in making up the solutions according 
to the proportions given in the foregoing 
table. Fluid ounces of liquids are intended and 
ounces avoirdupois for the solids. When potas- 
sium carbonate (carbonate of potash) is to be 
used, the copper and zinc salts are first dis- 
solved in water and then precipitated as car- 
bonates from this solution by adding a portion 
of the potassium carbonate. Where the sign 
q. s. is given in the foregoing. table, a sufficient 
quantity of the ammonia or cyanide must be 



Electro-Metallurgy, 



183 



Electro-Metallurgy. 









Table of Brassing Solutions. 














1. 


2. 


3. 


4. 


5. 6. 


7. 


8. 


9. 


10. 


11. 


12. 




1280 
5 


5000 


3200 


5000 


5000 


800 
160 


160 


160 


250 


1000 


160 


160 
























2 








10 


16 


25 


15 




















2 


2 


1 


25 




4 




























16 

























1 






2 


















1 




.Zinc sulphate. 


10 


20 


32 


48 


as 






8 




30 




5 




160 








Potassium carbonate .... 




160 
24 


400 


610 
12 


500 
50 








q. S. 


"I" 




Potassium cyanide 


8 
72 
50 


q. S. 


15 


16 


18 


q.s. 


Ammonia liquid 


q. s. 




















• 


Ammoniate carbonate. . . 








16 










Ammonia nitrate 






200 


305 
















Soda carbonate. 
















200 
50 


4 

4 

1/20 


45 






















Wz 

















































added to produce the desired effect, ammonia 
being- generally employed to dissolve the pre- 
cipitates, forming a deep blue liquid, and cyan- 
ide being used until the blue color has all dis- 
appeared. Both are employed as solvents to 
the anodes, which will not freely dissolve un- 
less one or both are present in the solution. 
Even when a brassing solution is made up 
without the use of cyanide and ammonia, it is 
necessary to add them afterward to keep the 
solutions in working order, as the ammonia 
alone does not freely dissolve the copper of the 
anode, and cyanide alone does not dissolve the 
zinc oxide formed on the anode. The follow- 
ing details apply to each numbered solution in 
the foregoing table. 

1. Dissolve all the salts separately in portions 
of the water ; add the ammonia in equal parts 
to the solutions of the copper and zinc salt 
with stirring; mix the copper and zinc solu- 
tions together, then add the caustic potash 
solution and lastly the cyanide solution; stir 
well at frequent intervals during the next 
twelve hours, then allow the solution to rest a 
short time before working it. 

2. Dissolve all the salts separately; pour 
enough potash solution into the solutions of 
copper and zinc to precipitate all the metal ; 
add ammonia until the precipitate has been 
dissolved ; decolorize with the cyanide, then 
add remainder of potash and water. 

3. Dissolve all separately; mix copper, zinc 
and potash solutions, then add the nitrate of 
ammouia. 

4. Proceed in a similar manner as for No. 3 
solution. 

5. Proceed in a similar manner as for No. 3 
solution. 

6. Dissolve all the salts ; add the cyanide so- 
lution to the others with stirring;. 

8. Dissolve all the salts in distilled water, 
mix together and add 2 oz. of sal ammoniac. 

9. Dissolve all the salts separately, then mix 
together 

10. Dissolve the copper and zinc salts and 
mix the solutions; add a solution of 100 parts 
of the carbonate of soda and stir well together ; 
when the precipitate has subsided, pour off the 
clear liquor, wash the precipitate, add the re- 
mainder of the carbonate of soda together 
with the bisulphite of soda previously dis- 
solved in water, then add enough cyanide to 
dissolve the precipitate. 

11. Dissolve the zinc and copper salts in 
water, then add the other ingredients. Dissolve 
the arsenious acid in the hot cyanide solution 
before adding it to the other solutions. 

12. Dissolve the copper and zinc salts in 1 gal. 
of water and precipitate them as carbonates 
with 30 oz. of carbonate of soda ; drain off all 



oz. 



the liquid, wash the precipitate, add the car- 
bonate and bisulphite of soda, then stir in 
enough cyanide to make a clear solution. 

18. The Brass Haths. — Where the ordinary 
cheap commercial cyanide is employed, the fol- 
lowing answers very well : 

Sulphate of copper 4 oz. 

Sulphate of zinc 4 to 5 oz. 

Water 1 gal. 

Dissolve and precipitate with 30 oz. carbon- 
ate of soda; allow to settle, decant the clear 
liquid, and wash the precipitate several times 
with fresh water— after as many settlings. 
Add to the washed precipitates : 

Carbonate of soda 15 oz. 

Bisulphite of soda 7Hj oz. 

Water 1 gal. 

Stir to effect solution of these last two, then 
stir in ordinary cyanide of potassium until the 
liquid becomes clear and colorless. Filter if 
much iron or iron oxide (derived from impure 
zinc salt and cyanide) remains suspended in 
the liquid. An additional }/% oz. or so of the 
cyanide improves the conductivity of the solu- 
tion. 

19. Cold Brass Bath for all Metals. 

Carbonate of copper (recently \ » 

prepared) j 

Carbonate of zinc 2 "" 

Carbonate of soda 4 " 

Bisulphite of soda 4 

Cyanide of potassium (pure) 4 

Arsenious acid g 1 ^ " 

Water 1 gal. 

Filter if necessary. 

The arsenious acid is added to brighten the 
deposit— an excess is apt to give the metal a 
grayish white color. 

20. Management of the Bath. 

The losses of the bath are 1 to be repaired by 
the addition of copper and zinc salts (and arse- 
nious acid) dissolved in fresh cyanide and 
water. 

The operator determines the requirements 
from the rapidity of the deposit, its condition, 
color, etc. 

The difficulty in brass electroplating, espe- 
cially with small baths, is in keeping the uni- 
formity of the color of the deposit, as the elec- 
tric current, having to decompose two salts, 
each offering a different resistance, must, ac- 
cording to its intensity, vary the color and 
composition of the deposit. A feeble current 
principally decomposes the copper salt and re- 
sults in a red deposit; while too great intensity 
in the current decomposes the zinc salt too 
rapidly and the deposit is a white or bluish 



Electro-Metallurgy. 



184 



Electro-Metallurgy. 



white alloy. If the deposit has an earthy or 
ocherous appearance, or if the liquid is blue or 
greenish, the solution is deficient in cyanide. 
When in proper working order the liquor is 
colorless. If the coating becomes dull and un- 
equal, a slight addition of arsenious acid will 
usually improve it. 

If the deposit is too red, use more battery 
power or add more zinc salt; if too white, de- 
crease the current or add more copper salt. 
The specific gravity of the bath may vary from 
5° to 12° Baume; when it exceeds this latter 
gravity it should be diluted with fresh water 
to decrease the electric resistance. 

If the brass deposit is irregular, remove the 
articles^f rom'the bath, rinse, scratch-brush, and 
put again into the bath until the color and 
thickness of the deposit are satisfactory. 
Scratch-brush again, and, if necessary, rinse 
in hot water, dry in warm white wood sawdust, 
and put in the stove room. The last three 
operations are indispensable for hollow pieces. 

In the disposition of the brass plating bath 
it is always necessary to have all the articles 
suspended at about equal distances from the 
anodes. 

The bath may be subdivided by several 
anodes, forming partitions, so that each loaded 
rod is between two anodes. 

The anodes should always be removed when 
the bath is not in use. 

In order that the brass electroplating of zinc 
or copper may be lasting the deposit must not 
be too thin, and must be scratch-brushed, 
washed in lime water, and dried in the stove 
room. 

Generally ten to twenty-five minutes' expos- 
ure in the bath suffices in ordinary practice to 
throw on a good coating. Cast and wrought 
iron, lead and its alloys require a bath richer 
in the metals than when brass plating zinc or 
its alloys. The battery power should also be 
greater. For lead the bath works better warm 
(at about 90° F.). When once placed in the 
brass bath articles should not be moved about, 
as there is a tendency under such circumstances 
to the formation of a red deposit. 

In brass plating wire the hot bath is usually 
employed. As before mentioned, the vessel 
containing the bath usually consists in an 
oblong open iron boiler, lined with sheet brass 
anodes, and heated by fire, steam, or hot water. 
A stout copper or brass rod in the direction of 
the length of the boiler rests upon the edges, 
from contact with which it is insulated by 
pieces of rubber tubing. The rod is connected 
with the zinc pole of the battery. The binding 
wires are removed from the coil, the wires 
loosened, and the ends bent together into a 
loop. The wire is then dipped into a pickle of 
dilute sulphuric acid, and hung upon, a stout 
round wooden peg fastened in the wall, so that 
the coil may be made to rotate easily. After a 
scrubbing with wet sharp sand and a hard 
brush the coil is given a primary coating of 
copper. It is then suspended to the horizontal 
rod, where only a part of the coil at a time 
dips into the solution and receives the deposit. 
The coil is then turned now and then one-half 
or one-fourth of its circumference. By dipping 
the coil entirely into the liquid the operation is 
not so successful. 

The wires are washed, dried in sawdust, and 
then in the stove room, and lastly passed 
through a draw plate to give them the fine 
polish of true brass wires. 

The temperature at which the hot bath is 
commonly used varies between 130° and 140° F. 

21. Sulphate of copper, 4 oz. ; sulphate of 
zinc, 4 to 5 oz. ; water, 1 gal. Dissolve and pre- 
cipitate with 30 oz. of carbonate of soda ; allow 
to settle, pour off the clear liquid and wash the 
precipitate several times in fresh water. Add 
to the washed precipitate carbonate of soda, 15 
oz. ; bisulphite of soda, 1}4 oz. ; water, 1 gal. 
Dissolve the above salts in the water, assisting 
the solution by constant stirring ; then stir in 



ordinary cyanide of potassium until the liquid 
becomes clear and colorless. Filter the solu- 
tion, and to improve the conductivity, an ad- 
ditional Yo, oz. of cyanide may be given. 

22. Russell & Woolrich's Process.— A solution 
is made of the following : Acetate of copper, 10 
lb.; acetate of zinc, 1 lb. ; acetate of potassium, 
10 lb.; water, 5 gal. The salts are to be dissolved 
in the water, and as much of a solution of 
cyanide added as will first precipitate the 
metals and afterward redissolve the precipi- 
tate. An excess of cyanide is then to be added 
and the solution set aside to settle as before. 
A brass anode or one of zinc and another of 
copper may be used. 

23. Wood's process consists in making a solu- 
tion as follows : Cyanide of potassium (troy 
weight), 1 lb. ; cyanide of copper 2 oz. ; cyanide 
of zinc, 1 oz. ; distilled water, 1 gal. When the 
ingredients are dissolved add 2 oz. sal-am- 
moniac. For coating smooth articles, it is 
recommended to raise the temperature of the 
solution to 160° F., using a strong current. 

24. Morris & Johnson's Process.— A solution 
is made by dissolving in 1 gal. of water cyanide 
of potassium, 1 lb.; carbonate of ammonia, 1 
lb. ; cyanide of copper, 2 oz.; cyanide of zinc, 1 
oz. The solution is to be worked at a tempera- 
ture of 150° F., with a large brass anode and a 
strong current. 

^Bronze Baths.— 1. Potassic cyanide,50 parts; po- 
tassic carbonate, 500 parts; tin chloride, 12 parts; 
cupric chloride, ]5 parts; water, 5,000 parts. 
This bath is used at a temperature not exceed- 
ing 36° C. 

2. Bronzing Electro Brassed Work, Green 
Bronze.— Mix into a paste with water the fol- 
lowing substances: Chromate of lead (chrome 
yellow), 2 oz.; Prussian blue, 2 oz.; plumbago, 
y% lb.; sienna powder, J4 lb.; lac carmine, J4 lb. 
When applying the above composition a small 
quantity of sulphide of ammonium or chloride 
of platinum solution may be added. 

3. Solutions for Depositing Brass or Bronze; 
Dr. Heeren's Process.— A brassing solution 
may be prepared by employing a large excess 
of zinc to a very small proportion of copper as 
follows: Sulphate of copper, 1 part; sulphate 
of zinc 8 parts; cyanide of potassium, 18 parts. 
The ingredients are to be dissolved in separate 
portions of warm water. The copper and zinc 
solutions are to be mixed and the cyanide so- 
lution then added, when 250 parts of -distilled 
water are to be added and the mixture well 
stirred. The bath is to be used at the boiling 
temperature with two Bunsen cells. By this 
process, it is said that very rapid deposits of 
brass have been obtained upon articles of cop- 

• per, zinc, Britannia metal, etc. 

4. French Method of Bronzing Electro-brassed 
Zinc Work; Steel Bronze.— This is obtained by 
moistening the articles with a dilute solution 
of chloride of platinum and slightly heating 
them. Since this bronze is liable to scale off 
with friction, it should not be applied in suc- 
cessive doses, but the solution used should be 
of such a strength that the desired effect may 
be obtained if possible by a single application. 
Copper bronze, that is electro-brass with an ex- 
cess of copper, may be darkened by dipping it 
into a warm and weak solution of chloride of 
antimony (butter of antimony) in hydrochloric 
acid. Sometimes the color will be violet in- 
stead of black. 

5 .French Method of Bronzing Electro-brassed 
Zinc Work; Green or Antique Bronze.— Dis- 
solve in 100 parts of acetic acid or in 200 parts 
of good vinegar, 30 parts of carbonate of am- 
monia or sal-ammoniac, and 10 parts each of 
common salt, cream of tartar and acetate of 
copper and add a little water. Mix well and 
smear the object with it, and allow it to dry at 
the ordinary temperature, from twenty- four 
to forty -eight hours. At the end of that time 
the article will be found to be entirely covered 
with verdigris, which presents various tints. It 
is then to be brushed^ but more especially the 



Elect ro-^Ietallurgy. 



185 



Electro-ITIetalliirgy. 



prominent parts, with a waxed brush, that is a 
brush passed over a lump of yellow beeswax. 
The relief parts may then be "set oft" with 
hematite, chrome yellow, or other suitable 
colors. Light touches with ammonia impart a 
blue shade to the green parts; carbonate of 
ammonia deepens the color. 

Cadmium has been electro deposited from a 
solution of the double cyanide of cadmium and 
potassium. 

Cobal t, to Electroplate Metals icitft.—l. The for- 
mulae for nickel plating may be used for cobalt, 
by substituting cobalt salts for nickel, where 
these are mentioned. 

2. Cobalt may be electro deposited from an 
alkaline solution of the double sulphate of co- 
balt and ammonia. 

Copper, Alkaline Copper Solution.— 1. The best 
alkaline copper solution is that introduced by 
Mr. A. Watt, and subsequently modified by Mr. 
J. T. Sprague. Dissolve 8 oz. of copper sul- 
phate in 1 qt. hot rain water and set aside to 
cool. When cool, add liquid ammonia, while 
stirring Avith a stick or glass rod. At first a 
green precipitate will fall, and then this will 
dissolve on adding more ammonia, until the 
whole solution assumes a lovely blue tint. Dil- 
ute this with an equal bulk of cold rain water, 
and add to it enough solution of potassium 
cyanide, while stirring, to destroy the fine 
blue color of the ammonia sulphate and give the 
color of old ale to the solution. Set this aside 
for a few hours, then pass it through a calico 
filter and make it up to a gallon of solution 
with rain water. This solution may be worked 
cold, but the rate of deposition is increased 
and the deposited copper of improved quality 
when the solution is heated to a temperature of 
from 110° to 130° F. 

2. Electro-coppering Flowers, Insects, etc.— 
To render non-metallic substances conductive 
(Parkes). 

a. A mixture is made from the following in- 
gredients : Wax or tallow, 1 oz. ; India rubber, 
1 drm. ; asphalt, 1 oz. ; spirit of turpentine, 
V/% fl. oz. The India rubber and asphalt are to 
be dissolved in the turpentine, the wax is then 
to be melted, and the former added to it and 
incorporated by stirring. To this is added 1 oz. 
of a solution of phosphorous in bisulphide of 
carbon in the proportion of 1 part of the 
former to 15 parts of the latter. The articles 
being attached to a wire are dipped in this 
mixture ; they are next dipped in a weak solu- 
tion of nitrate of silver, and when the black 
appearance of the silver is fully developed the 
article is washed in water ; it is afterward 
dipped in a weak solution of chloride of gold 
and again washed. Being now coated with a 
film of gold, it is ready for immersion in the 
copper bath. 

b. Wax and deer's fat, of each J4 lb. Melt to- 
gether and add phosphorous 10 grs., dissolved 
in bisulphide of carbon, 150 grs. The wax 
mixture must be allowed to become nearly 
cool, when the phosphorous solution is to be 
added very carefully through a tube dipping 
under the surface of the mixture. Stir thor- 
oughly. Moulds prepared from this composition 
are rendered conductive by being first dipped 
in a solution of nitrate of silver, then riused, 
and afterward dipped in a weak solution of 
chloride of gold, and again washed, when they 
are ready for the coppering solution. 

3. To Color Copper andKickel Plated Objects. 
—The Journatdes Applications Elcctriquc* says 
that eleven different colors may be communi- 
cated to well cleaned copper and eight to nickel 
plated objects, by means of the following bath: 

Acetate of lead 300 grn. 

Hyposulphite of soda 600 grn. 

Water 1 qt. 

After the salts are dissolved, the solution is 
heated to ebullition, and the metal isafterward 
immersed therein. At first a gray color is ob- 
tained, and this, on the immersions being con- 



tinued, passes to violet, and successively to 
maroon, red, etc., and finally to blue, which is 
the last color. 

As the substances that enter into the compo- 
sition of the solution cost but a few cents, the 
process is a cheap one. It is especially appli- 
cable in the manufacture of buttons. 

4. Water 1000 parts. 

Acetate of copper (crystallized) 20 parts. 

Carbonate of soda 20 parts. 

Bisulphite of soda 20 parts. 

Cyanide of potassium (pure).. 20 parts. 

First mix the acetate of copper with just 
enough water [to make a paste, then add the 
carbonate of soda and 200 parts water; after 
stirring add the bisulphite of soda and 200 parts 
water, and finally the rest of the water and the 
cyanide of potassium. If the liquid appears 
blue, add enough cyanide to decolorize it. 

5. Copper Deposits.— Where it is intended to 
simply coat Or plate another metal or alloy, the 
electro deposit of copper is usually obtained by 
the decomposition of a double salt, such as the 
cyanide of copper and potassium. This process 
is adapted to most metals, and affords a fine 
uniform deposit. The following is a good bath 
of this description : 

Water (soft) I gal. 

Acetate of copper (cryst.) 3^ oz. 

Carbonate of soda (cryst.) d]4 oz. 

Bisulphite of soda 3 oz. 

Cyanide of potassium (pure) 1)4. oz. 

Moisten the copper salt with water to form a 
paste (otherwise it is apt to float on the liquid ; 
stir in next the carbonate of soda with a little 
more water, then the bisulphite, and finally the 
cyanide with the rest of the water. When solu- 
tion is complete the liquid should be colorless. 
If not, add cyanide until it is. 

The bath may be employed hot or cold, and 
requires a moderately strong circuit of elec- 
tricity. A copper plate forms the anode, and it 
should expose surface enough to supply the loss 
of copper— at least a surface equal to that of 
the Avork. It must be removed when the bath 
is not in use. 

If the liquid becomes colored, more cyanide 
mnst be added. 

Large pieces are generally kept hanging 
motionless in the bath while the plating is in 
progress; small articles are moA^ed about as 
much as possible, especially if the bath is 
Avarm. 

The formula for the bath giA r en aboAe re- 
quires pure cyanide of potassium, and where 
the commercial article, which is often \-ery 
impure, is used instead, considerable allowance 
must be made. The following formula? require 
a cyanide containing 70 to ~tb% (a good average) 
of pure potassium cyanide. 

6. Cold Bath for Iron and Steel.— 

Acetate of copper 3 oz. 

Carbonate of soda 6i oz. 

Bisulphite of soda 3£ oz. 

Cyanide of potassium 3£ oz. 

Water 1 gal. 

Aqua ammonia 2£ fl. oz. 

Prepare as before. 

7. Warm Bath. 

Acetate of copper 3^ oz. 

Carbonate of soda 3£ 4 ' 

Bisulphite of soda 1£ ' k 

Cyanide of potassium 4£ " 

Water 1 gal. 

Aqua ammonia If fl. oz. 

8. Hot or Cold Bath for Tin, Cast Iron, or 
Large Zinc Pieces. 

Acetate of copper 12}4 oz. 

Bisulphite of soda 10 

Cyanide of potassium 18 " 

Water 5% gal. 

Ammonia (aqua) 7 fl. oz. 



Electro-Metallurgy. 



186 



Electro-Metallurgy. 



9. For small articles of zinc, which are cop- 
pered in a perforated ladle and in nearly boiling- 
baths : 

Acetate of copper 16 oz. 

Bisulphite of soda 3J^ " 

Cyanide of potassium 25 " 

Aqua ammonia 5*^ " 

Water .4 to 5J^ gal. 

In the preparation of these baths the salts 
are all dissolved together, except the copper 
acetate and ammonia, which are added after 
dissolving together in a small quantity of the 
water. 

The deep blue color of the ammonio-copper 
solution should entirely disappear on mixing- 
it with the other solution; otherwise it becomes 
necessary to add more cyanide. 

The cold bath is put into well joined tanks of 
oak or fir wood, coated inside with guttapercha 
or asphaltum (genuine). The vertical sides are 
also covered with sheets of copper, all connect- 
ed with the last carbon or copper of the bat- 
tery by a stout copper wire with well cleaned 
ends, the other pole of the battery being in 
similar connection with a stout brass rod ex- 
tending the length of the tank (without any 
point of contact with the anodes), and from 
which the work is suspended by hooks or 
trusses in the bath. 

With a thin deposit the coating is sufficiently 
bright to be considered finished after being- 
rinsed and dried. But if the operation is more 
protracted the deposit has a dead luster on ac- 
count of its thickness, and if a bright luster is 
desired it is necessary to use the scratch brush. 

The hot baths are usually put into stoneware 
vessels heated by a water or steam bath, or into 
an enameled cast iron kettle placed directly 
over a fire. The vessels are lined inside with 
copper, the edges of the vessels being varnished, 
or support a wooden ring upon which rests a 
brass circle connected with the zinc pole of the 
battei'y- The objects to be electroplated are 
suspended from this ring. 

The hot process is more rapid than the cold, 
and is especially adapted to those articles which 
are difficult to cleanse. The articles are kept in 
continual agitation, which permits of the em- 
ployment of a strong current of electricity. 
Small articles of zinc are placed in a perforated 
stoneware or enameled ladle, at the bottom of 
which is attached a copper wire which is wound 
up around the handle and connected with the 
zinc pole of the battery. It is sufficient that one 
of the small articles touches the wire for all to be 
affected by the current, as they are in contact 
with each other. The ladle must be continually 
agitated, so as to change the points of contact 
of the objects. What has been said in regard to 
strength of battery, in the article on electro 
brass plating, will apply here. 

10. Copper Deposits by Dipping. 

This is seldom practiced except upon iron, as 
deposits thus obtained are generally wanting in 
lasting- qualities, since, from the thinness of the 
coating, the iron is but imperfectly protected 
from atmospheric influences. If the iron is 
dipped in a solution of— 

Sulphate of copper 3J^ oz. 

Sulphuric acid W% " 

Water 1 to 2 gal. 

it becomes covered with a coating of pure cop- 
per, having a certain adhesion; but should it 
remain there a few minutes, the deposit be- 
comes thick and muddy, and does not stand any 
rubbing. Small articles, such as pins, hooks 
and nails, are thus coppered by tumbling them 
for a few moments in sand, bran, or sawdust 
impregnated with the above solution, diluted 
with three or four volumes of water. 

Gold Deposits.— In the practice of electroplat- 
ing with gold the bath employed is usually 
heated, as the deposits obtained in such a bath 
are more homogeneous, tenacious and durable, 



and of a better color, besides which recom- 
mendation a greater quantity of the metal may 
be deposited satisfactorily from it in a given 
time than from a cold bath. 

Owing to the cost of the metal to be deposited 
very large surfaces are rarely required to be 
electroplated, and as these baths become worn 
out and must be replaced by fresh solutions 
after a short time, they are usually, as a matter 
of economy and convenience, used in as small a 
vessel as the circumstances will admit of. 
These vessels may be of glass, porcelain, or 
porcelain-enameled iron. The latter serve the 
purpose admirably (if the enamel is good). 
They should be heated over the water bath or 
by means of steam. 

The same bath does not answer very well for 
all metals— either the bath must be modified to 
suit the metal or the latter must be previously 
coated with another metal to suit the condi- 
tions. Gold deposits are obtained with the 
greatest facility upon silver or copper, their 
rich alloys, or other metals coated with them. 
With these a hot bath (at about 170° F.) and a 
moderately strong current give good results. 
With alloys, such as German silver, the best re- 
sults are obtained with a weak bath, barely 
warm. Steel and iron, when not coated with 
copper, require an intense current and a very 
hot bath. Lead, zinc, tin, antimony and bis- 
muth alloys of, or containing much of these, 
are preferably coated with copper before elec- 
trogilding. 

1. Hot Baths. 

For silver, copper, or alloys rich in these. 

Distilled water 1 gal. 

Phosphate of soda, cryst 9^ oz. 

Bisulphite of soda If oz. 

Cyanide of potassium, pure... . £ oz. 
Gold chloride 160 grn. 

Dissolve in a portion of the water, heated, the 
phosphate of soda. Dissolve in another por- 
tion of the water the bisulphite of soda and 
cyanide of potassium. 

Dissolve the gold chloride in the remaining 
water, stir the solution slowly into the cold 
phosphate of soda solution, and finally add the 
solution of cyanide and bisulphite. The bath, 
now ready for use, should be colorless. 

The cost of this bath is about $5 a gal. and 
the metal can be deposited from it profitably at 
$2 per dwt. Used at a temperature of from 
120° to 175° F. 

2. Bath for Iron and Steel— Uncoated. 

Distillad water — 1 gal. 

Phosphate of soda, cryst . . 7iV oz. 

Bisulphite of soda 2 oz. 

Cyanide of potassium, pure. . . § drm. 

Gold chloride 160 grn. 

Dissolve as before. Heat to 175° or 180° F„ 
Pass the second metal through the hot potash, 
then through dilute muriatic acid (acid 1, water 
15), brush, and connect at once. Requires a 
very intense current at first. 

3. The following baths work well with bronze 
and brass, but are not suited for direct gilding 
on iron or steel : 

Distilled water 1 gal. 

Phosphate of soda, cryst 6f oz. 

Bisulphite of soda If oz. 

Bicarbonate of potash. ,. f oz. 

Caustic soda % oz. 

Cyanide of potassium* pure. |oz. 

Gold chloride f oz. 

Dissolve all together, except the gold chloride, 
in the hot water ; filter, cool and gradually stir 
in the gold chloride dissolved in a little water. 
Heat from 120° to 140° F. for use. It requires 
an intense current. 

4. Distilled water ...1 gal. 

Ferrocyanide of potassium 5J oz. 

Carbonate of potash, pure If oz. 

Sal ammonaic f oz. 

Gold chloride. . . § oz. 



Electro-Metallurgy. 



1ST 



Electro-Metallurgy. 



Dissolve as in the last, boil for half an hour, 
replace the evaporated water, and the bath is 
ready for use. 

5. Distilled water 1 gal. 

Cyanide of potassium — 2§ oz. 

Gold chloride 1 oz. 

Dissolve the gold chloride in the water, then 
add the cyanide, and stir until solution is com- 
plete. 

Baths of this kinds are commonly used, and 
with little regard to temperature. They are 
simple in preparation, but are, unfortunately, 
not very uniform in their working, ungilding 
one part while another is gilding, and produc- 
ing a variety of colors, especially when freshly 
prepared. They improve by use. however. 
6. Cold Electro-Gilding Bath. 

Water, distilled 1 gal. 

Potassium cyanide, pure ...3^ oz. 

Gold chloride 3 T V oz. 

Dissolve the cyanide in a part of the water, 
then gradually add the gold chloride dissolved 
in the remainder. Boil for half an hour before 
using. (Use cold.) 

The cold bath is kept in a gutta percha lined, 
wooden, or (if small) porcelain tank arranged 
as for brass plating. The anodes are thin 
plates of laminated gold, wholly suspended in 
the liquid (while in use) by means of platinum 
wires, from clean brass rods joined to the cop- 
per or carbon pole of the battery, the rods sup- 
porting the work being in connection with the 
zinc. When in proper working order the color 
of the deposit is yellow. If the deposit be- 
comes black or dark red, add more cyanide 
(dissolved in water) to the bath, or use a weaker 
current. 

If the cyanide is in excess the plating will 
proceed very slowly or not all; or, as some- 
times happens, articles already gilded will lose 
their gold. In such a case add a little more 
gold chloride or increase the intensity of the 
current. 

Cold electro-gilding must be done slowly, and 
requires a great deal of attention to secure 
good work. The articles must be frequently 
examined to detect irregular deposits or dark 
spots (which must be scratch-brushed and re- 
turned). It is also frequently necessary to add 
to or remove an element from the battery, 
especially when adding or taking work from 
the bath. With too much intensity of current 
the deposit is black or red; if too weak those 
portions opposite the anode only get covered. 
In coating German silver it is necessary to use 
a weak bath and a small exposure of anode. 
The best results with this alloy are obtained 
when the bath is slightly warmed. 

7. Management of the Hot Bath. 

The articles should be kept in agitation while 
in the bath. They should be placed in connec- 
tion with the battery before or immediately 
upon entering the bath. A foil or wire of 
platinum is in many cases preferable to a sol- 
uble gold anode when electro-gilding by aid of 
heat. It suffers no alteration in the liquid, and 
by its manipulation the color of the deposit 
may be materially altered. When it is removed 
so as to expose only a small surface in the bath 
a pale yellowish deposit may be obtained; when 
the immersion is greater, a clear yellow; with a 
still greater exposure, a red gold color. The 
strength of the hot baths may be maintained 
by successive additions of gold'chloride with a 
proper proportion of the other salts and water; 
but it is preferable to wear out the bath en- 
tirely and prepare a new one, as it soon be- 
comes contaminated with copper or silver if 
much of these metals have been gilt in it. In 
a nearly exhausted bath containing dissolved 
copper the electro deposit will be what is 
called " red gold; " if it contains an excess of 
silver a " green gold " deposit will result. The 
gold and copper or gold and silver are depos- 



ited together as an alloy, the color of which 
depends upon the relative proportion of the 
metals, battery, strength, etc. 

Dead luster gilding is produced by the slow 
deposition of a considerable quantity of gold, 
by giving the metallic surface a dead luster be- 
fore gilding (by means of acids), by first pre- 
paring a coating of frosted silver or by depos- 
iting the gold upon a heavy copper deposit 
produced with a weak current in a bath of 
copper sulphate. 

In order to secure a good deposit of gold it is 
absolutely necessary that the work should be 
perfectly freed from any trace of oxide, grease, 
oil, or other impurity. Articles of copper and 
brass may be cleansed by first immersing them 
in a strong boiling solution of caustic potash 
or soda, and, after rinsing, dipping momen- 
tarily in nitric acid and immediately rinsing, 
or scouring with pumice stone moistened with 
a strong solution of cyanide of potassium in 
water. 

Other metals require a somewhat different 
treatment, which we will have occasion to re- 
fer to in a subsequent article. 

The bichromate battery is commonly used in 
connection with hot electro-gilding baths, 

As gold chloride procured in the market can- 
not always be depended on for purity and 
strength, it is pref erable to purchase the gold 
and make the chloride. A pure gold chloride 
may be prepared as follows : 

Put coin gold, in small pieces, into a glass 
flask with about five times its weight of aqua 
regia (nitric acid 1, hydrochloric acid 3), and 
heat gently, with small additions of aqua regia 
if necessary, until the gold is dissolved and the 
silver remains behind as white chloride. Let it 
settle, decant the clear solution, wash the resi- 
due several times with water, adding the wash- 
ings to the gold solution. Evaporate off excess 
of the acids in a porcelain dish over a water 
bath (nearly to dryness). Dilute with ten parts 
of water, and gradually add a strong aqueous 
solution (filtered) of sulphate of iron. Let 
stand until the dark powder (gold) settles; 
gently decant the liquid, wash the gold with 
hot water, and redissolve it in a small quantity 
of warm aqua regia and evaporate the solu- 
tion with constant stirring, to dryness in a 
porcelain dish over the water bath. One ounce 
of pure gold equals about 1 T % ounces of gold 
chloride. 

8. Amateurs' Gilding Solution.— The best and 
cheapest solution for amateur electro-gilding, 
and also for ooerators in a small way of busi- 
ness, is the double cyanide of gold and potas- 
sium solution made by the battery process. 
This contains some oxide of potash, but if 
made up of pure gold and pure 98% cyanide of 
potassium, it will yield good results at once, 
and continue to give them for years if kept in 
proper working' condition. This solution is 
made up in the following manner : Procure 5 
dwts. pure gold ribbon, leaf, or wire (and 
divide it into 2 parts), 3 dwts. pure white $&% 
cyanide of potassium and 1 qt. of distilled 
water. Dissolve the cyanide of potassium in 
the distilled water made hot in a good enam- 
eled saucepan, and keep it at nearly scalding- 
heat while making and working the gilding 
solution. Make up a battery of two Bunsen 
cells or three Daniel cells in series. Hang one 
strip of gold from the wire leading to the nega- 
tive element of the battery, and the other strip 
to the wire leading to the positive element of 
battery. Get a small, clean, white porous bat- 
tery cell, nearly fill it with cyanide of potassium 
solution, place it in the saucepan and suspend in 
the porous cell the strip of gold connected to 
the zinc element of the battery. Immerse the 
other strip of gold in the outer cyanide solu- 
tion, and pass current (Irom the battery) from 
one to the other for some two or three hours. 
During that time some of the gold will have 
dissolved off the anode strip and entered into 
combination with the cyanide of potassium. 



Electro-Metallurgy. 



188 



Electro-Metallurgy. 



solution to form the double cyanide of gold 
and potassium gilding- bath, but this will not 
have penetrated into the porous cell, nor will 
the strip of gold therein have suffered any loss. 
If at the end of this time a piece of German 
silver, suspended from the cathode Avire in the 
outer solution, receives a fair coat of gold in a 
few moments, the bath is ready for gilding 
work. The contents of the porous cell may be 
poured into the outer solution, both strips of 
gold used as the anode, and the work may pro- 
ceed with current from one or more cells, as 
may be required. At first there may be too 
much free cyanide, and the deposit may in 
consequence be too dark, but this fault will 
soon be corrected if the anode plates are 
wholly immersed while gilding. If the con- 
trary condition exists, and the anode plates 
are dirty, or do not dissolve freely, add a very 
little more cyanide to the solution. This will 
be found to be the cheapest solution, because 
there is no loss of material in making it up. If 
the whole of the gold strip dissolves in the cyan- 
ide solution, the bath will not be too rich in gold, 
as a very useful strength is 2 dwts. of gold in 
the quart of solution. A larger quantity may 
be made in the same manner in the same pro- 
portions. 

9. French Gilding for Cheap Jewelry.— The 
bath for gilding recommended by Roseleur is 
composed of pyrophosphate of soda or potassa, 
800 grm.; hydrocyanic acid of % (prussic acid), 
8 grm.; chloride of gold crystallized, 20 grm. ; dis- 
tilled water, 10 liters. The pyrophosphate of 
soda is generally employed and this may be 
prepared by melting at a white heat, ordinary 
crystallized phosphate of soda in a crucible. 
The quantity of gold given in the above formula 
represents the grammes of the pure metal dis- 
solved by aqua regia. In making the bath 9 liters 
of water are put into a porcelain vessel and the 
pyrophosphate added, with stirring a little at 
a time, moderate heat being applied until all 
the salt is dissolved. The solution is then filtered 
and allowed to cool. The chloride of gold is al- 
lowed to crystallize, the crystals dissolved in 
a little distilled water, and the solution fil- 
tered. Add the chloride solution to the cold 
solution of pyrophosphate of soda, then add 
the hydrocyanic acid and heat to near boiling- 
point. 

This bath will produce fine gilding upon well 
cleaned articles, which must also have been 
passed through a very diluted solution of ni- 
trate of mercury, without which the deposit of 
gold is red and irregular. The articles must 
be constantly agitated in the bath, and sup- 
ported by a hook, or placed in a stoneware 
ladle perforated with holes. 

10. Gilding Solution (Fizeau's).—^.. 1 part of 
dry chloride of gold is dissolved in 160 parts 
distilled water; to this is added gradually a 
solution of a carbonated alkali, in distilled 
water, until the liquid becomes cloudy. This 
solution may be used immediately. 

B. 1 grm. chloride of gold; 4 grm. hyposul- 
phite soda, distilled in 1 liter of distilled 
water. 

11. Wood's Solution.— 4 oz. (troy) cyanide of 
potassium; 1 oz. cyanide gold, dissolved in 1 
gal. distilled water. The solution is used at a 
temperature of about 90° Fah., with a current 
of at least two cells. 

12. M. De Briant's Solution.— Dissolve 34 grm. 
o± gold in aqua regia, and evaporate the solu- 
tion until it becomes neutral chloride of gold; 
then dissolve the chloride in 4 kilogrammes of 
warm water and add to it 200 grm. of magne- 
sia; the gold is precipitated. Filter and wash 
with pure water; digest the precipitate in 40 
parts of water, mixed with 3 parts of nitric 
acid, to remove magnesia, then wash the re- 
maining (x-esulting) oxide of gold with water, 
untii the wash water exhibits no acid reaction 
with test paper (litrnus paper). Next dissolve 
400 grm. ferrocyanide of potassium (yellow 
prussiate of potash) and 100 grm. of caustic 



potash in 4 liters of water, add the oxide of gold, 
and boil the solution about twenty minutes. 
When the gold is dissolved, there remains a 
small amount of iron, precipitated, which may 
be removed by filtration, and the liquid of a 
fine gold color is ready for use; it may be em- 
ployed either hot or cold. 

13. Gilding Solution. — The following solution, 
to be used at a temperature of from 120° to 180° 
Fah., is recommended by M. E. Rod in Le 
3Ionde de La Science crystallized phosphate of 
soda, 60; bisulphate of soda, 10; cyanide of 
potassium, 1 ; chloride of gold, 2}4 ', distilled or 
rain water, 1,000 parts by weight. To prepare 
this bath properly die water should be divided 
into three portions, viz., one of 700 parts and 
two of 150 parts. The sodic phosphate is dis- 
solved in the first portion, the chloride of gold 
in the second, and the bisulphate of soda 
and cyanide of potassium in the third. The 
first two portions are gradually mixed tog-ether, 
and the third is afterward added. With this 
solution M. Rod uses a platinum anode (a wire 
or strip), adding fresh portions of the gold salt 
as the solution becomes exhausted. 

14. Electro-Gilding Solution. Cold— The cold 
gilding bath is sometimes used for very large 
objects, as clocks, chandeliers, etc., to avoid the 
necessity of heating large volumes of liquid— 
Ferrocyanide of potassium (yellow prussiate of 
potash) 20 parts, pure carbonate of potash 30 
parts, sal-ammoniac 3 parts, gold 15 parts, water 
1,000 parts. All of the salts except the chloride 
of gold are to be added to the water, and the 
mixture boiled and afterward filtered. The 
chloride of gold is next to be dissolved, in a 
little distilled water and added to the filtered 
liquor. The deposit of gold from cold solutions 
varies greatly as to color. When the bath is in 
its best working condition, and a brisk current 
of electricity employed, the gold should be of 
a pure yellow color. 

15. Gilding Polished Steel.— For gilding pol- 
ished steel, a nearly neutral solution of chloride 
of gold is mixed with sulphuric ether and well 
shaken. The ether will take up the gold and 
the ethereal solution float above the denser 
acid. If the ethereal solution be applied by 
means of a camel's hair brush to brightly pol- 
ished steel or iron, the ether evaporates and the 
gold, which adheres more or less firmly, be- 
comes reduced to the metallic state on the 
steel, and may be either polished or burnished. 
Steel receives a deposit of gold with great 
rapidity, even with a very weak battery cur- 
rent. 

16. For Producing a Dead or Matted Surface 
on Brass Articles of Jewelry, as Brooches, 
Lockets, etc. — First dip them for an instant in 
a mixture composed of equal parts of sulphuric 
and nitric acids, to which a small quantity of 
common salt is added ; plunge immediately in 
cold water. Rinse in one or two other waters, 
then immerse in the gilding bath, in which, 
after a moment's immersion, they acquire the 
desired color of gold. After rinsing in hot 
water they are finally dried in hot boxwood 
sawdust. 

17. Gilding Lead, Britannia Metal, etc.— When 
articles composed of lead, tin, Uritannia metal, 
iron or steel are required to be gilded it is best 
to give them a preliminary coating of copper 
in an alkaline bath, or to electro-brass them, 
after which they may be easily gilded; The 
softer metals need to be burnished with great 
care, owing to their yielding nature under the 
pressure of the burnishing tools. 

Operations connected with Electro -deposi- 
tion. — Solution for protecting plated work, 
which is to be gilded in a hot cyanide bath, 
from receiving the gold deposit upon parts of 
the ornamental work: Clear resin, 10 parts; 
yellow beeswax, 6 parts ; best red sealing wax, 
4 parts; jeweler's rouge, 3 parts. The three 
first named substances are to be thoroughly 
melted, with gentle stirring, and the rouge, 
which is the peroxide of iron, gradually added 



Electro-Metallurgy. 



189 



Electro-Metallurgy. 



and incorporated with stirring. The article to 
which the stopping off varnish has been ap- 
plied should never be placed either in a hot or 
cold bath until it has become thoroughly dry 
and hard. 

Iron.— Electro-deposition of Iron, Solutions 
f or.— 1. Amrnonio Sulphate of Iron Solution.— 
This double salt, which was first proposed by 
Boettger, for depositing this metal, may be 
readily prepared by evaporating and crystalliz- 
ing mixed solutions of equal parts of sulphate 
of iron and sulphate of ammonia. A solution of 
the double salt yields a fine white deposit of 
iron, with a moderate current, and has been 
very extensively enployed in ""facing" en- 
graved copper plates. When carefully worked 
this is one of the best solutions for the depo- 
sition of iron upon copper surfaces. 

2. Boettger's Ferrocyanide Solution.— This 
solution for coating engraved copper plates 
with iron is formed by dissolving 10 grm. of 
ferrocyanide of potassium (yellow prussiate of 
potash) and 20 grn. of Rochelle salts in 200 cubic 
centimeters of distilled water. To this solution 
is added a solution consisting of 3 grm. of per- 
sulphate of iron in 50 cubic centimeters of 
water. A solution of caustic soda is then added 
drop by drop, with constant stirring, until a 
perfectly clear, light, yellowish liquid is ob- 
tained, which is ready for immediate use. 

Lead may be deposited from its acetate solu- 
tion or from a solution of oxide of lead, in 
caustic soda or potash, in the form of beautiful 
metallo-chromes, on polished surfaces of steel 
or nickel. 

Magnesium has been deposited from a solution 
of the double chloride of magnesium and am- 
monia. 

Metallo-chromes. See Appendix. 

Nickel.— Preparation of Nickel Solution.— The 
substance generally employed is the double 
sulphate of nickel and ammonia, or " nickel 
salts," a crystalline salt of a beautiful green 
:*nierald color. This article should be pure. 
For 100 gal. of the solution the proportions em- 
ployed are: Double sulphate of nickel and am- 
monia, 75 lb; water, 100 gal. Place the nickel 
salts in a clean wooden tub or bucket and pour 
upon them a quantity of hot or boiling water; 
stir briskly with a wooden stick for a few min- 
utes, after which the green solution may be 
poured into the tank, and a fresh supply of hot 
water added to the undissolved crystals, with 
stirring as before. This operation is to be con- 
tinued until all the crystals are dissolved, and 
the solution transferred to the tank. A suffi- 
cient quantity of cold water is now to be added 
to make up 100 gal. in all. It is better to pass 
the hot solution through a strainer before it 
enters the tank, to free it from impurities. 

Nickel Plating— The Plating Bath. 

The nickel salts commonly used are the nickel 
ammonium sulphate (called double sulphate) 
and the corresponding chloride. Other salts, 
such as the nickel potassium cyanide, the ace- 
tate and sulphate, have been used, but not so 
successfully as these. 

The double sulphate bath may be prepared 
by dissolving -M lb. of the salt in each gallon of 
water (soft). The salt costs about 65 cents a 
pound, and is generally considered the best for 
this purpose. It should be kept neutral and up 
to about 6° of hydrometer. 

The double chloride bath requires about 4 oz. 
of the salt per gallon, and works better slightly 
acid, the tendency in working being toward 
alkalinity. 

The bath should be filtered when freshly pre- 
pared, and should be kept in a separate room, 
or at least away from the apartment in which 
the buffing or polishing is performed, to avoid 
contamination by dust as much as possible. 
Exposed to the air, the bath (the water) evapor- 
ates, and the water thus lost must be replaced 
from time to time. To retard this and keep 



out dust as much as possible, it is well to cover 
the bath when not in use. Its surface should 
be skimmed occasionally and it should be fre- 
quently mixed together to preserve a uniform 
degree of strength. 

The tank or vessel in which the bath is con- 
tained is usually constructed of smooth 2 in. 
white pine stuff, grooved and well bolted to- 
gether and coated on the inside with good 
asphaltum applied in the melted state. 

Instead of this form, a clean tub or a half 
barrel or hogshead, with an extra hoop, may 
be used, though from the shape of such a ves- 
sel there is necessarily much waste space to be 
filled with useless liquid. 

For small baths a neat form of vessel con- 
sisting in a square porcelain lined (enameled) 
iron tank of suitable dimensions is sold by some 
of the dealers in electroplating materials. 

Anodes or Feeding Plates. 

Good pure cast nickel anodes are now ob- 
tained at a moderate cost ($1.85 per lb.), and are 
preferable to grain metal anodes. They usu- 
ally come in sizes ranging from 1% x 4 in., T 3 S in. 
thick, to 8 x 12 in., •% in. thick. 

They may be suspended around the sides of 
the tank or across and facing the work (care 
being taken to avoid bringing them into such 
close proximity to the work that contact is 
likely to occur under any circumstance). They 
may be suspended by clean copper trusses or 
hooks— which should not be permitted to touch 
the liquid— from stout copper rods, to which 
connection with the battery is made. 

The Battery. 

In nearly all large electroplating establish- 
ments some form of dynamo-electric machine 
is now used instead of the battery. They are 
cleanly, require little attention and space and 
afford a current more easily adapted to the 
work and at a much smaller cost. 

But as their first cost is considerable, and 
they require power to operate them, the old 
battery is still in requisition in smaller estab- 
lishments. The carbon or chromic acid battery 
is more commonly used, as it admits of more 
rapid work with a smaller number of cells; 
but as it supplies a very intense current, it 
often becomes necessary to introduce resist- 
ance coils to reduce it where small work is on 
hand. Some of the best work we have ever 
seen has been produced with the current de- 
rived from two or three Smee or sulphate of 
copper cells (in series). The amount of battery 
poweL for a given amount of work should be 
in zinc surface (exposed) about equal (when in 
proper working order) to the surface of the 
work exposed in the plating bath, with care to 
preserve the tension. If one cell has a zinc 
surface (exposed) of, say one hundred square 
inches, and the work, say, five hundred, the one 
cell will require to be multiplied by five for 
quantity and (if the original tension was, say, 
three) by three to preserve the tension. Thus : 



WORK 




Of course this is equivalent to three large 
single cells, each exposing five hundred square 
inches of zinc (equal to a plate about sixteen 
inches square, exposing both sides). Large bat- 
teries of the dipping form, admitting of the 
immersion of the proper quantity of zinc, are 
often convenient. 



Electro-Metallurgy. 



190 



Electro-Metallurgy. 



If the current is too strong the deposited 
metal will present a dull (commonly termed 
burnt) appearance ; if too weak it is apt to be 
imperfect, granular, or semi-crystalline. 

For practical purposes the electricity may he 
said to proceed from the copper or carbon pole 
of the battery, and care should be taken that 
this pole is invariably connected (by stout cop- 
per wires or rods) with the anodes or feeding 
plates in the plating bath, for if misconnected 
damage is done both to the work and the bath 
by the corrosion or partial solution of the 
former in the latter. 

Preparing the "Work. 

Before work can be plated its surface must be 
freed perfectly from all traces of oil or grease, 
oxides, lacquer, and other impurities. Oil, 
grease, etc., are removed by contact with a 
strong, hot aqueous solution of caustic potash, 
and, after rinsing off the adhering alkali, from 
oxide by an acid bath ; or, if of brass, copper, 
or German silver, by scouring with tine pumice 
stone and strong- aqueous solution of cyanide 
of potassium. Iron is pickled in dilute sul- 
phuric or muriatic acid (acid 1, water 5 to 15), 
and scoured with fine white silicious sand or 
pumice stone. Brass or copper, is sometimes 
brightened before entering to the plating bath 
by dipping it momentarily in nitric acid diluted 
with about 20 parts of water, and quickly rins- 
ing it in running water. It should be placed in 
circuit immediately alter this. 

The hand must not come into contact with 
any part of the work after removal from the 
alkali, as the slightest touch may spoil all. 

On removal of the plated work from the plat- 
ing bath it should be quickly rinsed (without 
handling) in cold water, then transferred to 
hot water, which will cause it when taken out 
to dry quickly and perfectly. If the finished 
work is to present a smooth polishing surface 
it must present such a surface before entering 
the plating bath. Nickel is hard and will not 
readily submit to a burnishing tool. 

When the work is placed in circuit in the 
plating bath (and it should not be permitted to 
remain many moments in the bath without 
being placed in circuit) it should be moved 
about to free it from bubbles. 

The process of nickel plating is a simple one, 
and by a little practice and proper attention to 
the requirements the bath may be worked 
month after month, and the metal deposited 
smoothly and with certainty. 

Formulae for Nickel-Plating Solutions. 

1. Double sulphate of nickel 

and ammonium 5 to 8 parts. 

Water 100 parts. 

Dissolve the nickel double salt in above quan- 
tity of water with the aid of heat. Cautiously 
add ammonia, or the sulphate of ammonium, 
until the solution is neutral to test paper. This 
solution should be maintained as nearly neu- 
tral as possible in use. This is commonly 
known in the United States as the Adams solu- 
tion. It is in very general use by nickel platers 
throughout the United States, and yields, 
where properly managed, excellent results. 

2. Double sulphate of nickel 

and ammonium 10 parts. 

Boric acid (refined) . . . 2*4 to 5 parts. 
Water 150 to 200 parts. 

(Weston's solution.) The superiority of this 
solution is generally acknowledged. The de- 
posited metal, as previously remarked, is al- 
most silver- white, dense, homogeneous and ten- 
acious, and the solution maintains its excellent 
working quality very uniformly in long-con- 
tinued service. 

The nickel salt and boric acid may be dis- 
solved separately in boiling water, the solutions 



mixed, and the volume brought up to that of 
the formula, or the two components may be 
dissolved together. 

3. Acetate of nickel 2% parts. 

Acetate of calcium. 2% parts. 

Water 100 parts. 

To each gallon of this solution add 1 fl. oz. 
acetic acid, 1*047 sp. gr. 

To prepare this bath, dissolve about the 
same quantity of the dry carbonate of nickel 
as that called for in the formula (or three- 
quarters of that quantity of the hydrated 
oxide) in acetic acid, adding the acid cau- 
tiously, and heating until effervescence has 
ceased and solution is complete. The acetate 
of calcium may be made by dissolving the same 
weight of carbonate of calcium (marble dust) 
as that called for in the formula (or one-half 
that quantity of caustic lime), and treating it 
in the same manner. Add the two solutions 
together, dilute the volume to the required 
amount by the addition of water, and then to 
each gallon of the solution add a fluid ounce of 
free acetic acid, as prescribed. (Potts' solu- 
tion.) 

4. Sulphate of nickel and am- 

monium 10 parts. 

Sulphate of ammonium 4 parts. 

Citric acid 1 part. 

Water. ... 200 parts. 

The solution is made with the aid of heat, 
and, when cool, small fragments of carbonate 
of ammonium should be added until the bath 
is neutral to test paper. 

5. Sulphate of nickel 6 parts. 

Citrate of nickel 3 parts. 

Phosphate of nickel 3 parts. 

Benzoic acid 1)4 parts. 

Water 200 parts. 

6. Phosphate of nickel 10 parts. 

Citrate of nickel 6 parts. 

Pyrophosphate of sodium 10J^ parts. 
Bisulphite of sodium. ... \\4 parts. 

Citric acid 3 parts. 

Aqua ammonia 15 parts. 

Water . 400 parts. 

(Powell's solutions.) These solutions yield 
good results, but their complex composition 
must debar them from general use. 

7. Sulphate of nickel 6 parts. 

Aqua ammonia 3 parts. 

Water 100 parts. 

When the nickel is dissolved, add— 

Aqua ammonia 20 parts. 

This bath is similar to that recommended by 
Prof. Boettger; it is said to be well suited for 
the purposes of amateurs, inasmuch as it gives 
good results with a platinum anode. It is 
worked at a temperature of 100° Fah., with a 
moderate current. It requires renewal from 
time to time, as it becomes impoverished in 
nickel, by addition of fresh nickel salt; it must 
also be kept alkaline by the occasional addition 
of ammonia. 

8. Sulphate of nickel and ammo- 

nium 10 parts. 

Sulphate of ammonium. . . \\4 parts. 
Water . - t 250 parts. 

Dissolve in boiling water, and allow to cooh 
These proportions are recommended for coat- 
ing objects of cast and wrought iron and steel. 

9. Sulphate of nickel and ammo- 
nium 10 parts. 

Sulphate of ammonium. ... 2 parts. 
Water 300 parts. 

Dissolve as above. Recommended for coat- 
ing brass, copper, tin, britannia, lead, zinc, etc. 



Electro-Metallurgy. 



191 



Electro-Metallurgy. 



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Electro-Metallurgy. 



192 



Electro-Metallurgy. 



16. Sulphate of "nickel and ammo- 
nium 6 parts. 

Chloride of ammonium (sal 

ammoniac) 3 parts. 

Water 100 parts. 

Watt recommends for ordinary purposes the 
following- solution, which he affirms will give 
in careful hands very good results: "Take say 
2 oz. of pure nickel, dissolve in hydrochloric 
acid, taking care not to have an excess. A 
gentle heat will assist the operation. When 
dissolved, dilute the solution with 1 qt. of cold 
water. Now add ammonia gradually, until the 
solution is quite neutral to test paper. Next, 
dissolve 1 oz. of sal ammoniac (chloride of am- 
monium) in water, and mix this with the former 
solution. Lastly, evaporate and crystallize 
slowly. 1 ' The resulting salt will be the double 
chloride of nickel and ammonium. It is one of 
the earliest solutions used for nickel plating by 
Smee and Gore, and is affirmed by these writers 
to give good results. Watt has also obtained 
excellent results with the double chloride. 
According to Smee, the simple chloride of 
nickel will yield a deposit having a very bril- 
liant uster. 

1 can unqualifiedly confirm the statement of 
Gore that the electro-deposit obtained from a 
solution of the double cyanide of nickel and 
potassium is "nearly equal in whiteness to 
silver." I have obtained deposits with this 
solution of such extreme whiteness and 
beauty as to deceive even an expert on casual 
inspaction into the belief that they were silver. 
The bath, however, rapidly loses its activity 
and runs down, and is so difficult to manage 
that it is impracticable for general use. This, 
at least, is the opinion I have reached after 
many trials of it. I am informed, neverthe- 
less, that it is successfully used on the large 
scale in certain nickel plating works in this 
country, though I have not been able to sub- 
stantiate the fact. 

To prepare this bath make a solution of any 
salt of nickel, and add cyanide of potassium 
solution so long as a precipitate continues to be 
formed, being careful to avoid adding an ex- 
cess. Then remove the liquid either by decan- 
tation or filtration, and after several washings 
dissolve the precipitate almost to saturation in 
cyanide of potassium solution. Make a com- 
pletely saturated solution and add a small 
quantity of free cyanide of potassium. The 
brownish-red solution is then ready for use. — 
Correspondent Franklin Journal. 

A large number of American manufactories 
use the following recipes for nickeling: 

17. Bath for Brass, Copper, Tin, Britannia 
Metal, Lead, Zinc and Tinned Sheet Metal.— 13 
gal. of water, 4 lb. double sulphate of nickel 
and ammonium, 14 oz. sulphate of ammonium; 
dissolve by boiling. Let the liquid cool. Test 
with red or blue litmus paper. Add a little 
hyd :ochlorate of ammonia if any acid is present. 

18. Ordinary Nickel Baths.— (1.) 4^> gal. of 
water, 1J4 lb. double sulphate of nickel and am- 
monium, % lb. hydrochlorate of ammonia; dis- 
solve by boiling. Make the fluid slightly alka- 
line by adding V/2 lb. of caustic ammonia. The 
fluid should show 3° to 4° by the hydrometer. 

19. 3J^ gal. water, 2 lb. double sulphate of 
nickel and ammonium, 21 oz. hydrochlorate 
of ammonium, 14 oz. sulphate of ammonium; 
dissolve by boiling. Let the liquid cool. 

20. Solution for Nickeling Small Articles, such 
as Umbrella Mounts, etc. — Double sulphate of 
nickel and ammonium 7 kilogrammes; bicar- 
bonate of soda 80i»grm.; water 100 liters. The 
bicarbonate of soda must be added when the 
nickel solution is warm, in small quantities at a 
time, otherwise the effervescence which occurs 
might cause the solution to overflow. The 
bath is to be worked up to nearly boiling point. 
If, after working for some time, the deposit 
becomes of a darkish color, add a small lump 
of sulphide of sodium, which will remedy it. 
—M. Desmur. 



21. Powell's Process.— This inventor claims 
that benzoic acid added to any of the nickel 
salts arrests the tendency to an imperfect 
deposit, prevents the decomposition of the 
solution and consequent formation of sub- 
salts. The proportion of benzoic acid to be 
added to the bath is y% of an oz. to a gallon of 
the solution. Powell gives the following for- 
mulas for nickel baths: 

a. Sulphate of nickel and ammonia, 10 parts; 
sulphate of ammonia, 4 parts; citric acid, 1 part; 
water, 200 parts. The solution is prepared with 
the aid of heat, and, when cool, a small quan- 
tity of carbonate of ammonia is added, until 
the solution is neutral to test paper. 

b. Sulphate of nickel, 6 parts; citrate of nickel, 
3 parts; phosphate of nickel, 3 parts; benzoic 
acid, 1% part; water, 200 parts. 

22. A new nickel plating solution, said to 
yield beautiful results, is prepared by mixing 
the liquid obtained by evaporating a solution 
of y% oz. nickel in ,aqua regia to a pasty mass 
and dissolving it in 1 lb. aqua ammonia, with 
that obtained by treating the same quantity of 
nickel with a solution of 2 oz. cyanide of potas- 
sium in 1 lb. of water. More cyanide renders 
the deposit whiter and more ammonia renders 
it grayer. 

23. Solution for Nickeling Tin, Britannia 
Metal, etc.— Sulphate of nickel and ammonium, 
10 parts; sulphate of ammonium, 2 parts; water, 
300 parts. The salts are to be dissolved in boil- 
ing water, and when cold the solution is ready 
for use. For nickeling cast and wrought iron 
and steel the following bath is recommended: 
Sulphate of nickel and ammonium, 10 parts; sul- 
phate of ammonium, V/% part; water, 250 parts. 

24. Renickeling Old Work.— When goods 
which have been nickel-plated require to be 
renickeled, it is always better to remove the 
old coating by means of a stripping solution, 
as nickel will not adhere to a coating of the 
same metal. A stripping bath may be com- 
posed as follows: Oil of vitriol. 16 lb.; nitric 
acid, 4 lb.; water, 2 qt. Add the oil of vitriol to 
the water (not the reverse, which is dangerous) 
gradually, and when the mixture has cooled 
down, add the nitric acid, and stir the mixture 
with a glass rod. When cold it is ready for use. 
Attach the articles to be stripped to a piece of 
stout brass or copper wire and place in the 
stripping liquid ; they should be examined after 
a few moments. The operation of stripping 
should be conducted in the open air or in a fire- 
place with good draught. The articles should 
not be allowed to remain in the liquid one 
moment after the nickel has been dissolved 
from the surface, but be immediately i-emoved 
and plunged in cold water. 

1. Palladium may be deposited from the double 
cyanide of palladium and potassium, or from 
the double chloride of palladium and potas- 
sium. 

2. Palladium, which is a whiter, lighter and 
more fusible metal than platinum, has of re- 
cent years been much used to plate watch 
movements, says the Electrician. According 
to M. Pilet four milligrammes (about one-seven- 
teenth of a grain) of palladium is sufficient to 
coat the works of an ordinary sized watch. M. 
Pilet recommends the following bath : Water, 
2 liters; chloride of palladium, 10 grm.; phos- 
phate of ammonia, 100 grm.; phosphate of 
soda, 500 grm.; benzoic acid, 5 grm. This bath 
is suitable for all metals except zinc. 

Platinizing Silver. — For use in Smee cells. 
The silver plate to be coated is plunged in a 
bath of bichloride of platinum and acidulated 
water. A current is sent through the bath 
from a platinum anode, the silver serving as 
cathode. A rough coating of platinum takes 
place on the silver. 

To Platinize Carbon (Walker).— The carbon 
plate is purified by immersion for several days 
in sulphuric acid diluted with three or four 
times its volume of water, then put into a bath 
of sulphuric acid diluted with ten times its 



Electro-Metallurgy. 



193 



Electro-Metallurgy, 



volume of water, with crystals of chloride of 
platinum added until it becomes straw colored. 

The carbon is connected to the— pole of the 
battery and a platinum or carbon plate con- 
nected to the -f- pole serves for anode. After 
twenty minutes the carbon is platinized, as 
may be proved by using it to decompose water. 
The hydrogen should freely rise from its sur- 
face. 

To Platinize Iron.— Steep the iron plate in an 
acid solution of platinum in aqua regia. 

Silver Plating, Simple Instructions for.— For 
silver plating the bath consists of potassium 
silver cyanide, prepared by precipitating solu- 
aion of silver nitrate with potassium cyanide 
and redissolving the washed precipitate in ex- 
cess of potassium cyanide solution— potassium 
cyanide, 12 oz.; water, 1 gal.; silver cyanide, 
about 1 troy oz. Filter and use in a porcelain 
or glazed vessel. For the whitening bath dis- 
solve 1 lb. potassium cyanide in 1 gal. of water, 
add 34 oz. troy of silver cyanide and filter the 
solution. The baths are provided with silver 
feeding plates for anodes proportioned in size 
to the surface of the work to be plated. These 
are connected Avith the positive pole of the 
battery. The cleaned articles are connected by 
a copper wire with the zinc pole of the battery, 
dipped for a minute or two in the whitening 
bath, and when uniformly coated with a white 
film of silver, transferred to the plating bath, 
under similar conditions. 3 or 4 Smee cells 
with plates 10x4 in. will generally suffice for 
the plating bath, and 4 or 5 similar cells for the 
whitening bath ; twenty to thirty minutes in 
the plating bath is usually sufficient to plate 
the work properly. Articles of copper, brass 
or G-erman silver to be plated should first be 
cleaned by boiling them for a few minutes in 
strong potash Avater to free them from traces 
of oil or grease, and, after rinsing, in dilute 
nitric acid to remove any oxide and again 
thoroughly rinsed. It must not be touched by 
the hand after cleaning. Just before putting 
the work into the bath, dip it momentarily in 
strong nitric or a mixture of equal parts 
nitric and sulphuric acids and rinse quickly. 
After this treatment it is sometimes dipped for 
a moment in dilute aqueous mercurous nitrate 
solution and rinsed rgain. This has the effect 
of coating the clean metal with a film of mer- 
cury, which secures a perfect adhesion of the 
deposited silver. 

Silver Deposits. 
For electro-silver plating the double salt of 
silver and potassium cyanide is almost univer- 
sally employed. The baths are used either hot 
or cold. The latter method is generally adopt- 
ed for articles which require great solidity. 
The hot process is used for small articles, and 
is preferable for steel, iron, zinc, lead and tin, 
which have been previously electro-coppered. 
The hot baths are generally kept in enameled 
cast iron kettles, and the articles are either 
suspended or moved constantly about in them. 
A somewhat energetic current is needed, espe- 
cially when the articles are moved about in 
order to operate l'apidly. A gray or black de- 
posit indicates too strong a current, and when 
the surface becomes covered with bubbles of 
gas the same thing is indicated. The anodes 
are plates of silver or heavy silver foil. The 
wooden tanks for the cold baths are similar to 
those used in plating with copper and nickel, 
but should be very thoroughly coated on the 
inside with gutta percha. 

The Bath. 

Water (soft) 1 gal. 

Cyanide of potassium (pure) . . .8 oz. 
Nitrate of silver 5*4 " 

Dissolve the nitrate of silver in a sufficient 
quantity of pure water (soft), and add to it 
gradually, with constant stirring, hydrocyanic 
(prussic) acid until all the silver has been pre- 
cipitated as cyanide, which may be known by 



the formation of no cloud in a portion of the 
clear liquid when a drop of the acid is added to it. 
Avoid adding an excess of the acid. Throw the 
precipitate upon a fine cotton cloth filter, and 
as the liquid runs through wash the precipitate 
on the cloth several times with pure water. 
Dissolve the cyanide of potassium in the watei\ 
and stir in the cyanide of silver carefully re- 
moved from the cloth. If it does not dissolve 
in the liquid entirely, add more cyanide ot 
potassium until it does, stirring continually- 
Let the impurities settle, and the bath is ready 
for use. Many electroplaters use a preliminary 
or silver "whitening" bath, which is the same 
composition, but contains less silver, more 
cyanide, and is worked with a somewhat 
stronger current. 

The cleaned article in some cases is first 
dipped for a few moments in a solution of 
nitrate of mercury, 1 oz. in 1 gal. of water, and 
then in the whitening bath for a few minutes, 
and after brushing is transferred to the silver 
bath proper. 

The vessels containing the cold bath are suf- 
ficiently high to allow about 4 in. of liquid 
above the immersed objects, whose distance 
from the bottom and sides should be nearly the 
same to give a regular deposit of metal at both 
ends of the object. 

The upper ledge of the trough carries two 
brass rods all around, which do not touch one 
another, one above the other, so that other 
metallic rods placed transversely will rest upon 
the higher or lower series of rods only. The 
upper rods are connected with the zinc, the 
lower with the carbon or copper end of the 
battery, or with the corresponding poles of 
the dynamo-electric machine. The transverse 
rods resting upon the lower set support the 
silver anodes; those resting on the upper set, 
the work. The work suspended from an upper 
tranverse is placed so as to face two anodes 
suspended from two lower transverse rods. 

As the lower layers of the bath are apt to be- 
come denser (richer) than the upper, it is often 
necessary to reverse the articles during the 
operation to obtain a perfectly uniform thick- 
ness of deposit. For the same purpose small 
articles should be kept in motion as much as 
possible. 

The deposit is finer and denser if obtained 
with a weak battery and long exposure than if 
a strong current is employed. A sufficient 
quantity of silver may be deposited in three or 
four hours, but it will be of much finer quality 
and more easily burnished if the work is left in 
the bath for twelve or fifteen hours with a few 
cells of battery. 

When the articles, especially coppered iron, 
etc., have acquired a coherent film of silver, 
they are sometimes removed from the bath, and 
thoroughly scratch-brushed,cleansed in alcohol, 
or preferably in a hot silvering bath, thence 
again passed through the mercurial solution 
and finished in the cold plating bath. 

The first scratch-brushing, which is not al- 
ways necessary, obviates the tendency of cer- 
tain alloys to assume a crystalline apppearance 
and corrects the imperfections of the cleansing 
in process. 

Should the anodes become black during the 
passage of the current, the solution contains 
too little cyanide. In this the deposit is adher- 
ent, but too slow ; and the bath loses more 
silver than it can gain from the anodes. 

If the anodes remain white during the pas- 
sage of the current, the bath contains an excess 
of cyanide, and the deposit does not properly 
adhere; correct by adding cyanide of silver 
until it dissolves with difficulty. 

When in good working order, the anodes pre- 
sent a gray appearance while the current is 
passing, becoming white when circuit is broken. 
The specific gravity of the bath may vary 
from 5° to 15° Baume's hydrometer aod still 
furnish good results. 



Electro-Metallurgy. 



194 



Elements. 



Electro-silvering baths do not generally work 
so well when freshly prepared. If properly 
used and cared for, they improve by age. At 
first the deposit is often granulated bluish or 
yellowish. 

It is customary to mix portions of an old bath 
with a freshly prepared- one. Some platers in- 
troduce small quantities of ammonia instead 
to age the liquid. 

Bisulphide of carbon in small quantities im- 
parts a bright luster to plated articles. 1 oz. 
of the bisulphide is put into a pint bottle filled 
with a strong solution of the cyanide of potas- 
sium and silver, briskly shaken, and a few drops 
of this liquid poured into the bath occasionally 
until the work appears sufficiently bright. An 
excess of bisulphide must, however, be avoided, 
as it will spoil the bath. 

What has been said about the arrangement of 
battery in articles of nickel and brass plating 
will also apply here. 

Tin. 1. Deposition of Tin by Simple Im- 
mersion or Dipping. — For this purpose a 
saturated solution of cream of tartar is 
made with boiling water; in this solution 
small brass or copper articles, such as 
brass pins for example, are placed between 
sheets of grain tin and the liquid is boiled until 
the desired result is obtained— a beautifully 
white coating of tin upon the brass or copper 
surfaces. Ordinary brass pins are coated in this 
way. A little chloride of tin may be added to 
the bath to facilitate the whitening. The arti- 
cles are afterward washed in clean water and 
brightened by being shaken in a leathern bag 
with bran. See Tinning. 

2. Distilled water 200 parts by weight. 

Pyrophosphate of soda. 2 " " " 
Fused chloride of tin... 200 " " " 

Dissolve the soda salt first, and then gradually 
introduce the tin salt. 

Wastes, Electro Plating Solutions, to Recover 
from. — Gold solutions, usually cyanides, are 
boiled in a porcelain dish, sodic stannate added, 
and the boiling continued until all the gold has 
combined with the tin, forming a black pre- 
cipitate. This precipitate is washed with water 
and dissolved in aqua regia. Tne solution of 
auric and stannic chlorides is carefully evapor- 
ated, diluted with distilled water, enough sodio- 
potassic tartrate added and warmed, when all 
the gold will be precipited as a brownish yellow 
powder. For silver solutions it is only neces- 
sary to boil with sodic stannate.— Prof. Boettger. 

Zinc, Electro-deposition of .—For the electro- 
deposition of zinc solutions of the sulphate, am- 
monia sulphate, chloride and ammonia chloride 
may be employed, as also alkaline solutions, 
prepared by dissolving zinc oxide or carbonate 
in a solution of cyanide of potassium or caustic 
potassium; the deposit from either of these al- 
kaline solutions is generally of very good qaul- 
ity, and if too strong a current be not employed 
the deposited metal is usually very tough. »■ 

Person & Sires' Solution for Electro-deposi- 
tion of Zinc— This consists of a mixture of 1 
part of oxide of zinc dissolved in 100 parts of 
water, in which 10 parts of alum have been pre- 
viously dissolved at the ordinary temperature. 
The current from a single battery cell is em- 
ployed, and the anode surface should be about 
equal to that of the articles to be coated. 

Electro-typing.— Electrotyping comprises 
a series of mechanical or electrical means for 
reproducing engravings or typographical com- 
positions. 

The reproductions are called electros and 
electrotypes. In order to produce an electro 
the original must be moulded and the mould 
coated with a galvanic deposition; a fusible 
metal is then run at the back of this deposition 
so ^as to strengthen it, and the plate thus ob- 
tained :'s mounted on a piece of wood of a 
determined thickness. 



Moulds.— The first operation naturally con- 
sists in taking the impress of the engraving to 
be duplicated. Gutta percha, or impermeable 
plaster, or one of the following mixtures may 
be used for the purpose : 

1. Whitewax 200 grm. 

Spermaceti 30 " 

Stearine 250 " 

Plumbic carbonate 30 " 

2. Glue 400 "' 

Molasses 100 " 

This mixture gives some elasticity to the 
mould. 

3. Bismuth 250 grm. 

Lead 160 " 

Tin 125 " 

Antimony 30 " 

Mix, and melt in a clean crucible. 

4. Bismuth 280 grm. 

Lead 190 " 

Tin 100 " 

In order to obtain a good result from the last 
two formulae the metals are first melted and 
poured in a vessel containing cold water and a 
small quantity of straw and hay cut in lengths 
of about 3 in. The whole is thoroughly stirred 
while the molten metal is being poured. This 
divides the metal into shots, which are dried 
and melted again. 

5. Gelatine .....500 grm. 

Water 700 " 

Wax 15 " 

The gelatine is dissolved in water on a gentle 
fire and some beeswax in small pieces is added. 
This mixture must be used tepid and not hot. 

6. Beeswax 9 kilo. 

Venetian turpentine 1'35 " 

Plumbago in an impalpable 

state.... 0*225 " 

Care must be taken to avoid any dust. If 
during the cold weather any crack occurs a lit- 
tle Venetian turpentine is added. When the 
temperature is sufficiently high turpentine can 
be dispensed with altogether. 

Electrum. See Alloys. 

Electuaries.— These are combinations of 
sirup or honey and vegetable substances. They 
are of a fair consistency, being neither liquid 
nor solid. These are made for the purpose of 
hiding the taste of disagreeable medicines, 
which are taken in the electuaries. 

Elements.— Table showing the grouping of 

the elements: 

Oxygen. Chlorine. Nitrogen. Chromium. 

Sulphur. Bromine. Phosphorus. Vanadium. 

Selenium. Iodine. Arsenic. Molybdenum. 

Tellurium. Fluorine. Antimony. Tungsten. 

Silicon. Barium. Cerium. Iron. 

Titanium. Strontium. Lanthanum. Cobalt. 

Tantalum. Calcium. Didymium, Nickel. 

Niobium. Magnesium. Manganese. 

Cadmium. Potassium. Platinum. 

Zinc. Sodium. Palladium. 

Lithium. Rhodium. 

Caesium. Iridium. 

Rubidium. Ruthenium. 

Osmium. 

The wood cut is covered /with plumbago and 
forced into the wax by hydraulic pressure. 
The mould is covered with very finely pow- 
dered plumbago and immersed in a bath com- 
posed of a nearly saturated solution of cupric 
sulphate with 120 grn. sulphuric acid -for each 
10 1. of liquid. A thin coat of copper is thus 
deposited upon the mould. The current is 
usually produced by dynamos. The shell is 
backed with type metal, and afterward planed 
and routed. 



Elements. 



195 



Embalming. 



Elements, Table of tlie Symbols, 
Atomicity, Atomic and Equiva- 
lent Weights of the. 



is 

•!h'S 



Aluminum (Al 2 ▼*) 

Antimony (Sb"') 

Arsenicum (As'") 

Barium 

Beryllium or glucinum. 

Bismuth (Br"') 

Boron 

Bromine 

Cadmium 

Caesium. . . 

Calcium 

Carbon (C") 

Cerium (Ce") 

Chlorine 

Chromium (Crv") 

Cobalt (Co") 

Copper 

Davyum. 

Decipium 

Didymium 

Erbium (?) 

Fluorine 

Gallium 

Gold 

Hydrogen 

Indium 

Iodine 

Iridium 

Iron (Fe"& Fe 2 ^) 

Lanthanium 

Lavcesium 

Lead(Pb") 

Lithium 

Magnesium 

Manganese (Mn"& Mn iv ) 

Mercury 

Molybdenum 

Mosandeum 

Nephmium 

Nickel (Ni") 

Niobium 

Nitrogen (N'&N"') 

Norwegium 

Osmium 

Oxygen 

Palladium 

Phillipium 

Phosphorus <P'") 

Platinum 

Potassium (Kalium) . . 

Bhodium 

Bubidium 

Buthenium 

Scandium 

Selenium 

Silicon (Silicium) 

Silver 

Sodium (Natrium) 

Strontium 

Sulphur (S" &Siv) 

Tantalum 

Tellurium 

Terbium (?) 

Thallium 

Thorinum (Thorium) . . . 

Tin(Sn") 

Titanium 

Tungsten 





-ij 


a4 


,d 

bo 


c3 « 


® 


n> 


* 


£.2 


o 




a 


02+= 




< 


< 


Al* 


275 


Sb* 


122 


As v 


75 


Ba" 


137 


Be" 


9-5 


Br* 


208 


B'" 


11 


Br' 


80 


Cd" 


112 


Cs' 


133 


Ca" 


40 


Civ 


12 


Ce Ti 


92 


Ci 


355 


Cr Ti 


52-5 


Co* 


58 8 


Cu" 


63-5 


D" 


96 


Eb" 


112-6 


p/ 


19 


Au'" 


196-7 


H' 


1 


In** 


75-6 


I' 


127 


Iriy 


107 


Fe Ti 


56 


La' 


92 


Pb*_, 


207 


L' 


7 


Mg" 


24 


Mn™ 


55 


Hg" 


200 


Mo vi 


96 


Ni* 


58*8 


Nb* 


97-6 


N* 


14 


0s iv 


199 


0" 


16 


Pdiv 


106*5 


P* 


31 


Pt* 


198 


K' 


39 


Bh* 


104 3 


Bb' 


85-3 


Bu ! * 


104 2 


Se** 


79-5 


Si* 


28 


Ag' 


108 


Na' 


23 


Sr" 


87-5 


S" 


32 


Ta* 


182 


Teri 


129 


Tl" 


204 


Th" 


232 


Sn* 


118 


TiW 


50 


W* 1 


184 



49*75 

80 

53*25 

10-33 

98-7 

49 35 

391 

522 

85-4 

26-0 



2040 
57-87 
59 
29-5 
125 
46-0 



Elements.— Continued. 







4^ 






n 


bo 


d • 




c3 c3 


<D 


S+2 




n> 


£ 


-d-d 

« bo 




£.2 


O 


>■$ 






a 


d:> 




02 -^ 


o 


m 




< 


< 




TJralium 


u* 


120 
51*3 






60*0 




17' 1 








Y" 

Zn" 

Zr iT 


61 7 

65 

89-5 


30 - 85 


Zinc 


32'6 




224 


— Am. Annual of Photography. 









Elemi.— The elemi of commerce is of a pale 
yellow color, exteriorly brittle, but soft and 
tough within ; it has a warm, bitter taste and a 
fragrant aromatic smell, partaking of fennel 
and juniper. It is only partially transparent, 
even in thin plates, is very fusible and has a 
density a little greater than that of water. 
According to Bonastre, it consists of 84$ of 
resin, 12-15$ of a fragrant essential oil and a 
little bitter extractive. In medicine it is only 
employed in the preparation of the elemi oint- 
ment of the Pharmacopoeia. 

Eliquation.— Separation of lead and silver 
from copper. A process formerly used for the 
separation of silver from copper by means of 
lead. The three metals were melted together, 
cast into disks and suddenly cooled. By expos- 
ing these disks to a red heat the lead melted and 
separated or liquated from the copper, carrying 
the greater portion of the silver with it, the 
copper remaining in a spongy mass having the 
form of the original disk. 

Elixir of Monobromated Camphor. 

— Monobromated camphor, 3 parts ; alcohol, 90$, 
120 parts; orange flower water, 80 parts; gly- 
cerine, 100 parts; mix alcohol and glycerine; 
dissolve the monobromated camphor by use of 
heat, add the orange flower water. This solu- 
tion contains 1% of monobromated camphor. 

Elutriation.— Cleansing by washing and at 
the same time separating the substance (an in- 
soluble powder) into diif erent degrees of fine- 
ness. The coarse powder settles first, then the 
supernatant liquor is decanted and the sedi- 
ment drained and dried. It is of the greatest 
use in the mechanic arts, and the process is so 
simple that it can be performed by any one. 

Embalmi ng. — Wicker •sheimer''s Preserving 
Fluid.— According to the Boston Journal of 
Chemistry, the following is said to be the for- 
mulae now adopted by prominent manufac- 
turers in Berlin for this liquid, according as it 
is to be used for injecting or immersing bodies. 



Sodium chloride 


For in- 
jecting. 

16 grm. 
80 grm. 
200 grm. 
25 grm. 
10 grm. 
20 lit. 
4 lit. 


For im- 
mersing. 

12 grm. 
60 grm. 


Potassium sulphate 


150 grm. 


Potassium nitrate 


18 grm. 


Potassium carbonate 


15 grm. 


Water 


10 lit. 


Glvcerine 


4 lit. 


Wood naphtha 


%lit. 



Hager suggests the following as a substitute 
for Wickersheimer's preparation : 

Salicylic acid 4 drm. 

Boracic acid 5 drm. 

Potassium carbonate 1 drm. 

Dissolved in hot water 12^ oz. 

Glycerine , 5 oz. 

Then add— 

Oil cinnamon, oil cloves, each 3 
drm., dissolved in alcohol 12^ oz. 



Embossing, 



196 



Emulsions. 



The latter fluid is not poisonous, and pos- 
sesses the desirable property of acting as an 
antiseptic, and also as a preventive and exter- 
minator of moths and vermin, and is possessed 
of a pleasant odor. The borosalicylate may be 
used in connection with other solvents if de- 
sired. 

See also Dead, Preservation of. 

Embossing and Gilding Glass. See 
Glass. 

Embrocation.— A fluid medicine for ex- 
ternal and local use. Embrocations do not 
differ materially from liniments and lotions, 
and are applied in the same manner. 

Emery .—Emery Belts.— Take emery or sbarp 
sand, spread it out on an iron plate heated to 
about 200° F. Apply to your straps or belts a 
rather thin coating of strong glue, then press 
it upon the heated emery or sand. Either 
leather or cotton webbing may be used for the 
belt. 

Emery, to Clean. See Cleansing. 

Emery Cloth.— Apply a coating of thin glue 
and sift the powder on through a sieve. Have 
the emery sifted according to the fineness. 

Emery Blocks.— These are prepared only on a 
scale which is beyond the amateur, but an ex- 
cellent emery cake can be made by mixing 
emery powder with wax. 

Emery to Fasten to Leather.— To fasten emery 
to leather, boil glue very thin, add a little milk, 
raise the pile of the leather and put on the glue 
with the brush. Then sprinkle on the emery 
and let it cool. 

Emery Paper. See Paper. 

Emery Paste.— Mix the finest emery obtain- 
able with a little suet. 

Emery, Preparation of, for Optical Purposes.— 
Mix 4 lb. of flour emery with 1 oz. of powdered 
gum arabic, then throw the powder into 2 gal. 
of clean water. Collect the deposits at the end 
of ten, twenty, thirty seconds, etc., to sixty 
minutes. Use in the order of time in which they 
were precipitated, using the longest last. 

Emery Strap. — The emery strap is made by 
brushing good strong glue upon the leather and 
quickly sprinkling the surface with flour of 
emery ; when dry, the loose emery is brushed 
off. Crocus is mixed with a little oil and 
rubbed into the leather. Smooth on piece of 
glass. 

Emery Wheels and Sticks.— Turn wheels from 
well seasoned pine, of the form desired ; place 
emery upon an iron plate heated to 200° to 212°; 
coat the wheels with glue prepared as for unit- 
ing wood, and roll the wheels in the warm 
emery. After the glue dries, the surplus emery 
brushed off and another coating of glue is ap- 
plied and the wheels are again rolled in the 
warm emery. The wheels should be allowed to 
become thoroughly dry before use. Prepare 
sticks of such forms as you may require, and 
coat them as directed for emery wheels, or 
attach to them paper by means of glue or 
paste. 

To Make Emery Wheels.— Turn a wheel of 
pine, coat the wheel with good glue and roll it 
in emery which has been heated on an iron 
plate to 200° F. As one coat will not last long, 
several should be given. 

Emery Wheels, to Remove Gloss of.— There are 
tools sold by the dealers in emery wheels that 
break up the surface or true it, when glossy or 
out of true. Hydrochloric or nitric acid will 
clean a metalized wheel. Swab the surface with 
the acid, let it lie fifteen to twenty seconds, and 
quickly wash the surface clean with water and 
dry. 

Emery Wheels, to True.— Hold a piece of white 
chalk against the wheel while in motion. This 
will show you the high places. Then take a 
pick of the kind used to dress millstones, or 
make one of a file about five inches long, 
wedged in a stick like a miller's pick. Hack 



the chalked places and keep chalking and hack- 
ing, rubbing over with an old file each i lme 
before chalking, until the wheels true and the 
chalk touches all around. 

Emery Wire.— Oil the wire and sprinkle emery 
over it. 

Emetics.— Medicines which induce vomit- 
ing. The principal emetics are ipecacuanha, 
and tartarized antimony and their prepara- 
tions; and the sulphates of zinc and copper. 
A wine glass of warm water, a teaspoonf ul of 
salt, and a quarter wine glassful mustard. 

Emulsion Photographic. See Pho- 
tography. 

Emulsions. See Cosmetics. 

Emulsions.— These are milky liquids, 
formed by the mechanical admixture of oil, 
balsam, or resin, with water, by means of some 
other intervening medium, generally saccha- 
rine or mucilaginous, and to emulsify an oil 
consists in rendering it capable of mixing with 
water to form a uniform milky fluid— by means 
of such aid. The common name of emulsions 
is milk; but the term is often incorrectly 
extended to opaque white liquids of an entire- 
ly distinct character. 

The successful formation of emulsions, whether 
of fixed or volatile oils, is dependent upon cer- 
tain rules, well understood by accomplished 
pharmacists, which, when deviated from, will 
invariably embarrass the operator, either by 
retarding or completely preventing perfect 
emulsiflcation. These rules are : 

1. That the water and gum arabic shall be in 
definite and absolute proportion to each other. 
This proportion is 3 parts of water to 2 parts 
of gum, both by weight. 

2. That the relation of oil to gum (and water) 
shall be definite within certain limits; that i^ 
to say, the mucilage formed in the above pr< 
portions is capable of perfectly emulsifying 
minimum and a maximum proportion of oil. 
The minimum proportion is 2 parts of oil to 1 
part of gum; the maximum proportion is 4r 
parts of oil to 1 part of gum. 

3. That the trituration of the oil, gum, and 
water be continued until a perfectly homoge- 
neous, milky white, thick creamy mixture is 
formed— i. e., until perfect emulsiflcation takes 
place— before the addition of a further quantity 
of water or other liquid. 

The thick creamy emulsion obtained, if the 
above conditions are fulfilled, must be the 
basis of all perfect emulsions. It will bear di- 
lution to any extent with water, forming mix- 
tures varying, according to the proportion 
added, from the appearance and consistence of 
cream to that of very thin milk. Obviously 
the water may be substituted by solutions of 
saline compounds, sirups, etc., and this enables 
the production of the various combinations of 
codliver oil in current use from the above 
thick creamy emulsion, which for distinction I 
shall designate as— 

1. Concentrated Emulsion of Codliver Oil.— 
Take of fresh Norwegian codliver oil, 8 troy 
oz.; powdered gum arabic, 2 troy oz.; distilled 
water, 3 troy oz. First weigh the gum into a 
Wedgwood or porcelain mortar, then the oil, 
and triturate till the gum is well mixed with 
the oil; then weigh into the mixture the dis- 
tilled water, and triturate the whole briskly 
until the mixture thickens and acquires a pasty- 
consistence and milky whjteness. Now scrape 
down the portions adhering to the sides of the 
mortar and the pestle, and continue the tritu- 
ration for a short time, after which add such 
other ingredients as may be desirable, or trans- 
fer the concentrated emulsion to a wide- 
mouthed bottle for future use. 

This concentrated emulsion will keep for a 
reasonable time in cold weather, and, if placed 
in the ice-chest, also during warm weather. It 
may, therefore, be kept in stock if the demand 
for emulsions is brisk enough to justify it; but 



Emulsions. 



197 



Enamels. 



inasmuch as its preparation does not consume 
more than five or ten minutes, it is advised to 
always prepare it fresh, or, at all events, never 
to prepare more than a week's supply, parti- 
cularly in summer. Its consistence is such 
that it is poured out of the containing- vessel 
with difficulty; hence the necessity of using 
one with a wide mouth, which should be as se- 
curely stoppered as possible, and should be 
cleaned very carefully each time it is refilled. 
All this takes time and involves trouble, which 
is prevented by preparing the concentrated 
emulsion only as required. 

2. Simple Emulsion of Codliver Oil.— Take of 
concentrated emulsion of codliver oil, 13 troy 
oz.; oil of wintergreen, 24 drops; sirup, 1 tl. oz.; 
water, 3 fl. oz. Weigh the concentrated emul- 
sion into a mortar, add the oil of wintergreen, 
and triturate thoroughly, then gradually add 
first the water and then the sirup. 

The manipulation for this emulsion is typi- 
cal for all the other codliver emulsions given 
below. It has the consistence of very thick 
cream, but is readily poured out of narrow 
mouthed bottles, is milky white, and mixes 
readily with water or other liquids, that may 
be administered with it. It contains exactly 
■50% (by volume) of oil, the quantity that manu- 
factured emulsions are said to contain, although 
we are now convinced that some of them do 
not contain that proportion. The oil of winter- 
green disguises the odor of the codliver oil very 
admirably, and has the further advantage that 
it acts as a preservative. 

3. Emulsion of Codliver Oil with Hypophos- 
phite of Lime.— This differs from the simple 
emulsion in that 128 grn. hypophosphite of cal- 
cium are dissolved in the water, each table- 
spoonful of the finished emulsion containing 4 
grn. of that salt. 

4. Emulsion of Codliver Oil With Hypophos- 
phites of Lime and Soda.— This differs from the 
simple emulsion in that 128 grn. hypophosphite 
of calcium and 96 grn. hypophosphite of sodium 
are dissolved in the water, each tablespoonful 
of the finished emulsion containing 4 grn. of the 
calcium and 3 grn. of the sodium salt. 

5. Emulsion of Codliver Oil with Hypophos- 
phites.— This differs from the simple emulsion 
in that 128 grn. hypophosphite of calcium, 96 
.grn. hypophosphite of sodium, and 64 grn. 
hypophosphite of potassium, are dissolved in 
the water ; each tablespoonful containing 4 grn. 
of the calcium, 3 grn. of the sodium, and 2 grn. 
of the potassium salt, and corresponding to a 
teaspoonful of Churchill's sirup of the hypo- 
phosphites. 

6. Emulsion of Codliver Oil with Phosphate 
of Lime.— This differs from the simple emulsion 
in that 256 grn. phosphate of calcium are dis- 
dissolved in the water by the aid of 128 grn hy- 
drochloric acid ; each tablespoonful containing 
8 grn. of the phosphate held in a pleasantly 
acid solution. 

7. Emulsion of Codliver Oil with Phosphate 
of Lime and Soda. — This differs from the simple 
emulsion in that 256 grn. phosphate of calcium 
and 64 grn. phosphate of sodium are dissolved 
in the water, acidulated with 128 grn. hydro- 
chloric acid, each tablespoonful containing 8 
grn. of the calcium and 2 grn. of the sodium 
salt. 

8. Emulsion of Codliver Oil with Lactophos- 
phate of Lime.— This differs from the simple 
emulsion in that 256 grn. lactate of calcium 
dissolved in 2 fl. oz. of diluted phosphoric acid 
are substituted for 2 fl. oz. of the water, each 
tablespoonful containing 8 grn. lactate of lime 
or about 10 grn. lactophosphate. 

9. Emulsion of Codliver Oil With wild Cherry 
Bark.— This differs from the simple emulsion in 
that the oil of wintergreen is substituted by 8 
drops oil of bitter almonds, and in that 1 fl. oz. 
of the fluid extract of wild cherry bark is sub- 
stituted for 1 fl. oz. of the water, each table- 
spoonful containing 15 minims of the fluid ex- 
tract and J 4 drop oil of bitter almonds. 



Other combinations of codliver oil with differ- 
ent medicinal agents may be effected in the same 
way as pointed out in the above, or the propor- 
tions of salts may be varied to suit particular 
cases. The process for the concentrated emul- 
sion also may be applied to the emulsification of 
other oils; as, for instance, in the following: 

10. Emulsion of Castor Oil.— Take of castor 
oil, 4 troy oz.; powdered gum arabic, 1 troy oz.; 
distilled water, li^ troy oz.; sirup, cinnamon 
water, of each 3 fl. oz.; spirit of cinnamon, 12 
minims. Emulsify the oil with the gum and 
distilled water as directed under 1, then add 
the other ingredients successively with con- 
stant trituration. The emulsion contains 33$ 
of castor oil, and is consequently more limpid 
than the 50$ codliyer oil emulsions above de- 
scribed, and is in every respect an elegant 
preparation.— Louisville Med. News. 

Emulsions, to Prepare.— Emulsions, or mix- 
tures (Misturce. U. S. P.), are milky liquids, 
formed by the mechanical admixture of oily or 
resinous substances with watery fluids, by the 
intervention of gum arabic, the yelk of an egg 
or some other substance that has the property 
of combining with both. A drachm of thick 
mucilage, made with equal parts of gum arabic 
and water (the powdered gum is sometimes 
used instead of the mucilage), or the yelk of an 
ordinary-sized egg, will form 2 drm. of oil or 
resinous matter into an emulsion with about 1 
fl. oz. of water gradually added. As emulsions 
made with yelk of egg will not generally keep 
long, mucilage is usually employed. Oils, as a 
rule, require about three-fourths of their 
weight ; balsam about equal parts ; and resins 
about twice their weight. 

It is found that volatile oils are more readily 
made into emulsions if mixed with an equal 
volume of some simple fixed oil, as that of the 
almond or olive, before proceeding to operate 
on them. All emulsions should be well shaken 
before use. 

Emulsions, a New Patent (A. Blackie, No. 
3iU66. 1886.).— This invention is described as im- 
provements in the preparation of emulsions of 
vegetable, animal, and mineral oils ; of solid 
paraffins, waxes, and fatty substances ; and of 
liquids which are insoluble, or but partially or 
slightly soluble, in water. A solution of gela- 
tine or other similar substance is made, in the 
proportion of 4 oz. to the gal. of water. In 12 
parts of this 1 part of phosphate of soda or 
potash, or carbonate of soda or potash, is dis- 
solved by the aid of heat, and this mixture is 
capable, by the ordinary means, of emulsifying 
from 24 to 36 parts of animal or vegetable oils. 
For embrocations ammonia is substituted for 
the above-named salts. Chloroform and such 
liquids may be emulsified in the above manner. 
For mineral oils and the like the alkali is re- 
placed by soft soap. For example, an emulsi- 
fying solution is made with 6 oz. of concentra- 
ted size, 1 lb. of soft soap, and 1 gal. of water, 
and this mixture is capable of emulsifying 2gal. 
of paraffin oil. Either of the solutions named 
is applicable for preparing leather dressing, 
sheep washes, and the like, and for the latter 
purpose the inventor claims the addition of al- 
kaline sulphides, sulphur, arsenic, and other 
substances.— Chemist and Druggist. 

Enamels. — Emaux, Fr. Schmelzglas, Ger. 
—Transparent or opaque substances, usually 
formed of glass colored with metallic oxides 
and applied in a thin stratum to brightly pol- 
ished metallic surfaces (copper or gold), on 
which they are fused by the flame of a lamp 
urged by the blowpipe, or by the heat of a 
small furnace, and in cooling foi'm a sort of 
vitreous varnish. The art of enameling ac- 
quired the greatest perfection in ancient times, 
and very beautiful specimens are still preserved 
which the moderns are unable to equal, and 
with the materials of which they are totally 
unacquainted. At the present day this pleas- 
ing and useful application of human industry- 
is carried on with the greatest success by the 



Enamels. 



198 



Enamels. 



Venetians and, after them, by the French. The 
limits of this work will not permit a descrip- 
tion of the various operations of enameling, 
which essentially depend on skillful manipula- 
tion; a knowledge of which can only be ob- 
tained by long practice. 

The basis of all enamels is a highly transpar- 
ent and fusible glass, which readily receives a 
color on the addition of metallic oxides. As 
this is required in the preparation of many of 
those that follow, it is placed first. 

Base or Flux for.—l. Red lead, 16 parts ; cal- 
cined borax, 3 parts ; powdered flint glass, 12 
parts ; powdered flints, 4 parts ; fuse in a Hes- 
sian crucible for twelve hours, then pour it 
out into water and reduce it to a powder in a 
biscuitware mortar.— Wynn, Trans. Soc. Arts, 
1817. 

2. Powdered flints, 10 parts ; niter and white 
arsenic, of each 1 part ; as last. — Wynn. 

3. Flint glass, 3 oz.; red lead, 1 oz.; as last.— 
Wynn. 

4. Ked lead, 18 parts ; borax (not calcined), 11 
parts; flint glass, 16 parts; as last.— Wynn. 

5. Flint glass, 6 parts; flux No. 2 (above), 4 
parts; red lead, 8 parts ; as last.— Wynn. 

6. Tin 2 to 5 parts ; lead, 10 parts ; calcine in 
an iron pot at a dull cherry red heat and scrape 
off the oxide as it forms, observing to obtain it 
quite free from undecomposed metal. When 
enough of the dross is obtained, reduce it to 
fine powder by grinding and elutriation, then 
mix 4 parts of this powder with an equal weight 
of pure sand or powdered flints and 1 part sea 
salt, or other alkaline matter ; fuse the mix- 
ture in a Hessian crucible and proceed as be- 
fore. The best proportions of the tin and lead, 
for all ordinary purposes, are about 3 of the 
former to 10 of the latter. The calcined mixed 
oxides are commonly called " calcine." 

7. Lead and tin, equal parts; calcine as 
above, and take of the mixed oxides, or calcine 
and ground flints, of each 1 part ; pure subcar- 
bonate of potash, 2 parts ; as before.— Chaptal. 

8. Lead, 30 parts ; tin, 33 parts ; calcine as be- 
fore, then mix 50 parts of the calcine with an 
equal weight of flints, in powder, and 1 lb. of 
salts of tartar ; as before. A fine dead white 
enamel.— JVeri. Kunckel. 

The precise qualities of the products of the 
above processes depend greatly upon the dura- 
tion and degree of the heat employed. By in- 
creasing the quantity of sand, glass or flux, the 
enamel is rendered more fusible, and the 
opacity and whiteness is increased by the ad- 
dition of oxide of tin. The use of borax should 
be avoided or used very sparingly, as it is apt 
\o make the enamel effloresce and lose color.— 
Tllloch. 

Black.— 1. Pure clay, 3 parts; protoxide of 
iron, 1 part; mix and fuse. A fine black.— 
{Jlouet. 

2. Calcined iron (protoxide), 12 parts ; oxide 
of cobalt, 1 part ; mix and add an equal weight 
of white flux. 

3. Peroxide of manganese, 3 parts ; zaffre*, 1 
part ; mix and add it as required to white flux. 

Blue.— 1. Either of the fluxes colored with 
oxide of cobalt. 

2. Sand, red lead and niter, of each, 10 parts ; 
flint glass or ground flints, 20 parts ; oxide of 
cobalt, 1 part, more or less, the quantity wholly 
depending on the depth of color required. 

Brown.— 1. Manganese, 5 parts; red lead, 16 
parts ; flint powder, 8 parts ; mix. 

2. Manganese, 9 parts ; red lead, 34 parts ; flint 
powder, 16 parts.— Wynn. 

Green.— -1. Flux, 2 lb.; black oxide of copper, 
1 oz.; red oxide of iron, y% drm.; mix. 

2. As above, but use the red oxide of copper. 
Less decisive. 

3. Copper dust and litharge, of each, 2 oz.; 
niter, 1 oz.; sand, 4 oz.; flux, as much as re- 
quired. 

4. Add oxide of chrome to a sufficient quan- 
tity of flux to produce the desired shade. 
When well managed the color is superb and 



will stand a very great heat ; but in common 
hands it frequently turns on the dead-leaf 
tinge. 

5. Transparent flux, 5 oz.; black oxide of cop- 
per, 2 scruples ; oxide of chrome, 2 grn. Re- 
sembles the emerald. 

6. Mix blue and yellow enamel in the required 
proportions. 

Olive.— Good blue enamel, 2 parts ; black and 
yellow enamel, of each 1 part"; mix. (See also 
Brown Enamels.) 

Orange.— 1. Red lead, 12 parts ; red sulphate of 
iron and oxide of antimony, of each 1 part; 
flint powder, 3 parts; calcine, powder and melt 
with flux, 50 parts. 

2. Red lead, 12 parts; oxide of antimony, 4 
parts; flint powder, 3 parts; red sulphate of 
iron, 1 part ; calcine, then add flux, 5 parts to 
every 2 parts of this mixture.— Wynn. 

Purple.— 1. Flux colored with oxide of gold, 
purple precipitate of cassius, or peroxide of 
manganese. 

2. Sulphur, niter, vitriol, antimony and oxide 
of tin, of each 1 lb. ; red lead, 60 lb. ; mix and 
fuse, cool and powder, add rose copper, 19 oz. ; 
zaffre, 1 oz.; crocus martis, V/% oz^ borax, 3 oz.; 
and 1 lb. of a compound formed of gold, silver, 
and mercury; fuse, stirring the melted mass 
with a copper rod all the time, then place it in 
crucibles, and submit them to the action of a 
reveberatory furnace for twenty-four hours.— 
Phil. Mag. 

This is said to be the purple enamel used in 
the mosaic pictures of St. Peter's at Rome. 

Bed.—l. Sulphate of iron (calcined dark), 1 
part ; a mixture of 6 parts of flux (4) and 1 of 
colcothar, 3 parts ; dark red. — Wynn. 

2. Red sulphate of iron, 2 parts ; flux (No. 1.), 
6 parts; white lead, 3 parts; light red.— Wynn. 

3. Paste or flux colored with the red or pro- 
toxide of copper. Should the color pass into 
the green or brown, from the partial peroxid- 
izement of the copper, from the heat being 
raised too high the red color may be restored 
by the addition of any carbonaceous matter, as 
tallow, or charcoal. 

4. The most beautiful and costly red, inclining 
to the purple tinge, is produced by tinging 
glass or flux with the oxide or salts of gold, or 
with the purple precipitate of cassius, which 
consists of gold and tin. In the hands of the 
skillful artist, any of these substances produce 
shades of red of the most exquisite hue; when 
most perfect, the enamel comes from the fire 
quite colorless, and afterward receives its rich 
hue from the flame of a candle or lamp, urged 
by the blow-pipe. 

Rose-colored.— Purple enamel, or its elements, 
3 parts; flux, 90 parts; mix and add silver leaf, 
or oxide of silver, 1 part or less. 

Transparent.— Either of the fluxes, except the 
last three. (See also Pastes.) 

Violet.— Saline or alkaline frits or fluxes col- 
ored with small quantities of peroxide of man- 
ganese. As the color depends on the metal 
being at the maximum of oxidation, contact 
with all substances that would abstract any of 
its oxygen should be avoided. The same re- 
marks apply to other metallic oxides. 

Yellow.— 1. Red lead, 8 oz.; oxide of antimony 
and tin, calcined together, of each 1 oz. ; mix 
and add flux (No. 4) 15 oz. ; mix and fuse.— 
Wynn. By varying the proportion of the in- 
gredients various shades may be produced. 

2. Lead, tin ashes, litharge, antimony and 
sand, of each 1 oz ; niter, 4 oz. ; mix, fuse and 
powder ; and add the product to any quantity 
of flux according to the color required. 

3. White oxide of antimony, alum and sal 
ammoniac, of each 1 part ; pure carbonate of 
lead, 1 to 3 parts, as required : all in powder ; 
mix and expose to a heat sufficiently nigh to 
decompose the sal ammoniac. Very bright. 

4. Flux fused with oxide of lead, and a little 
red oxide of iron. 

5. Pure oxide of silver added to the metallic 
fluxes. The salts of silver are alsojused, but are 



Enamels. 



199 



Enamels. 



difficult to manage. If a thin film of oxide of 
silver be spread over the surface of the enamel 
to be colored, exposed to a moderate heat, then 
withdrawn and the film of reduced silver on the 
surface removed, the part under will be found 
tinged of a fine yellow. 

Superior yellow enamels are less easily pro- 
duced than most other colors ; they require but 
little flux and that mostly of a metallic nature. 

White.— 1. Calcine (2 parts of tin and 1 part of 
lead calcined together), 1 part ; fine crystal or 
frit, 2 parts; a very trifling quantity of manga- 
nese; powder, mix, melt and pour the fused 
mass into clean water ; dry, powder, and again 
fuse and repeat the whole process 3 or 4 times, 
observing to avoid contamination with smoke, 
dirt, or oxide of iron. A fine dead white. 

2. Washed antimony, 1 part ; fine glass (per- 
fectly free from lead), 3 parts ; mix and pro- 
ceed as before. Very fine. 

For white enamel, the articles must be per- 
fectly free from foreign admixture, as this 
would impart a color. When well managed, 
either of the above forms will produce a paste 
that will rival the opal.— Cooley. 

These formulas are old, but still are reliable. 
Refer also to the Miscellaneous Enamels below. 

Black, Enamel for Wood. —Prime the wood 
with linseed oil, turpentine and white lead; 
then give it two or three coats of black, mixed 
with copal varnish and turpentine. Rub it 
down when dry with pumice stone and water; 
finally varnish with copal; again rub down and 
polish with oil and rotten stone, to obtain a 
perfect smoothness. 

Black for Writing on White Enamels.— Use 
vegetable black mixed with a hard drying var- 
nish, and thinned with boiled oil and turpen- 
tine. 

Enameling Iron Vessels.— For enameling cast 
and wrought iron vessels, two compositions 
are in use; one has for its base" silicate of lead 
and the other boro-silicate of soda. One of 
these enamels is applied to the scoured surface 
of the metal in the form of a powder, which is 
fixed by heating to a sufficiently high tempera- 
ture to fuse; it then spreads over and covers 
the metal with a vitreous varnish. The boro- 
silicate of soda possesses great superiority over 
the silicate of lead, for it is not attacked by 
vinegar, marine salt, or the greater number of 
acid or saline solutions, even when concen- 
trated, and resists the action of agents used in 
cooking or chemical operations. The silicate 
of lead enamel is whiter and more homogeneous, 
which explains the preference given it by the 
public, but it gives up oxide of lead to vinegar 
or to common salt; it acts upon a great number 
of coloring matters, and it is attacked by 
nitric acid, which communicates a dull color to 
it. On evaporation the liquid leaves a white 
crystalline residue of nitrate of lead. This 
enamel is instantly darkened by dissolved sul- 
phides, and also by cooking food containing 
sulphur, such as cabbage, fish and eggs. 

2. To color the enamel green, mix with it 
before heating 1 to 2 parts of oxide of chro- 
mium to 10 parts enamel. 

3. For blue, use prepared cobalt, red lead, 
niter, each 1 oz. 

4. For yellow, use lead and tin ashes, litharge 
and antimony, each 1 oz., and niter 4 oz. 

5. Gold and purple of cassius are used for 
red and purple. 

6. For black, use calcined iron and cobalt, 
each 1 oz., or zaffre 2 oz., manganese 1 oz. 

Cards, Enamel oh.— The glaze upon enameled 
cards is made by pressure upon a polished 
plate or rollers. The composition is chalk, 
clay and a little starch. Good work is not pos- 
sible without elaborate accessories. 

Carboard, To Enamel.— Cardboard is treated 
with a surface of white lead and size laid on by 
a round badger's hair brush. A powder of 
talc (silicate of magnesia) is rubbed upon the 
dried surface of the lead, and the face is then 
polished by the brush. 



Enamel, Black for Cycle*.— Asphalt, 40 oz.; 
boiled linseed oil, V z gal.; litharge, 6 oz.; pow- 
dered zinc sulphate, 4 oz.; red lead, 6 oz.; lith- 
arge, 6 oz. Melt the asphalt, add the others; 
boil 2 hours, stir in 8 oz. fused dark amber 
gum and 1 pt. hot linseed oil; boil 2 hours 
more. When mass has thickened remove from 
the fire and thin 1 gal. turpentine. 

Enameled Cast Iron.— Clean and brighten the 
iron before applying. The enamel consists of 
two coats— the body and the glaze. The body 
is made by fusing 100 lb. ground flints, 75 lb. 
borax and grinding 40 lb. of this frit, with 5 lb. 
of potter's clay in water, until it is brought to 
the consistence of a pap. A coat of this being 
applied and dried, but not hard, the glaze pow- 
der is sifted over it. This consists of 100 lb. 
Cornish stone in fine powder, 117 lb. borax, 35 
lb. soda ash, 35 lb. niter, 35 lb. sifted slaked 
lime, 13 lb. white sand, 50 lb. of pounded white 
glass. These are all fused together, the frit 
obtained is pulverized. Of this powder 45 lb. 
are mixed with 1 lb. of soda ash in hot water, 
and the mixture dried in a stove is the glaze 
powder. After sifting this over the body coat 
the cast iron article is put into a stove, kept at 
a temperature of 212° to dry it hard, after which 
it is set in a muffle kiln to fuse it into a glaze. 
The inside of pipes may be enameled (after be- 
ing cleaned) by pouring the above body compo- 
sition through them while the pipe is being 
turned around to insure an equal coating. After 
the body has become set the glaze pap is poured 
in in the same manner. The pipe is then fired 
in the kiln. 

Porcelain Enamel, for Iron— Flint (quartz), 
calcined and ground, 100 lb.; borax glass (anhy- 
drous borax) ground, 50 lb. Mix, fuse together 
in a crucible and let it cool slowly. Powder 
and mix 40 lb. of this glass with 5 lb. of kaolin 
(white potter's clay) and grind the mixture to 
a fine paste in water; pickle the vessel in dilute 
sulphuric acid and scour with sand to thor- 
oughly cleanse its surface; then line it with a 
coating of the above paste about one-sixth of an 
inch thick, and let it stand in a warm room un- 
til the coating has partially dried. Next dust 
over the surface of the paste coating (still 
moist) the following powder, and dry it in an 
oven at 212° F.: White glass, free from lead or 
arsenic, 125 lb., borax, 25 lb.; carbonate of soda, 
fused, powdered, moistened with water and 
dried, 20 lb. To 45 lb. of this add 1 lb. soda. 
Mix thoroughly with a little hot water, dry and 
reduce to fine powder. When the coating on 
the iron has dried, the vessel is put in a muffle 
and the heat gradually increased until the 
glaze fuses, when it is taken out, more glaze 
powder is dusted on and after a second heating* 
allowed to cool very slowly. Some of the glazes 
employed consist of friable mixtures of feld- 
spar, sodium carbonate, borax and oxide of tin. 
Feldspar is also sometimes added to the enamel 
body. 

To Enamel Cast Iron and Hollow Ware.— I. 
Calcined flints, 6 parts; Cornish stone or com- 
position, 2 parts: litharge, 9 parts; borax, 6 
parts; argillaceous earth, 1 part; niter, 1 part; 
calx of tin, 6 parts; purified potash, 1 part. 

2. Calcined flints, 8 parts; red lead, 8 parts; 
borax, 6 parts; calx of tin, 5 parts; niter, 1 
part. 

3. Potter's composition, 12 parts; borax, 8 
parts; white lead, 10 parts; niter, 2 parts; white 
marble calcined, 1 part; purified potash, 2 parts; 
calx of tin, 5 parts. 

4. Calcined flints, 4 parts; potter's composi- 
tion, 1 part; niter, 2 parts; borax, 8 parts; 
white marble calcined, 1 part; argillaceous 
earth, y% part; calx of tin, 2 parts. The above 
compositions must be finely powdered, mixed 
and fused. The vitreous mass is to be ground 
when cold, sifted and levigated with water. It 
is then made into a pap with water or gum 
water. This pap is brushed over the interior 
of the vessel, dried and fused with a proper 



Enamel*. 



2U0 



Enamels, 



heat in a muffle. Clean the vessels thoroughly 
before applying. 

Enamel for Labels, etc. (Duchemin).— Arsenic, 
24 parts by weight; saltpeter, 24 parts; silica 
(fine sand), 72 parts; litharge, 200 parts. This 
mixture is spread on plates of glass which are 
not inferior in point of fusibility to the enamel. 
Glass thus prepared may be drawn or written 
on as readily as if it were paper, and the writ- 
ing may be rendered indelible by heating the 
plate in a small open furnace or muffle. Labels 
lor horticultural purposes, signboards, show 
oases, signs, etc., may thus be cheaply made. 
Photographs may be taken on this enamel. 

Miscellaneous Enamels. — 1. Enamel Blue. — 
Sixty-four oz. flint glass, 20 oz. red lead, 4 oz. 
pearlash, 8 oz. white enamel, 4 oz. common salt, 
■6 oz, best blue calx. To be run down in the 
glost oven, then ground, and add 4 oz. of red 
lead ; then grind it, and it will be fit for use. 

2. Twenty-six oz. zaffre, 18 oz. pearlash, a 
teaspoonful of charcoal. 

3. Violet Blue.— Four oz. tartar, 2 oz. red lead, 
5 oz. flint, }4 oz. magnesia. 

4. Fourteen parts glass, 5 parts red lead, 1 
part white enamel, 2 parts blue calx. Good. 

5. Ten parts glass, 5 parts red lead, 2 parts 
niter, y% part white enamel, calcined, y$ part 
blue calx. Good. 

6. Flux for Blue— Sixteen lb. flint, 2 lb. lead, 
2J£ lb. borax, 1 lb. pearlash. 

7. Yellow.— Eight of litharge, 6 of flint, 3 of 
antimony, 2 of ocher, 4 of glass. 

8. Three of litharge, 4 of powdered brick, 1 
oxide of iron, 3 of antimony ; to be calcined in 
glost oven and spread on glost plates. 

9. Flux for Yellow.— Three oz. red lead, 1 oz. 
flint. 

10. Enamel Yellow.— Six lb. white lead, ^ lb. 
flint, y% lb. tin ashes; to be mixed well to- 
gether, run down in an enameling heat, and 
poured into warm water. 

11. Carnelian Red. — One part chromate of 
iron, 3^ parts flux. 

12. Flux.— Three parts red lead, 1 part glass, 
1 part flint. No other flux will do for this. The 
flux must be highly calcined until it forms a 
dark glass. 

13. Enamel Red.— Three of litharge, 2 of anti- 
mony, 1 of iron scales. 

14. One of litharge, 1 of antimony, Yi of iron 
scales, red and yellow, to be spread on plates in 
glost oven. 

15. Flux for Red.— Six oz. of red lead, 4 oz. 
borax, 2 oz. flint glass. To be run down over 
common fire. 

16. Pink.— One hundred lb. oxide of tin, 50 lb. 
chloride of lime, 5 lb. oxide of chrome ; 10 of 
the foregoing to 1 of flint. 

17. Rose Colors.— One grn. of gold dissolved 
in aquaregia, 4 of block tin dissolved in same; 
pour each separately into a basin of cold 
water, then drop in the tin, when dissolved, 
and stir with a feather; then let it stand six 
hours, until precipitated ; then wash it in hot 
water after which add the following : 3 paf ts 
borax, 1 part flint and 1 part calx. 

18. Rose Flux.— Fourteen parts glass, 5 parts 
red lead. 

19. Crystal Enamel.— Dissolve 1 oz. white lac 
in 10 oz. warm alcohol. Let the mixture stand 
for some weeks, then decant the clear portion 
for use. 

Mill way Vanes says (Sci. Am. Supp., No. 387) : 
*'I place little importance on these, as they might 
be had in any quantity. When in a powdered 
state and well ground, they are ready for mix- 
ing with the proper vehicles on the color slab. 
These vehicles are raw turpentine, the oil of 
turpentine and the oil of tar. The turpentine 
is placed in a gallipot, which is again placed in 
a saucer. The turpentine, in time, fattens and 
creeps over the edge of the gallipot into the 
saucer and 'fattens 1 into the oil of turpentine, 
which can be thinned by raw turpentine for 
use. To this should be added another gallipot 
and saucer, containing tar oil. Now here comes 



the technical use of these vehicles. The colors 
should not be made too fat, or left too raw. 
I have said that the lights in enamel painting 
are taken out by the pencil— always a camel 
hair one. If the color be too fat this cannot 
be cleanly done, or if it be too raw a similar 
evil is encountered. To perfect the color, in 
use, a little tar oil is mixed with it, and occa- 
sionally used in taking out the lights. This 
was the manipulation, or modus operandi, of 
one of the greatest painters— one of the finest 
wild flower painters in the world; and in my 
experience I have followed the same practice 
with the best results. 

To the camel hair pencil should be added 
the stick, or holder, which performs some of 
the most important work in the art of enamel 
painting. It should be made of alder wood, 
and sharpened at the end away from the pen- 
cil. With this the artist takes out the sharpest 
and most brilliant lights of the picture, occa- 
sionally cleaning the end of the pencil stick on 
the front of his working coat, and then wet- 
ting on the tip of his tongue for a cleaner 
touch. 

There are no art materials, possibly, so diver- 
sified in quality as enamel slabs for painting on, 
and enamel colors for use in enamel pictures 
All these colors, being of a mineral character, 
require the best chemical mixing and the finest 
grinding. Rose colors and purple, having bases 
of gold, are sometimes tampered with in the 
use of a baser material in the manufacture of 
those colors; and blues and reds are difficult of 
obtaining for pure art purposes. A great 
enamel artist used in his blues a little chloride 
of sodium, or common salt; and his rose colors 
and purples were generally of the first make. 
This artist had worked in England on the finest 
wares, at Swansea, Worcester, Coalport, Chel- 
sea, the Staffordshire potteries, and elsewhere. 
Specimens of his clever work might now be 
seen at the Liverpool Museum. At the great 
works of Minton's and Copeland's, he was one 
of the first hands; and no doubt is now well 
remembered by those who do honor to the 
trade. From these great manufactories the 
best of colors might be obtained, not by pur- 
chase, but from the kindness of the employers, 
who are ever ready to assist in the development 
of art, as the quantity required for art pur- 
poses and amateur use is so very small. 

Having secured an unblemished porcelain 
slab, or other porcelain article, the subject 
might be sketched in with a little Indian ink, 
rubbed up in water, then the work is com- 
menced for the first firing. The work can 
either have a background or can be painted 
without one; and here the skill of the artist is 
first tried. The background in the first coloring 
might be bossed in with a small dabber, 
and then the subject taken out and arranged, 
of course, according to the lights and darks 
and colors of the picture. First, second, third, 
and perhaps a fourth firing may be required 
as the work goes on, shadows darkening, tints 
brought out, and the background receiving the 
most beautiful and effective stippling, until at 
last this work of art stands out before the 
admiring gaze of the beholders, a finished work 
of technical ability, gorgeous in colors, most 
deep and rich in tone, and defying all the 
power of time in permanency of hues. But 
even here a few other touches might be re- 
quired, and another firing given. To this end 
the artist, before alluded to used a little white 
enamel, mixed in water, giving the finest dots, 
as it were, for seed pearls, and the work was 
finished. 

As before stated, enamel colors are prepared 
from the oxides of different metals with a 
vitreous flux. Ihe principal colors are oxides 
of lead, platinum, chromium, uranium.. Oxides 
of tin and antimony give opacity." 

Enameling Metal. — The use of colored 
enamels on large surfaces is yet in its infancy. 
The ordinary gray enamel (so called) is really 



Enamel Powders. 



301 



Essences. 



not an enamel, but a transparent glaze, the 
apparent gray color of which is produced by 
the surface of iron beneath the glaze. 

Gray Mixture Enamel. 

Sand 101b. Ooz. 

Red lead 33 lb. oz. 

Boracic acid 20 lb. oz. 

Cullett (broken glass) 114 lb. oz. 

Bicarbonate of soda 16 lb. oz. 

Niter 1 lb. 2 oz. 

Manganese. lb.8>£ oz. 

Gray Mixture Enamel. 

Flint 361b. Ooz. 

Boracic acid 241b. Ooz. 

Bicarbonate of soda 24 lb. oz. 

Niter 181b. Ooz. 

"White Mixture Enamel. 

Cullett 111b. Ooz. 

Boracic acid 7 lb. oz. 

Bicarbonate of soda lb. 4 oz. 

Phosphate of lime ... 31b. 8oz. 

Oxide of antimony 01b. 2 oz. 

To Stamp with Gold on an Enameled Surf ace.— 
Use thin gold size and a hot brand. 

Pasteboard and Paper, Enamel for.— Paper is 
-enameled by coating with a mixture of 100 
parts kaolin (perfectly dry) and 24 parts par- 
affin melted and mixed hot. After cooling it is 
reduced to powder and worked into paste in a 
paint mill with water, and then applied to the 
paper. Or try a mixture of dammar varnish 
and Chinese white. The last will strengthen 
the paper a little; the first will not. 

Enamel Powders. See Powders. 

Encaustic Paste. See Photography. 

Enema. — A medicine usually liquid, some- 
times gaseous, thrown into the rectum or lower 
bowels. 

Engobc.-A thin layer of paste, or slip. 

Engraving, Sand Blast.— Sand driven 
by an air blast of the pressure of 4 in. of water 
will completely grind or depolish the surface 
of glass in ten seconds. If the glass is covered 
by a stencil of paper or lace, or by a design 
drawn in any tough elastic substance, such as 
half dried oil, paint or gum, a picture will be 
engraved on the surface. Photographic copies 
in bichromated gelatine from delicate line en- 
gravings have been thus faithfully reproduced 
on glass. In photographic pictures in gelatin, 
taken from nature, the lights and shadows pro- 
duce films of gelatin of different degrees of 
thickness. A carefully regulated sand blast 
will act upon the glass beneath these films 
more or less powerfully, in proportion to the 
thickness of the films, and the gradations of 
light and shade are thus produced on the glass. 
In the apparatus used air rises through a curved 
tube, carrying the sand up with it, which is 
thrown into the air tube by an endless belt of 
scoops arranged in the lower part of the angu- 
lar box. The sand is carried up by the air and 
brought over and down the front air tube, 
where it discharges with great force upon the 
surface of the glass, which is contained within 
the front box and is carried by a belt gradually 
forward under the blast. 

Engravings, to Bleach. See Bleach- 
ing. 

Engravings, to Clean. See Cleansing. 

Engraver's Border Wax. See Waxes. 

Engraving Inks. See Inks. 

Engravings, to Mount.— Strain thin 
muslin on a frame, then carefully paste on it 
the engraving, so as to be free from creases ; 
afterward, and when dry, give the engraving 
two coats of thin size (made by putting a piece 
of glue the size of a small nut into a small cup- 
ful of hot water); finally when this dries, var- 
nish the engraving with a varnish known as 
white hard. See also Drawings. 



Engravings, to Transfer. See Trans- 
ferring. 

Entomologists, Cement for. See Ce- 
ments. 

Envelope, Safety.— A safety envelope 
may be made by treating that part of the paper 
covered by the flap with a solucion of chromic 
acid, ammonia, sulphuric acid, sulphate of cop- 
per and fine white paper. The flap itself is 
coated with a solution of isinglass in acetic 
acid, and when this is moistened and pressed 
down on the under part of the envelope a solid 
cement is formed entirely insoluble in acids, 
alkalies, hot or cold water, steam, etc. 

Epithem.— Any external liquid medicine 
for local application, as an embrocation or lo- 
tion. Some writers confine the term to those 
preparations which are intended to be applied 
by means of a cloth dipped in them. 

Equivalence. See Quantivalence. 
Erasive Soaps. See Soaps. 

Ergot. Syn. Spurred Rye. Secale Cor- 
nutum. Ergota. Diseased Grains of Rye.— 
Ergot of rye deteriorates greatly by age. It is 
fed on by a description of acarus resembling 
the cheese mite, but much smaller, and this in- 
sect in time destroys the whole of the internal 
portion of the grain, leaving nothing but the 
shell and a considerable quantity of excremen- 
titious matter. To prevent this the ergot should 
be well dried, and then placed in bottles or tin 
canisters, and closely preserved from the air. 
The addition of a few cloves or drops of the oil 
of cloves, or strong acetic acid, or a little cam- 
phor or comphorated spirit of wine will pre- 
serve this substance for years in close vessels. 
Escharotics.— Substances that destroy the 
texture of living organic substances, with the 
production of an eschar or scab. 

Escharotics, Painless.— 1. A painless 
caustic for the removal of warts and tumors 
may be made as follows : 

Arsenious acid 1 part. 

Sulphate of morphine 1 part. 

Calomel 8 parts. 

Powdered gum arabic 48 pai-ts. 

This is to besprinkled over the cuticle daily, 
the surface of which has been previously de- 
nuded by knife or blister. 

2. Cauquoin's paste for the same purpose is 
composed of ten parts of chloride of zinc, two 
parts of alcohol (60°), and fifteen parts of wheat 
flour. The zinc in fine is added to the alcohol, 
then incorporated with the flour in a mortar, 
strongly pressing with the pestle. As soon as 
homogeneous it is spread with a roller into 
sheets an eighth of an inch thick, and after a 
few hours put into a well corked bottle. 

3. Latour's nitrochloride of zinc paste is also 
an excellent preparation, and is made by dis- 
solving fifty pai'ts of the chloride and one hun- 
dred parts of the nitrate of zinc in eighty parts 
of water. The solution is made by the aid of 
heat. When it cools, seventy-five parts of 
wheat flour is incorporated with one hun- 
dred parts of the solution, as with Cauquoin's 
paste. 

Esparto, Spanish Grass. — Used to a consid- 
erable extent in the manufacture of paper. 
Esprit. See Perfumes. 
Essence (Perfumery). See Perfumes. 
Essence of Soaps. See Soaps. 

Essences.— Allspice.— I fl. oz. essential oil of 
allspice (pimento), 1 pint strongest rectified 
spirit; agitate till perfectly mixed ; next day 
decant the clear from the sediment. 

Almonds.— 1 . One fl. oz. essential oil of al- 
monds, 1 pt. spirit; proceed as allspice. 

2. One fl. oz. essential oil, 7 fl. oz. spirit. 

Almonds— 1. Essence of bitter almonds, es- 
sence of peach kernels, almond flavor. 

Essential oil of almonds 1 fl. oz. 

Rectified spirit (56 o. p.) 19 fl. oz. 



Essences. 



202 



Essences. 



Mix and agitate them together until united. 
2. Concentrated essence of almonds, double 
E. of A. Take of— 

Essential oil of almonds 1 fl. oz. 

Rectified spirit (strongest) 9 fl. oz. 

Mix. Used chiefly to impart the nutty aroma 
and flavor of bitter almonds and peach kernels 
to other preparations. The first is the common 
essence of the shops. Essences of other essen- 
tial oils may be prepared in a similar manner. 
Many of them are now much used by confec- 
tioners and cooks, as well as in perfumery and 
cosmetics. It should be remembered that es- 
sence of almonds is poisonous. 

Ambergris.— 

1. Ambergris 5 drm. 

Rectified spirit (63 to 66 o. p) 1 pt. 

Put them into a strong bottle or tin can, se- 
cure the mouth perfectly and very firmly and 
keep the vessel in a room exposed to the heat 
of the sun, or equally warm, for a month or 
two, observing to briskly agitate it daily dur- 
ing the whole time. Lastly, after repose, de- 
cant the clear portion, and, if necessary, filter 
it rapidly through bibulous paper. Very fine. 
It forms the strongest and finest simple es- 
sence of ambergris of the West End (London) 
and Paris houses. 

2. Ambergris 2^ drm. 

Rectified spirit 1 pt. 

Digest, with frequent agitation, for 2 or 3 
weeks. Good. Chiefly used as an element in 
other perfumes and preparations. 

Ammoniacum.—l. One lb. ammoniacum in 
tears, bruised in a cold mortar with ^ lb. coarse, 
well washed, silicious sand or powdered glass; 
and M pint rectified spirit gradually added, 
trituration is continued till the whole is re- 
duced to smooth paste, and it is then placed in 
a wide mouthed bottle with y% pt. spirit of 
wine; digest for a week with frequent stirring, 
and after allowing to settle, decant the clear 
into another bottle for use. 

Angelica.— 1. Two oz. angelica root, 2}4 oz. 
rectified spirit, 9 oz. water; digest, strain and 
evaporate. 

2. Two lb. angelica root, 1 gal. rectified spirit; 
make a tincture; to the marc addl gal. proof 
spirit and repeat the digestion; filter the two 
tinctures separately, mix, distill off the spirit, 
and evaporate. 

Anodyne.— 1. One drm. powdered hard aque- 
ous extract of opium, y% drm. powdered cinna- 
mon, 1 fl. oz. rectified spirit; digest a week. 

2. Five drm. recent extract of henbane, 2 fl. 
oz. rectified spirit; digest a week. 

Antihysteric.—'i grn. potassium cyanide, 1 
drm. powdered sugar, 4 fl. drm. rectified spirit, 
4 fl. drm. orange water; shake together till dis- 
solved. 

Apples.— Peel and reduce to pulp, 6 lb. unripe 
crab apples; add 1 lb. iron wire in small coils; 
digest in a vapor bath for about a week, express, 
strain, decant and evaporate in a porcelain 
vessel, with constant stirring, to the consist- 
ence of a soft extract ; dissolve the residue in 4 
parts water, strain and evaporate as before. 

Apricot.— Butyric ether, 10 parts; valerianic 
ether, 5 parts; glycerine, 4 parts; amylic alco- 
hol, 2 parts; amyl-butyric ether, chloroform, 
cenanthic ether, and tartaric acid, each 1 part. 

Aromatic— One drm. hay saffron, 6 fl. drm. 
rectified spirit; digest together, filter; to fil- 
trate, add 1 drm. oil of cinnamon, I drm. pow- 
dered white sugar, 2 fl. drm. rectified ether, % 
drm. oil of nutmeg, ^ drm. essence of ginger; 
after shaking and a few days' repose, decant 
the clear. 

Banana.— Banana essence, 2 oz.; citric acid, 1 
oz.; alcohol, 70°, 2 pt. 

Bark.--1. Pour drm. resinous extract of yellow 
bark, V/ 2 fl. oz. rectified spirit, % A- oz. tincture 
of orange peel, 1 fl. drm. acetic acid; digest a 
week. 



2. One half drm. quinine disulphate, 2 drm. 
resinous extract of bark, 2 fl. oz. rectified spirit; 
digest a week. 

Beef.—l. One lb. lean beef chopped small, y% 
pt. water; put into large bottle and shake vio- 
lently half an hour; strain the liquid into a jug; 
boil the solid residue in 1 pt. water for twenty 
minutes; strain, and add the liquid to the pre- 
vious cold infusion; evaporate to consistence 
of thin sirup, add salt and spice to taste, and 
while boiling hot pour into cans or (previously 
heated) bottles, hermetically seal, and store in 
a cold place. 

Birch.— First cut the oil. The essence is made 
as follows : Oil of birch or wintergreen, 1J^ oz.; 
alcohol 95°, 12 oz.; water, 12 oz. 

Bitter.— Four oz. wormwood, 1 oz. gentian 
root, 1 oz. bitter orange peel, 1 oz. blessed 
thistle, 45 oz. rectified spirit. Digest a week. 

Blackberry.— Tincture of orris root (1 to 8), 1 
pt. ; acetic ether, 30 drops; butyric ether, 60 
drops. 

Blackberry.— Apple oil, 1 oz. ; quince oil, 1 
oz. ; tincture of orris 1 oz. ; tartaric acid, 1 oz. ; 
alcohol, 70°, 2 pt. 

Black Cherry, Essence of.— Benzoic ether, 5 
parts ; acetic ether, 10 parts ; oil of persico 
(peach kernels) and benzoic acid, each 2 parts ; 
oxalic acid, 1 part. 

Camphor.— 1. Four and a half oz clean cam- 
phor dissolved in 1 gal. rectified spirit. 

2. One oz. camphor, 10 oz. rectified spirit. 

3. Thirteen fl. drm. tincture of camphor, % 
fl. drm. tincture of myrrh, 18y 2 fl. drm. recti- 
fied spirit. 

4. One fl. oz. spirit of camphor, 7 fl. oz. proof 
spirit. 

5. One drm. camphor dissolved in 2% oz. 
rectified spirit ; add % oz. water. 

6. One drm. powdered camphor dissolved in 
12 fl. oz. water saturated with carbonic acid gas. 

Cardamom.— Cardamom seeds, 600 gr. ; alco- 
hol at 85°, 10'5 1. ; water, 5 1. Product, 10 1. 

Catechu (Cachou).— Catechu, 600 gr. ; alcohol, 
85°, 10-5 1. ; water, 5 1. Product, 10 1. 

Cedrat.— Rinds of 60 fresh citrons; alcohol, 
121. Macerate for twenty-four hours; at the 
time of distilling add 5 1. of water and distill ; 
draw off 11 1. Rectify with 5 1. of water. Pro- 
duct, 10 1. 

Celery.— 1. Four and a half oz. bruised celery 
seed, 1 pt. proof spirit; digest 14 days, strain. 

2. Seven oz. celery seed, 1 pt. rectified spirit ; 
digest and strain as 1. 

Cherry. — Benzoic ether, acetic ether, each 5 
parts ; glycerine, 3 parts : cenanthic ether and 
benzoic acid, each 1 part. 

Cherry, Wild (Fluid). — Sixteen oz. wild cherry 
in fine powder, 4 oz. glycerine, 8 oz. water; mix 
the glycerine and the water, and digest the 
wild cherry in 8 oz. of the mixture for four 
days ; pack in a percolator and pour on the re- 
maining 4 oz. glycerine and water ; when this 
has disappeared from the surface, pour on 
rectified spirit (0*817) until 12 oz. of fluid have 
been obtained, and set this portion aside. Then 
percolate with spirit until 20 oz. more have 
been obtained; evaporate to 4 oz. and mix 
with the reserved portion. 

Cinnamon. — Cinnamon, pulverized, 300 grm.; 
alcohol 85°, 10*5 1.; water, 5 1. Macerate for 
twenty-four hours, distill over open fire. Rec- 
tify the product with 5 1. water over an open 
fire — product, 101. 

Cochineal.— Two oz. cochineal, 2 oz. subcarbon- 
ate of potash, 2 oz. potash alum, 2 oz. cream of 
tartar, 20 oz. distilled water. Boil the cochineal 
and potash together for about ten minutes, then 
stir in gradually the cream of tartar and alum; 
strain through muslin, and afterward filter 
through paper. To the filtrate add y 2 lb. lump 
sugar, and dissolve with gentle heat. 

Coffee.— 1. Four oz. coffee, 2 oz. chiccory, 1 oz. 
caramel (burnt sugar); prepared by percolation 
of the coffee with boiling water, gently and 
quickly evaporated to y& or 14 its bulk,addinga 
thick aqueous extract of the chiccory and sirup 



Essences. 



203 



Essences. 



of burnt sugar, so as to give the whole a con- 
sistence of molasses. 

2. Use 3 pt. 90% rectified spirit, over 3 oz. fine- 
ly ground coffee. Digest and filter. 

Coltsfoot.— 1. One oz. tolu balsam, 3 oz. recti- 
fied spirit, 3 oz. compound tincture of benzoin, 
dissolve ; in a few days decant the clear. 

2. One oz. tolu balsam, 1 oz. compound tincture 
of benzoin, 2 oz. rectified spirit. 

3. Five fl. oz. tincture of tolu, 3 fl. oz. com- 
pound tincture of benzoin; 1 oz. quite dry 
powdered sugar, 1 drm. hay saffron; digest a 
week, with frequent shaking. 

Coriander.— Coriander seeds, 12 k. 500 gr.; al- 
cohol, 10.501.; water, 5 1.— product, 10 1. 

Cubebs. — One-half lb. Bruised or ground 
cubebs, 1 pt. rectified spirit; digest fourteen 
days, press, filter. 

2. Four and one quarter lb. cubebs, 1 gal. rec- 
tified spirit. 

3. Oleo Resinous.— 1 oz. oleo resinous extract 
of cubebs dissolved in 3 oz. rectified spirit. 

Cumin.— Cumin seeds, 1 kilo. 250 grm. ; alco- 
hol at 85° 10*50 liters; water, 5 liters ; product, 10 
liters. 

Currant.— Acetic ether, tartaric acid, each 5 
parts; benzoic acid, succinic acid, benzoic 
ether, aldehyde, and cenanthic acid, each 1 part. 

Fruit Essences. - Dingier' 1 s Polytechnic Journal 
gives the following table of the composition of 
artificial fruit essences, showing the number of 
parts of each ingredient to be added to 100 parts 
of alcohol— all chemically pure. Glycerine is 
found in all -it appears to blend the different 
odors, and to harmonize them : 



strained tincture is reduced by distillation in a. 
steam or water bath to 1 gal., cooled, trans- 
ferred rapidly to stoppered bottles, and fil- 
tered. 

6. Twenty-four lb. ginger as in 5, 6 gal. recti- 
fied spirit; make a tincture as before, and distill 
down to 1 gal.; cool as quickly as possible out 
of contact with the air, and add 1 gal. strongest 
rectified spirit of wine; filter if necessary. 

7. Causes no turbidity with water or sirup. 
1 lb. finest Jamaica ginger in powder, macer- 
ated in 8 oz. rectified spirit for several hours; 
add more spirit, and percolate to 16 oz.; add z 
oz. heavy carbonate of magnesia, agitate, and 
add 24 oz. water; shake well, and filter. If the 
filtrate is turbid, shake up with more mag- 
nesia, and filter again. It becomes turbid, 
again after a few days' rest, but on filtering 
continues clear. — Thresh. 

Grape.— CEnanthic ether, glycerine, each 10 
parts; tartaric acid, 5 parts; succinic acid, 3 
parts; aldehyde, chloroform and formic ether, 
each 2 parts; and methylsalicylic ether, 1 part. 

Headache.— 1. One drm. oil of lavender (Mit- 
cham), 1 oz. camphor, 4 oz. liquor ammonias, 1 
pt. rectified spirit; dissolve. 

2. Two lb. spirit of camphor, 4 oz. strong 
water of ammonia, J^ oz. essence of lemon. 

3. Two oz. camphor, 2 oz. liquor of ammonia. 
4 drm. oil of lavender, 14 oz. rectified spirit. 
Very fragrant, stimulant, and rubefacient. 

4. Two lb. spirit of wine, 2 oz. roach alum, 4 
oz. camphor, % oz. essence lemon, 4 oz. strong 
water of ammonia, in a close-stoppered bottle ; 
shake daily for three or four days. 



Ginger. — 1. Five oz. bruised unbleached Ja- 
maica ginger, 1 pt. rectified spirit; digest a fort- 
night, press, filter. 

2. As 1, with addition of very little essence of 
cayenne. 

3. Three oz. grated ginger, 2 oz. fresh lemon 
peel, digested in 1*4 pt. brandy for ten days. 

4. Equal parts best unbleached Jamaica 
ginger in coarse powder, and silicious sand, 
sprinkled with enough rectified spirit of wine 
to perfectly moisten; after twenty-four hours, 
the mass is placed in a percolator, and after re- 
turning the first runnings two or three times, 
the receiver is changed, and more rectified 
spirit is poured on gradually and at intervals 
as repuired, until as much essence is obtained 
as there has been ginger employed. 

5. Twelve lb. best unbleached Jamaica ginger 
in coarse powder digested in 2)4 gal. rectified 
spfrit for fourteen days; the expressed and 



H op— 1. 2&% oz. new hops (rubbed small), 1 
qt. proof spirit ; digest twenty-four hours, then 
distill 1 pt. over (quickly), and set the disiillate 
aside in a corked bottle; to the residue add 1 pint 
water, boil fifteen minutes, cool, express the 
liquor, strain, and evaporate as quickly as 
possible to dryness by a water bath; powder 
the residue, and add to the distilled spirit; 
digest a week and filter. 

Juniper Berry Essence.— Dissolve % oz. of oil 
of juniper in 3 pt. of rectified spirit, 90£. Filter. 

Essence of Lemon.— Oil of lemon, acetic ether, 
and tartaric acid, each 10 parts; glycerine, 5 
parts; aldehyde, 2 parts; chloroform, nitrous 
ether and succinic acid, each 1 part. 

The different manufacturers of artificial 
fruit essences doubtless prepare them by for- 
mula? of their own, and this explains the differ- 
ence in the flavor, which is particularly notice- 
able on largely diluting them with water. If 



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Essences. 



204 



Essences. 



the essences have been prepared with a dilute 
alcohol, their odor is more prominent and they 
are apparently stronger ; but on mixing a small 
quantity with a large quantity of water in 
given proportions, the true flavoring strength 
may be better discerned,, 

A fruit essence which is much employed in 
the United States is essence of banana ; it con- 
sists usually of butyric ether and amyl-acetic 
ether, equal parts, dissolved in about 5 parts of 
alcohol. 

The red color of strawberry and raspberry 
essence is produced by aniline red (f uchsin), the 
bluish tint of which is conveniently neutralized 
by a little caramel. If caramel alone is used 
for coloriug essences a yellow or brown color 
is obtained, according to the quantity used. 

Essence of Lemons.— From oil of lemon, as 
essence of almonds. For this purpose the 
oil should have been recently expressed and 
preserved from the air. A dash of essence 
of musk improves it as a perfume, but not as a 
flavoring essence. Oil of lemon is popularly 
called essence of lemons, as noticed elsewhere. 

Lemon.— Oil of lemon, acetic ether and tar- 
taric acid, each 10 parts; glycerine, 5 parts; 
aldehyde, 2 parts; chloroform, nitrous ether 
and succinic ether, each 1 part. 

Lemon Peel.— 1. One half lb. yellow peel of 
fresh lemons, % gal. boiling water ; infuse one 
hour, express the liquor, boil down to y pt., 
cool and add J4 oz. oil of lemon dissolved in iy 
pt. spirit of wine ; mix and filter. 

Melon Essence.— Take iy parts glycerine; 5 
parts aldehyde ; 4J4 parts f ormiate of ethyl ; 10 
parts butyrate of ethyl ; 12^ parts valerianate 
of ethyl ; 25 parts sebacic ether. 

Melon.— Sebacylic ether, 10 parts ; valerianic 
ether, 5 parts; glycerine, 3 parts; butyric 
ether, 4 parts ; aldehyde, 2 parts : formic ether, 
1 part. 

Mustard. — 1. Mustard liniment of double 
strength [not recommended]. 
2. Whitehead's: 

Black mustard seed, bruised. 2y oz. 

Tepid water 2 fluid oz. 

Mix, and in a few hours add 
Oil of turpentine 1 pt. 

Digest, with strong agitaiton, for 48 hours, 
then decant and filter. In the filtrate dissolve, 
by digestion and agitation, of — 

Camphor (small) 2 oz. 

Oil of rosemary 3 drm. 

Balsam of tolu 1 drm. 

Annatto ^jdrm. 

Lastly, after repose, decant the clear portion. 

Nectarine.— Extract of vanilla, 2 parts; es- 
sence of lemon, 2; essence of pineapple, 1. 

Orange.— Oil of orange and glycerine, each 
10 parts; aldehyde and chloroform, each 2 parts; 
acetic ether, 5 parts; benzoic ether, formic 
ether, butyric etiier, amylacetic ether, methyl- 
salicylic ether and tartaric acid, each 1 part. 

Orange Peel.— Four oz fresh yellow rind of 
orange, J^pt. rectified spirit, J^pt. water; di- 
gest for a week, pi ess, filter ; add 1 qt. sherry. 

Peach.— Formic ether, valerianic ether, buty- 
ric ether, acetic ether, glycerine and oil of 
persico, each 5 parts; aldehyde and amy lie 
alcohol, each 2 parts; sebacylic ether, 1 part. 

Pear.— Acetic ether, 5 parts; amly-acetic 
ether and glycerine, each 2 parts. 

Pennyroyal.— As peppermint. 

Peppermint.— 1. Oil of peppermint (Mitcham), 
1 fluid ounce- rectified spirit, 1 pt.; mix by 
agitation. White. This is the usual strength 
of that solid in the shops. The corresponding- 
preparation of the new Br. Ph., " spiritus 
menthae piperitge," has more than double this 
strength, being made with 1 fl. oz. of oil to 9 fl. 
oz. of rectified spirit. 

2. To the product of No. 1 (above), add about 
half ounce of herb peppermint, parsley, leaves, 
spinach leaves, and digest for a week, or until 



sufficiently tinged ; or agitate the essence with 
10 or 12 grn. of sap green, previously rubbed 
down with about a teaspoon!' ul of hot water. A 
delicate light green. The ignorant do not con- 
ceive it to be good and pure unless it has a pale 
greenish tint. 

Used in toothache and to disguise foulness ot 
the breath ; but chiefly as a flavoring ingredient 
by confectioners, cooks and druggists. Pep- 
permint (essence, water) is a great favorite in 
domestic and popular medicine, as a remedy in 
flatulence, colic, nausea, sickness, etc., and to 
disguise the flavor of nauseous substances. 
The dose of the essence is 10 to 30 drops on 
sugar, or mixed up with a little water or wine; 
of the water a teacupf ul or more, at will. A 
few drops of the essence well agitated with y 
pt. of cold water, form an extemporaneous 
peppermint water equal to that obtained by 
distillation. This water is an excellent mouth 
wash for smokers. 

3. One oz. oil of peppermint, 4 oz. rectified 
spirit; mix. 

4. To 3 add y oz. herb of peppermint, or 
parsley or spinach leaves (preferably one of the 
first two), digest for a week, or until sufficiently 
colored ; 10 or 12 gr. sap green rubbed up with 
a teaspoonf ul of hot water, is also used for 
coloring. 

5. Two fl. oz. of oil of peppermint, 16 fl. oz. 
rectified spirit. 

Pineapple Punch Essence. — Alcohol, 2 qt. ; 
rum, 1 qt. ; artificial pineapple essence, y fl. 
drm.; essence cenanthic ether, 20 grn.; citric 
acid solution, 1 to iy fl. oz.; sirup, 2 qt. 

Pineapple. — Amyl butyric ether, 10 parts; bu- 
tyric ether, 5 parts; glycerine, 3 parts; aldehyde 
and chloroform, each 1 part. 

Plums — Glycerine, 8 parts; acetic ether and 
aldehyde, each 5 parts; oil of persico, 4 parts; 
butyric ether, 2 parts; and formic ether, 1 
part. . 

English Punch Essence. — 1. Rum, 2 qt.; citric 
acid solution, 1 fluid oz.; essence of lemon, so- 
luble, iy oz.; tincture vanilla, 1 fluid oz.; tinc- 
ture cinnamdn, iy drm. ; alcohol, 95°, 1 to 2 pt. 
Add 2 qt. sirup. The alcohol may be left out. 

2. Rum, 1 pt.; cognac, y pt.; citric acid solu- 
tion, y to 1 oz.; essence of lemon, soluble, 15 
grn.; sirup, 1 pt.; mix. 

Quassia. — 1. Digest iy oz. sliced quassia in 1 
pt. proof spirit for ten days, and filter. 

Raspberry. — Acetic ether and tartaric acid, 
each 5 parts; glycerine, 4 parts; aldehyde, formic 
ether, benzoic ether, butyric ether, amyl bu- 
tyric ether, acetic ether, cenanthic ether, me- 
thyl salicylic ether, nitrous ether, sebacylic 
ether, and succinic acid, each 1 part. 

Rennet— One clean fresh rennet minced; salt, 4 
oz.; glycerine, 2 oz.; 4 oz. alcohol; sirupy lactic 
acid, 1 drm.; water, 20 fluid oz.; digest seven 
days, shake frequently, filter; color with co- 
chineal; add 10 minims of chloroform, add 
enough water to make 40 fluid oz. 

Rhubarb.— Five oz. rhubarb powder; 5 oz. 
silicious sand; 1 pt. proof spirit; extract by 
displacement. 

Sarsaparilla.—l. Two and three-quarters lb. 
sarsaparilla root (best red Jamaica), carefully 
decorticated; the bark reduced to coarse pow- 
der, and digested for seven to ten days in % pt. 
sherry and J4 pt. rectified spirit, with frequent 
agitation; the essence is expressed, and in a 
week the clear portion is decanted from the 
sediment. 

2. Seven oz. alcoholic extract of sarsaparilla; 
M Pt • sherry; 34 Pt- rectified spirit; dissolve and 
filter. 

3. Four oz. alcoholic extract, 1 pt. sherry; 
dissolve and filter. 

4. Four oz. alcoholic extract, 1 lb. white 
wine. 

5. Ten oz. bruised sarsaparilla; 6 pt. distilled 
water; macerated at a temperature of 120° F. 
(49° C.) for six hours, and strain; repeat with 
the same quantity of fresh water; mix the li- 



Essences. 



205 



Etching. 



quors and evaporate in china vessels at 160° F. 
(71 C). 

6. Two and three-quarters lb. bark separated 
from sarsaparilla root, exhausted with water 
as 5; the liquid is evaporated as quickly as 
possible in a water bath to 16 fluid oz., and 
when cold mixed with 4 fluid oz. rectified spirit. 

Savory Spices.— 1. Four oz. black pepper; 3 
drm. powdered turmeric; V/% drm. coriander 
seeds (all ground), 1^ fluid drm. oil of pimento, 
Y>, drm. each oils of nutmeg - , cloves, cassia, and 
caraway; 1 pt. rectified spirit; digest with agi- 
tation for a fortnight. 

Soap.— Four oz. Castile soap (in shavings); 1 
pt. proof spirt; dissolve and add a litte per- 
fume. 

Essence of Soup Herbs (Kitchener).— Lemon 
thyme, 1^ oz.; winter savory, Wz oz.; sweet 
marjoram and sweet basil, each V/% oz.; grated 
lemon peal, % oz.; eschalots, % oz.; bruised 
celery seed, % oz,; proof spirit, 1^ pt. Digest 
from ten to fourteen days. A good flavoring- 
essence for soups, gravies, etc. 

Strawberry.— Butyric ether and acetic ether, 
each 5 parts; amyl-acetic ether, 3 parts; amyl- 
butyric ether and glycerine, each 2 parts; 
formic ether, nitrous ether and methyl-sali- 
cylic ether, each 1 part. 

Tonic Beer Essence.— Oil of wintergreen, 6 
drm.; oil of sassafras and oil of orange, of each 
6 drm.; oil of anise, 30 grn.; oil of cloves, 30 
grn. Cut the oils, dissolve in 20 fl. oz. alcohol 
95°; add gradually 20 fl. oz. water. 

Vanilla.— 1. Take- 
Vanilla 2 oz. 

Rectified spirit 1 pt. 

Digest for a fortnight. 

- 2. VaniUa (finest) J4 lb. 

Rectified spirit 1 qt. 

Proceed as last, or, preferably, as for essence 
of musk. Lastly, press and decant or filter. 
Very superior. It forms the best quality 
vended by the wholesale druggists, and is sold 
at exorbitant prices. This, as well as the pre- 
ceding, is chiefly used for flavoring and as an 
ingredient in compound perfumes and cos- 
metics. 

Volatile Essence, Volatile Ammoniacal Es- 
sence, Essentia Volatilis, Essentia Volatilis 
Aromatica, etc. — This is the strongest liquor of 
ammonia appropriately scented or aromatized. 
Nearly every maker has his own formula. The 
products of the following, which are given as 
examples, are highly esteemed in fashionable 
lif e : 

1. Otto of roses 12 drops. 

Oil of cinnamon.. . y% fl. drm. 

Oil of cloves 1 fl. drm. 

Oil of bergamot. . 2 fl. drm. 

Oil of lavender (Mitcham).. . . 4 fl. drm. 

Essence of musk 5 fl. drm. 

Liquor of ammonia (sp. gr. 

0-882-0-880) 1 pt. 

Put them into a V/% pt. bottle and shake it 
well until they are combined, observing to do 
so also each time before use. The bottle should 
be kept in a cold place. 

2. Oil of lemon 5 fl. drm. 

Oil of bergamot 5 fl. drm. 

Oil of lavender (Mitcham) 2 fl. drm. 

Oil of cloves 1 fl. drm. 

Otto of roses lfl. drm. 

Oil of cassia ^ drm. 

Oil of cedrat % drm. 

Neroli \& drm. 

Oil of sandalwood 15 drops. 

Liquor of ammonia (see above) 1 pt. 

As before. 

3. Oil of bergamot. 3 fl. drm. 

Oil of lavender (Mitcham). . . 2 fl. drm. 

Oil of cloves 1]4 fl. drm. 

Oil of cassia % fl. drm. 

Oii of verbena % fl. drm. 

Oil of rhodium J^fl. drm. 



Oil of sandalwood ^ fl. drm. 

Liquor of ammonia (see 

above) J^ pt. 

As before. 
4. Oil of bergamot 3 drm. 

Oil of lemon 2 drm. 

Oil of lavender „ 1 drm. 

Oil of jasmine 1 drm. 

Oil of sassafras ^ drm. 

Neroli 15 drops. 

Otto of roses 15 drops. 

Oil of origanum 15 drops. 

Etching.— The following is a simple descrip- 
tion of the process of etching : For copper 
plates two preparations are required. 1. The 
mordant, composed of hydrochloric acid, 100 
grm. ; chlorate of potash, 20 grm. ; water, 880 
grm. The water is to be warmed and the 
chlorate of potash perfectly dissolved in it 
first ; then the acid is added ; the common 
muriatic acid of commerce must not be used ; 
it gives off intolerable fumes and is of a deep 
yellow color. The proper form of the acid for 
etching does not fume, and has a very slight 
odor when mixed with water. 

2. The ground for the copper plate, consist- 
ing of a solution of yellow beeswax in turpen- 
tine, decanted until no sediment remains ; the 
solution should be clear and of a bright yellow 
color ; add £ of its volume of Japan varnish. 
To prepare the plate, clean the surface with 
engraver's emery paper, then pour a small 
quantity of the mordant into a shallow porce- 
lain bath, such as photographers use, and put 
the plate in the bath, leaving it until the sur- 
face darkens all over; if any spots remain 
bright it is a sign that the plate is greasy, in 
which case the grease must be removed ; then, 
when the plate is uniformly dark, wash and 
dry it and pour on a little of the ground, so 
that it covers the surface all over, let it dry for 
twelve hours, then apply a second coat of 
ground, and without waiting for it to dry 
smoke the surface with twisted tapers, holding 
the plate upside down ; let it dry and the plate 
will be ready for etching on. Etching needles 
can be made of ordinary sewing needles with 
points of different sharpness, set in wooden 
handles. A more satisfactory kind, however, 
consists of a bar of steel about the thickness of 
one's little finger in the middle, tapering to a 
point at each end ; these needles are more easy 
to work with, as the weight of the needle, or 
rather bar, is enough to penetrate the wax 
coating on the plate, and the hand is left at 
liberty to draw freely ; the needle can be sharp- 
ened on a sharpening stone. Now proceed to 
draw on the plate, taking care that the needle 
goes through the wax and touches the plate ; 
take care also that your nail does not remove 
the ground, or there will be a line where you 
do not want one. It is a good plan to have a 
piece of board with a hollow about one-fourth 
of an inch deep sunk in it of slightly larger 
dimensions than the copper. Place the plate in 
this, and have a flat piece of wood like a draw- 
ing ruler, which you can place across the hol- 
low, so that you can etch any part of the plate 
without fear of damaging the ground. Draw 
all the darkest lines first ; then immerse the 
plate in the bath containing the mordant for 
three hours. Take it out, dry it with blotting 
paper, taking care not to push the wax back 
into the lines you have drawn ; draw the next 
darkest lines, put the plate in the bath for one 
and a half hour, dry it again, draw the lighter 
lines, put it in the bath for three-quarters of 
an hour, dry again and draw the lightest lines, 
and put in bath for three-quarters of an hour. 
The lines will then have bitten for six hours, 
four and a half hours, one and a half hour and 
three-quarters of an hour, according to the 
darkness you wish to produce. Six hours is 
about the average time for this biting solution; 
but it requires a longer time in winter and 
shorter in summer. The ground must now be re- 



Etching. 



206 



Etching. 



moved with petroleum, and a proof of the plate 
must be taken to see if there is anything further 
required. The etching is much improved by 
being touched up with a sharp point, filling up 
gaps you may have left and making the shades 
blend better ; this is done without acid, of 
course, and is more in the style of engraving ; 
it is termed dry point. Unless you have 
some experience in copperplate printing send 
the plate to a regular lithographer, as it will be 
along time before you can print properly.— 
Correspondent in English Mechanic, 

Alabaster, to Etch.— Use a ground of white 
wax and oil of turpentine, Mi thickened with 
very finely powdered white lead, and etch with 
very dilute acetic or hydrochloric acid. 

Brass, Etching on.— 1. Sixteen parts nitric 
acid (s. g. 1'40), add to 160 parts water ; dissolve 
6 pt. potassium chlorate in 100 of water. Mix 
the two solutions. 

2. Many of the etching receipts for copper 
apply here ; Nos. 1, 2, 3 particularly. 

3. For surface printing on brass in the litho- 
graphic manner, Roret's Manual gives : 

Gumarabic — 8 parts, 

Nutgalls . 2 parts. 

Nitric acid 1 part. 

Phosphoric acid 4 parts. 

Water 30 parts. 

Bronze, Etching on.— For etching bronze, the 
following is given in Roret's " Manuel du 
Graveur :" 

Pure nitric acid at 40° 100 parts. 

Muriatic acid at 20° 5 parts. 

Also try any of the copper etching formulas. 

Copper Etching.— 1. (Lalanne.) Nitric acid, 
40°, mixed with equal amount of water, add 
pieces of scrap copper. 

2. Nitric or sulphuric acid, 1 part ; potassium 
bichromate saturated solution, 2 parts ; water, 
5 parts. 

3. (Dutch Mordant.) Hydrochloric acid (fum- 
ing s. g. ri90), 10 parts ; water, 70 parts ; then 
add boiling solution potassium chlorate ; dilute. 

4. (Roret's.) Distilled vinegar, 1 1. ; ammo- 
nium chloride, 60 grm. ; sodium chloride, 60 
grm.; pure verdigris, 40 grm. Grind up the 
solids and boil in the vinegar. Acetic acid (at 
3°) may be used in place of vinegar. 

5. Relief Etching.— Nitrous acid (30°), 1 oz. ; 
silver acetate, 3 drm. ; nitric ether (hydrated), 
8 oz. To prepare nitric ether mix 1 oz. alcohol, 
1 oz. nitric acid and stop reaction by adding 4 
oz. pure water. 

6. Tint Etching (Roret's).— Bay salt, 2 parts ; 
ammonium chloride, 1 part ; verdigris, 1 part. 
Grind up with old honey (sirup). 

7. Fielding.— Nitrous acid, 1 part; water, 5 
parts. Used for aquatints. 

8. Callot and Piranesi.— Strong vinegar, 8 
parts ; verdigris, 4 parts ; ammonium chloride, 
4 parts; salt, 4 parts; alum, 1 part; water, 16 
parts. 

Etching Brass Signs. — Paint the sign with 
asphalt varnish, leaving the parts to be etched 
unpainted, raise a border around the outside, 
made of soft beeswax or asphalt, to hold the 
acid. Use nitric acid diluted with five times 
the quantity of water. Pour the dilute acid on 
to the sign about % in. deep. When the letters 
are cut deep enough, which must be found by 
trial, the acid may be poured off and the plate 
cleaned by heating and wiping, and finally with 
turpentine. 

Etching on CutUry.—l. For etching on cut- 
lery a ground wax is required, composed of 
equal parts asphaltum, Burgundy pitch and 
beeswax, melted together and thoroughly in- 
corporated. In applying it, use a dabber, or 
ball of cotton covered with silk. Warm the 
piece of cutlery so that a stick of the wax will 
readily melt by touching. Smear a small quan- 
tity of the wax on the blade or articles, and 
dab it evenly all over the surface. When cold, 
6cratch the required design or name on the 



surface and touch the parts with acid (nitric 
acid 1 part, water 4 to 6 parts), using a camel's 
hair pencil to cover the surface and bring the 
acid into contact with all the lines. In a few 
minutes the biting is done. Dip in hot water 
to wash off the acid, and the surface may be 
cleaned by wiping with benzine. Another way 
is to make a varnish of asphalt and turpentine, 
with a few drops of linseed oil to make it tacky. 
Have a rubber stamp made of the required de- 
sign, with a border, so as to stop off around the 
design. Stamp the goods, and with some of 
the varnish thinned down with turpentine and 
a brush stop off the surrounding parts; or sur- 
round the design with a small rim of beeswax, 
and apply the acid as above. 

2. For etching brands and marks on polished 
steel surfaces, such as saws, knife blades, and 
tools, where there are many pieces to be done 
alike, procure a rubber stamp with the re- 
quired design made so that the letters and fig- 
ure that are to be bitten by the acid shall be 
depressed in the stamp. Have a plain border 
around the design, large enough to allow a 
little border of common putty to be laid around 
the edge of the stamped design to receive the 
acid. For ink, use resin, lard, oil, turpentine 
and lampblack. To M lb. of resin put 1 tea- 
spoonful lard oil; melt, and stir in a tablespoon- 
ful of lampblack; thoroughly mix, and add 
enough turpentine to make it of the consis- 
tency of printer's ink when cold. Use this on 
the stamp in the same manner as when stamp- 
ing with ink. When the plate is stamped, place 
a little border of common putty around and 
on the edge of the stamped ground. Then 
pour within the border enough acid mixture 
to cover the figure, and let it stand a few mo- 
ments, according to the depth required, then 
pour the acid off. Rinse the surface with clean 
water; take off the putty border, and clean off 
the ink with turpentine. Use care not to spill 
the acid over the polished part of the article. 
For the acid, 1 part nitric acid, 1 part hydro- 
chloric acid, to 10 parts water by measure. If 
the effervescence seems too active, add more 
water. „ __ . 

Glass, Liquid for Etching on— 1. This prepar- 
ation may be made by mixing sulphate of ba- 
rium and fluoride of ammonium in the pro- 
portion of three parts of the former to one 
part of the latter, with sufficient sulphuric 
acid to decompose the ammonium, and bring 
the mixture to the consistency of rich milk. 
The mixture should be made in a receptacle of 
lead, and kept in a bottle of the same material, 
or of gutta percha. 

2. Since fluoric preparations have been pro- 
duced at reasonable prices the decoration of 
glass by their means has steadily made its way. 
Etched glass is now to be found everywhere, 
and glass etching runs glass cutting very hard. 
It is very easy to understand that well etched 
objects appear actually more beautiful than 
those which have been cut. The cost of pro- 
duction is cheaper, and since M. Hock, a V len- 
nese chemist, has given us an elaborate work 
upon the technics of glass etching, the diffi- 
culties attending this kind of work have been 
reduced to a minimum. 

As is well known, fluoric acid usually etches 
smooth,, while other fluoric preparations yield 
a matt surface. The most beautiful ornamen- 
tation is obtained when certain parts of the 
glass surface are rendered matt by means of 
fluoride of ammonium which has been slightly 
acidified by means of acetic acid. The matt 
appearance is not always the same with differ- 
ent kinds of glass, but varies much in beauty; , 
this effect is governed by the composition 
of the glass, lead glasses being easily 
acted upon and furnishing a very fine matt 
surface. ,, „ „ 

3. Where it is desired to have the surface ot 
the glass not altogether matt, but shining like 
ice, as in the case of window glass, this may be 
attained in a simple manner by placing the 



Etching. 



Etching. 



glass plate in a perfectly horizontal position 
and covering it with fine groats. Then very 
dilute fluoric acid is poured upon it. The 
groats act as a shield and produce upon the 
glass raised points. 

4. Several ways exist of etching photographs 
on glass. A good result may be secured by 
covering the surface with a solution of gum 
made sensitive with bichromate of potash, and 
printing the same under a negative; after the 
image has been thus produced it is dusted over 
with minium or red lead, and the red picture 
thus obtained is fixed and burnt in in the usual 
manner. The easily soluble red glass so ob- 
tained is treated with strong sulphuric acid, 
when a white matt design is produced, and the 
picture appears by transmitted light as a posi- 
tive.— Photographisches Archiv. 

Etching Film, for Tracing with a Needle.— Mr. 
H . Trueman Wood sends the following to the 
Photographic News : There are many purposes 
in photography for which an opaque film ca- 
pable of being- etched with a sharp point might 
be useful. Such a film can be obtained by use 
of the following formula: Negative collodion, 
Yz oz.; ether, 6 drm.; alcohol, 6 drm.; shellac, 30 
grn.: aurine, 2 grn.; Judson's mauve dye, 30 
drops; water, 30 drops. 

Grounds for Etching.— I. "White wax, 30 parts; 
gum mastic, 30 parts; asphaltum. 15 parts. 

2. White wax, 30 parts; gum mastic, 15 parts; 
asphaltum, 15 parts. 

3. White wax, 60 parts; gum mastic, 30 parts; 
asphaltum, 60 parts. 

4. White wax, 3 parts; block pitch, 1 part; 
asphaltum, 4 parts; rosin, 1 par" t. 

. 5. Callot's ground linseed oil varnish and mas- 
tic; heat until the wax is melted, filter, apply 
with brush and heat plate until varnish stops 
smoking. 

6. White wax, 2 oz.; black and Burgundy 
pitch, of each % oz,.: melt together; add by de- 
grees powdered asphaltum 2 oz., and boil till a 
drop taken out on a plate will break when cold 
by being bent double two or three times, pour 
into warm water and make into small balls. 

7. Soft.— Soft linseed oil, 4 oz.; gum benzoin 
and white wax, of each % oz.; boil to two- 
thirds. 

Iron, etching on. See Steel below. 
Ivory, Etching on.— Use dilute sulphuric and 
hydrochloric acids mixed. 

Silver, to Etch on.— Proceed as for copper or 
brass, but great care must be used in preparing 
a proper ground and in stopping out. 

Steel, to Etch on.—l. Two oz. copper sulphate; 
alum, ]4 oz., salt, )4 oz., mixed with % pt. vine- 
gar, and 40 drops nitric acid can be used for 
frosting the steel. 

2. Glacial acetic acid, 4 parts; absolute al- 
cohol, 1 part; nitric acid, (s. g. 1*28), 1 part; allow 
the acetic acid and alcohol to remain for half 
hour, then add nitric acid carefully. Etch 
from one to fifteen minutes. 

3. Alcohol, 3 parts ; water (distilled), 5 parts ; 
nitric acid, 8 parts; silver nitrate, 8 parts. 
Wash the plate with very dilute nitrate acid, 
then apply the solution for three minutes, and 
wash with 6% solution of alcohol. Repeat if 
necessary. 

4. (Deleschamp's for vertical bite). Silver 
acetate, 2 parts; rectified spirits, 125 parts; dis- 
tilled water, 125 parts; nitric acid, 65 parts; nitric 
ether (see No. 5 of copper etching above), 16 
parts, oxalic acid, 1 part. 

5. Iodine, 4 parts; potassium iodide, 10 parts ; 
water, 80 parts. This is very highly recom- 
mended. 

6. No. 3 of copper etching above. 

7. (Roret's). Nitric acid, 62 parts; water 125 
parts; alcohol, 187 parts; copper titrate, 8 
parts. 

8. Cover the surface with a thin coat of as- 
phaltum varnish of fine quality, then cut the 
design through to the surface of the steel, and 



etch with a weak solution of nitric acid in 
water; finally wash with hot water and re- 
move the ashphaltum with hot turpentine. 

9. For steel— iodine, 1)4 oz. ; iron filings, % 
drm.; water, 6 oz. Digest until the iron is dis- 
solved. For fine touches take 6 parts each 
verdigris, sea salt and sal ammoniac ; dissolve 
in 12 parts vinegar, add 24 parts water, boil a 
minute and allow to cool. 

10. Clean the steel and cover evenly with wax, 
cut the lines with steel point through the wax 
and pour on the following etching fluid : Pyro- 
ligneous acid, 4 oz.; alcohol, 1 oz.; nitric acid, 1 
oz., by measure. Or use iodine, 1 oz.; iron fil- 
ings, Yq drm.; water, 4 oz. Etching fluid is re- 
moved as soon as the metal is sufficiently 
etched. 

Zincographic Etching.— 1. The solution most 
commonly employed for this purpose in use at 
the Ordnance Survey Office, Southampton, and 
given by Sir Henry James in his work on Photo- 
zincography, is as follows : 4 oz. Aleppo galls 
are bruised and steeped in 3 qt. of cold water 
for twenty-four hours; the water and galls 
are then boiled up together and the decoction 
strained. The gum water should be about the 
consistency of cream. 1 qt. of the decoction of 
galls is added to 3 qt. of the gum water, and to 
the mixture is added abont 3 oz. of phosphoric 
acid, which is prepared by placing sticks of 
phosphorous in a loosely corked bottle of 
water, so that the ends of the sticks may be 
uncovered. The oxidation of the phosphorous 
produces phosphoric acid, which dissolves as 
fast as it formed. 

The etching solution should only just mark a 
piece of plain zinc. 

2. In Richmond's "Grammar of Lithography' 1 
the following modifications of this formula are 
given : 

Decoction of nutgalls M pt. 

Gum water as thick as cream J4 pt. 

Phosporic acid solution 3 drm. 

Boil 1J4 oz. of bruised nutgalls an 1J4 lb. of 
water till reduced to one-third, strain and add 2 
drm. of nitric and 4 drops of acetic acid. 

3. Husnik gives the following, also vised by 
Hannot at the Depot de la Guerre, Brussels : 

Gum arabic 40 parts 

Sulphate of copper.. «, . . 2 parts 

Gallic acid 5 parts 

Nitric acid J^ part 

Water 1,000 parts 

4. Motteroz uses gum water acidulated with 
a few drops of muriatic acid, so that it will not 
visibly bite the plate, or better, decoction of 
nutgalls. 

5. Moock gives: 

Water 100 gr. 

Gum arabic. 15 gr. 

Nitric acid 2 drops 

or muriatic acid 4 to 5 drops 

Solution of nutgalls 10 gr. 

6. Scamoni has the following, by Garnier : 
Boil about 1*4 oz. of bruised gallnuts in a pint 
of water till reduced to %, filter and add 2 
drops of nitric acid and 3 to 4 drops of muri- 
atic acid. For very fine work this may be 
weakened with water. It is applied for about 
a minute, then washed off and the plate gum- 
med. 

Zincotypographic Etching. — In biting zinc 
plates in relief, the acid generally used is 
nitric, of different degrees of strength, accord- 
ing to the nature and state of the work. 

7. Kruger, in his Die Zinhogravure, recom- 
mends for the first relief etching, nitric acid 30 
to 40 drops to 100 jrm. of water, applied for 
five minutes. For each subsequent etching 8 to 
.10 drops of acid are added for each 100 grm. of 
water, and the time is increased by degrees 



Etching. 



208 



Evaporation. 



from five to fifteen minutes. For the final 
etching of the broad lights he uses: 

Muriatic acid 4 parts. 

Nitric acid 1 part. 

Water 16 parts. 

To soften down the ridges between the lines 
the plate is inked and dusted as before, and 
etched with dilute nitric acid at 5% applied for 
about a minute, and the inking, dusting and 
etching repeated as often as may be neces- 
sary. 

8. According to Husnik, the first two bitings 
are given with 1 part of nitric acid to 40 of 
water, the first biting lasting two minutes, the 
second four to five minutes. For the third bit- 
ing the acid is used double the strength, and 
applied for five minutes. The acid is made 
stronger for each successive biting. 

9. Moock (" Impression Photographique aux 
Encres Grasses' 1 ) gives a first biting with 
nitric acid at 2% for two or three 
minutes, adding about the same quan- 
tity of acid for five successive bitings, 
gradually increasing the time. After the 
first five bitings the plate is thoroughly cleaned, 
strongly heated, well inked again with a harder 
ink, and rebitten with acid as strong as the last 
used ; the operation is repeated for four more 
bitings, using less heat, and biting less and less 
each time. These last bitings are for smooth- 
ing off the edges of the lines. 

10. In his "'Instruction in Photography" 
Captain Abney gives the following process : 

Having made the- transfer in the usual way, 
and dusted it with resin, flood the surface of 
the zinc plate with a 10-grn. solution of sul-, 
phate of copper, which precipitates copper on 
the uncovered parts, and forms a copper-zinc 
couple. It can then be etched with very dilute 
acid. 

Hydrochloric acid 1 part. 

Water 500 to 750 parts. 

This is contained in a rocking trough kept 
constantly in motion. The first etching takes 
about twenty minutes. The plate is then 
washed and inked, dusted and coppered again, 
and then etched with acid twice as strong, the 
operation being repeated as often as may be 
necessary. 

11. Deep Etching. — For simple etching on 
zinc, Seymour Haden recommends 1 part 
nitric acid to three of water; or, 

Hydrochloric acid 10 parts. 

Chlorate of potash 2 parts. 

Water 88 parts. 

Dissolve the chlorate of potash in half the 
water (boiling), and mix the hydrochloric acid 
with the remainder. The two solutions are 
added together for use. 

12. Kochler (" Lalanne's Etching ") says 1 part 
of nitric acid to 8 parts of water is equal in 
effect to equal parts of acid and water used 
with copper for the same length of time. 

13. A. Martin uses 1 part nitric acid to 2 of 
water. 

14. Kruger ("Die Zirikogravure" 1 ') gives: 

Sulphate of copper 2 parts. 

Chloride of copper 3 parts. 

Water 64 parts. 

Muriatic acid 8 parts. 

also 

Nitric acid 1 part. 

Water 40 parts. 

15. M. Gourdon has proposed a curious pro- 
cess of photo-engraving on zinc, founded on 
M. Merget's discovery that if zinc be covered 
by precipitation with certain metals, it is only 
bitten by nitric acid in the parts left uncov- 
ered, while, on the contrary, dilute sulphuric, 
muriatic, acetic, and other acids will bite it 
only in the parts covered by the other metal. 
Thus, if zinc is covered in parts, as by writing, 
with a thin coat of powdery platinum, the 



parts covered with the platinum may be etched 
with sulphuric acid diluted with 7,000 parts of 
water. If gold be substituted for platinum, 
sulphuric acid diluted with 5,000 parts of water 
will etch it. Silver requires 3,500 parts water ; 
tin, 1,500; antimony, 700; bismuth, 500; lead. 
400. 

Etching Varnishes. See Varnishes. 

Ether. — To find the percentage of ether in 
a mixture of ether and alcohol. By finding the 
specific gravity at 60° F. of a mixture of ether 
and alcohol, the following table will give the 
percentage of absolute ether contained in the 
mixture. 



Spec. Grav. 


Per Cent. 


Spec.Grav. 


Per Cent. 


0-7198 
0-7246 
0-7-293 
0-7343 
0-7397 
0*7455 
0-7514 


100 
95 
90 

85 
80 
75 
70 


0*7673 
0-7636 
0-7701 
0-7772 
0-7840 
0-7880 


65 
60 
55 
50 
45 
40 



Eukesis. See Soaps. 

Evaporation. —Sun. Evaporatio (Lat.). 
Evaporation (Fr.). Abdunsten, Abdampfen, 
(Ger.). — 1. The dissipation of a fluid by means of 
heat. In chemistry and pharmacy evaporation 
is had recourse to, either for the purpose of re- 
covering a solid body from its solution, as in 
the preparation of extracts, chemicals, salts, 
etc., or to strengthen a solution by the ex- 
pulsion of some of the fluid matter that forms 
the menstruum. Evaporation is also employed, 
though less frequently, to purify liquids, by 
dissipating the volatile matters which may 
contaminate them. Under ordinary circum- 
stances, evaporation is confined to the surface 
of the heated liquid, and is therefore slower or 
quicker in proportion to the extension of that 
surface. Hence has arisen the adoption of 
wide shallow vessels for containing fluids dur- 
ing their exposure to heat for this purpose. 

It has been found that evaporation proceeds- 
most rapidly when a current of air is made to 
pass over the surface of the fluid, as, in this 
case, the vapor is prevented resting upon the 
surface; and impeding the process by its pres- 
sure. On the small scale, shallow capsules of 
glass, wedgwoodware, porcelain or metal, are 
commonly employed as evaporating vessels, 
and these are exposed to heat by placing them 
over a lamp, or naked fire, or in a water bath, 
or sand bath, according to the temperature at 
which it is proper to conduct the process. On 
the large scale, high pressure steam is usually 
employed as the source of the heat. The term 
spontaneous evaporation is applied to the 
dissipation of a fluid by mere exposure in open 
vessels, at the common temperature of the 
atmosphere, and without the application of 
artificial heat. The celerity of this species of 
evaporation wholly depends on the degree of 
humidity of the surrounding air, and differs 
from the former, in which the rate of evapora- 
tion is proportionate to the degree of heat at 
which the process is conducted, and the amount 
of pressure upon the surface of the liquid. 
Evaporation in vacuo (as it is called) is con- 
ducted under the receiver of an air pump, or in 
an attenuated atmosphere; produced by filling 
a vessel with steam, by which means the air is 
expelled, when all communication with the 
external atmosphere is cut off, and the vapor 
condensed by the application of cold. Fluids 
are also evaporated in air tight receivers over 
sulphuric acid, by which they are continually 
exposed to the action of a very dry atmos- 
phere. When such a receiver is connected 
with an air pump in action, evaporation pro- 
ceeds with increased rapidity, and intense 
cold is produced.— Cooley. 



Excoriation. 



209 



Extracts. 



2. The object of this may be to separate 
volatile liquids from others less so; to con- 
centrate or strengthen solutions by getting 
rid of a portion of the liquid they contain 
—condense them; to restore substances to 
their solid condition; to promote crystalliza- 
tion, etc. The vessels used for this process 
should be broad and shallow, in order to ex- 
pose a large surface of their contents, and it is 
facilitated by heat, currents of air, dryness of 
the atmosphere, etc. If the process can be 
conducted in pans "which are covered, or in 
vacuum pans where the pressure of the atmos- 
phere can be removed, the substance will 
evaporate more rapidly. On a small scale 
evaporation can be carried on in porcelain 
evaporing dishes, and using an alcohol lamp or 
Bunsen burner. Place a piece of wire gauze 
under the dish. 

Excoriation. — Syn. Excoriatio, (from ex- 
corio, to flay, or to cut off the skin.) An abra- 
sion.— Young children are very apt to be 
chafed under the ai'ms, behind the ears, be- 
tween the thighs, and in the wrinkles and folds 
of the skin, unless great attention is paid to 
cleanliness, and wiping the skin perfectly dry 
after washing. Whenever there is a tendency 
to excoriations of this kind, either in adults or 
children, a little finely powdered starch, or 
violet powder, applied by means of a puff, or a 
small bag of muslin, once or twice a day, will 
generally remove them, and prevent their oc- 
currence in future. Mild unguents, as cold 
cream, or spermaceti cerate or ointment, may 
also be used with advantage. The preference 
should, however, be given to the former rem- 
edies from their not soiling the linen. Excori- 
ations arising from the removal of the skin by 
friction or external violence, have already 
been noticed under the head abrasion. 

Expectorants. — Medicines that promote 
the secretion of the tracheal and bronchial 
mucus. 

Expression.— Is required to separate the 
last portions of tinctures, infusions, etc.; also 
the juices of fresh plants, fruits, etc., after 
being properly crushed. A screw press is best 
for this purpose, but strong bags, and various 
other means may be made use of. 

Extinguishing Compounds. See Fire. 

Extracts. See Perfumes. 

Extracts. See Soaps. 

Extracts.— Different fluids, acetic, alcoholic 
and ethereal, are used as solvents in the pre- 
paration of extracts, as may be best adapted to 
the solubility of the substance from which the 
extract is being prepared; and the solution is 
effected by either maceration, percolation, in- 
fusion or decoction, as circumstances require. 
The solution thus obtained is poured off, and 
the remaining soluble matter either pressed or 
washed out and added to the solution; it is next 
allowed time to settle, then decanted and 
strained or filtered, and if this fails to render 
the liquid clear it is clarified by white of 
egg and filtered, Canton flannel, first soak- 
ed in water, being generally employed for 
this purpose. When water acidulated with 
acetic acid is employed, vegetable sub- 
stances are usually macerated in it, or 
the dilute acid is sprinkled over the bruised 
plant, if fresh, and the juice expressed by strong 
pressure. The solution thus obtained, or the 
juice when obtained by expression from fresh 
substances, is then evaporated by rapid boiling 
until thick enough to cause some risk of burn- 
ing, when it must be completed either by a 
bath or by the slower process of exposure 
in an evaporating dish, heated air, etc., to a 
proper consistence. 

Extracts, Fluid.— This form of pi-eparations 
was introduced into the United States Pharma- 
copoeia for the first time in 1850 as a distinct 
class of preparations. Their distinctive char- 



acter is the concentration of the active ingre- 
dients of a substance into a small bulk and in 
liquid form. Their advantages consist in greater 
convenience of administration, and in the fact 
that, from the less degree of evaporation to 
which they have been subjected, the active 
principles they contain are less liable to have 
suffered injury by heat. The main difficulty 
lies in their liability to undergo spontaneous 
decomposition. This is counteracted in some 
cases by the addition of sugar, in others by al- 
cohol, and in others again by a mixture of both. 
Some fluid extracts when combined with sugar 
have a tendency to precipitation, rendering 
them turbid or cloudy in appearance. To ob- 
viate this Mr. Alfred B. Taylor has proposed the 
use of glycerine, which, while it has the same 
preservative influence, possesses the property 
of dissolving the matter which would be depos- 
ited by the use of sugar. The solutions for pre- 
paring them are obtained by percolation, and 
the menstruum used is alcohol or alcohol and 
water, the proportions of each depending on 
the nature of the substance to be extracted. 

Cherry.— Oil of bitter almonds, 2 drm.; apple 
oil, loz.; citric acid, 1 oz.; alcohol, 70°, 2 pt. 

Cinchona. — 16 oz. yellow cinchona bark in 
coarse powder, sufficient distilled water, 1 oz. 
rectified spirit; macerate the bark in 40 oz. 
water for twenty-four hours, pack in a perco- 
lator and add water until 240 oz. have passed 
through, or until the bark is exhausted; evap- 
orate the liquor to 20 oz. at a temperature not 
exceeding 160° E. (71° C); filter and continue 
the evaporation to 3 oz., or until the sp. gr. of 
the liquid is 1*200; when cold add the spirit 
gradually, constantly stirring. 

Cocoa.— Dissolve 1 lb. of chocolate in a qt. of 
boiling water, let it cool; take out the cocoa 
butter and add to it 4 oz. of glycerine and bot- 
tle. For flavoring ice cream. 

Compound Coffee, Extracts, (for Dispensing). — 
1. Ground Java coffee, 8oz.; sliced vanilla bean, 
2 drm.; diluted alcohol, q. s. 

2. Ground roasted coffee, 2 to 8 oz.; cinnamon, 
bruised, 60 grn.; vanilla, sliced, 60grn.; diluted 
alcohol, q. s. Moisten the ingredients with 
some of the liquid and pack in percolator. Put 
in enough diluted alcohol to leave a stratum 
above it. Macerate for forty-eight hours, cov- 
ered; percolate, pour on enough diluted alcohol 
until 32 fluid oz. of extract is obtained. 

Coffee, Extracts, Plain. For Dispensing (Lie- 
big's).— Pour 1 qt. boiling water on 2 lb. of best 
ground coffee; allow it to stand one hour, place 
in a percolator; add enough water to obtain 32 
fluid oz. of extract; add 2 oz. of alcohol to pre- 
serve, or more alcohol if intended to keep a 
long time. 

Coffee.— Pour upon a pound of the best fresh 
roasted coffee 1 qt. of cold water, heat gently 
for half hour, then let it come to a boil, cool 
for two hours, strain and add 4 oz. of glycerine. 

Ergot.— Sixteen oz. ergot in coarse powder, 
20 oz. ether, 70 oz. distilled water, 8 oz. rectified 
spirit. Shake the ether in a bottle with half its 
bulk of the water, and after separation decant 
the ether. Place the ergot in a percolator, and 
tree it from oil by passing the washed ether 
through it; remove the marc and digest it in 
the remainder of the water for twelve hours 
at 160° F. (71° C). Press out the liquor and 
evaporate it to 9 oz., and when cold add the 8 
oz. spirit; allow it to stand for an hour to 
coagulate; filter, and make up the quantity to 
16 oz. 

Foam Extract.— Crushed soap bark, y z lb.; 
alcohol, ^j pt.; glycerine, ]4 Pt-; water, 1 pt. 
The bark should be saturated with 3 oz. of the 
mixture of alcohol, glycerine and water. Pack 
in a percolator, close the lower orifice; add 
enough liquid to leave a stratum above the 
bark; then macerate for twenty-four hours, 
and percolate; add of alcohol, glycerine and 
water in the above proportions enough to 
obtain 1 qt. of extract. 






Extracts. 



210 



Extracts. 



The proportions are from 1 drm. to )4 oz. to 2 
qt. of sirup, according to the foam desired on 
the beverage. 

Ginger Extract.— For extract of ginger pro- 
ceed as follows: Take of ginger in No. 40 
powder 50 oz. avoirdupois, alcohol enough to 
make 3 pt. Pack in a percoiator, first moisten- 
ing with 14 fluid oz. alcohol. Add enough 
alcohol to leave a stratum above the powder. 
When it begins to percolate close the lower 
orifice, cover the top of the percolator closely, 
and let it stand for forty-eight hours. Then 
open and allow to percolate until exhausted. 
Reserve the first 43 fluid oz. of the percolate. 
Evaporate the remainder to a soft paste, dis- 
solve this in the reserved portion, and add 
enough alcohol to make the fluid extract 
measure 3 pt. The dose is from 10 to 20 
minims. 

Ginger, for Dispensing (Creuse's Process).— 
Fluid extract of ginger, 114 pt-* water, 3 pts.; 
carbonate of magnesia, 3 oz. Mix, shake often 
for twenty-four hours, filter, evaporate to % 
pint and add % pt. alcohol. 

Ginger Ale Extract.— Soluble essence of gin- 
ger, V/% pt.; essence of lemon, soluble, 1% oz.; 
essence of ginger oil, soluble, 1)4 oz.; extract 
of vanilla, soluble, 1)4 oz.; soluble essence rose 
oil, % oz.; tincture cinnamon, soluble, 1)4 drm.; 
artificial essence pineapple, % drm.; essence 
capsicum, 3 drm.; mix. 

Malt.— 1. An infusion of malt is made in 
water at 160° to 170° F. (71° to 77° C), drained 
off without pressure, and evaporated to a 
honeylike consistence. The quantities are— 1 
pt. crushed malt in 3 pt. hot water, and the 
infusion occupies about four hours. 

2. 47^j oz. extract of malt, mixed with 1 oz. 
iron pyrophosphate and ammonia citrate dis- 
solved in V/% oz. water. 

3. Six oz. coltsfoot leaves, 6 oz. spotted lung- 
wort, 8 oz. licorice, 2 lb. stoned raisins, 6 gal. 
old strong ale, not hopped; boil down to 4 gal., 
express strongly, and evaporate to honeylike 
consistence. 

Mead.— Oil of lemon, 1 oz.; oil of cloves, 2 
drm.; oil of cinnamon, 2 drm.; oil of nutmeg, 1 
drm.; oil of allspice, 30 drops; oil of sassafras, 
40 drops; oil of ginger, 1 drm. Cut the oils 
with pumice and sugar; dissolve 16 or 32 oz. 
alcohol. Add gradually an equal quantity of 
water. Clarify. 

Meat.— One oz. lean meat, recently killed, 
chopped very small; 8 oz. cold water; shake 
well together for ten minutes; heat gradually 
to boiling; let simmer gently for a few min- 
utes; strain through a hair sieve while still 
hot; evaporate to a soft mass. One lb. meat 
yields barely 1 oz. — Liebig. 

Myrrh.— Compound.— 2 oz. myrrh, 2 drm. gum 
arabic powder; triturate, add water enough to 
form a thick emulsion and 4 oz. extract of 
couch grass. 

Opium.— 1. One lb. opium in thin slices, 6 pt. 
distilled water; macerate the opium in 2 pt. of 
the water for twenty-four hours; express the 
liquor. Reduce the residual opium to a uni- 
form pulp, macerate again in 2 pt. of the water 
for twenty-four hours; express; repeat the 
operation a third time; mix the liquors, strain 
through flannel and evaporate by a water bath 
to pilular consistence. 

2. One and a half lb. powdered opium, 2)4 pt. 
cold distilled water; mix gradually; macerate 
for twenty-four hours, frequently stirring 
with a spatula; press, strain and repeat the 
maceration for twenty-four hours with a 
fresh 2)4 pt. water; evaporate the mixed 
strained liquors to a proper consistence. 

3. Sixteen oz. distilled water, 4 oz. rectified 
spirit: digest the extract of opium in the 
water for an hour, stirring frequently; filter; 
add the spirit. 

4. One oz. opium, 1 qt. distilled vinegar; 
digest two days with heat; decant, filter, evap- 
orate. 



5. Four oz. aqueous extract, 1 oz. resin; beat 
well together; add 16 oz. boiling water; boil to 
one-half; add 8 oz. cold water, filter, evaporate. 

6. Four oz. opium, 4 oz. sugar, lqt. water; rub 
together and keep the mixture loosely covered 
in a warm situation, about 70° F. (21° O), for 
ten days or more; add 1 qt. cold water; next 
day filter and evaporate. 

7. One oz. unstrained mixture of opium, 8 oz. 
water and a little yeast; leave for a week at a 
temperature of 68° to 77° F. (20 b to 25° C); 
dilute, filter and evaporate. 

Fluid Extract of Orange Peel.— Mr. M. Bond, 
in the Journal of Pharmacy, describes an im- 
proved method of preparing this extract. The 
process, concisely stated, is as follows: 
Sweet orange peel, in moder- 
ately fine powder 16 oz. 

Glycerine 3 fl. oz. 

Alcohol q. s. 

Water q. s. 

Having mixed 14 fl. oz. alcohol with 2 fl. oz.. 
glycerine, the peel is moistened in a Wedg- 
wood mortar with 12 fl. oz. of this mixture. 
After standing twelve hours percolation is 
conducted in the usual manner. The percola- 
tion is finished with a mixture of 2 parts alco- 
hol and 1 part water. Reserving the first 14 fl. 
oz., add 1 fl. oz. of glycerine to the remainder, 
evaporate to 2)4 A- oz., which mix with the re- 
served portion. The author describes this 
preparation as possessing all the aroma of the 
orange peel. One fl. oz. mixed with 15 fl. oz. of 
sirup gives an excellent sirup, aurant. quite 
clear. By adding to a pint of simple sirup 4 fl. 
drm. of the extract and a few drops of solution 
of citric acid, a most delicately flavored and 
unfermentable sirup for mineral waters is 
produced. 

Peach.— Oil of almonds, 3 drm.; pineapple oil, 
3 drm.; tartaric acid, 3 drm.; alcohol, 80°, ly 2 
pt. 

Pineapple.— Pineapple essence, 2 oz.; citric 
acid, loz.; alcohol, 80°, 2 pt. 

Raspberry.— Raspberry essence, 3 drm.; tinc- 
ture of orris, % oz.; citric acid, % oz.; liq. 
carmine, 15 drops; extract rose (from pomade), 
34 oz.; alcohol, 85°, M pt. 

Rhubarb.— 1. Eight oz. sliced or bruised rhu- 
barb, 5 oz. rectified spirit, 50 oz. distilled water; 
macerate four days; strain and set to subside; 
decant the clear, strain, mix, and evaporate to 
a proper consistence over a water bath at 160° 
F. (71° C). 

2. Compound.— Three drm. extract rhubarb, 1 
drm. extract of aloes, softened with 4 drm. 
water; evaporate to an extract; dry in a warm 
place, and powder. 

Sarsaparilla.— 3. Sixteen oz. Jamaica sarsa- 
parilla cut transversely, 280 oz. distilled water 
at 160° F. (71° C), 1 oz. rectified spirit; macerate 
in half the water for six hours, and decant the 
liquor; digest the residue in the remainder of 
the water for six hours more, mix the liquors, 
express and filter; evaporate by a water bath 
to 7 oz., or until it has a sp. gr. of 1*130; when 
cold, add the spirit. 

4. Three and a half lb. sarsaparilla, 3 gal. 
distilled water; boil to 12 pt.; pour off the li- 
quor, and strain while hot; again boil the sar- 
saparilla in 2 gal. water to half, and strain; 
evaporate the mixed liquors to 18 fluid oz.; 
when cold, add 2 fluid oz. rectified spirit. 

5. One lb. sarsaparilla, 4 pt. boiling water; 
digest two hours; bruise the root, boil for two 
hours, filter, and express the liquid; repeat the 
decoction with 2 pt. water, as before; evapo- 
rate the mixed liquids to the consistence of a 
thin sirup, and when cold enough add sufficient 
rectified spirit to make up 16 fluid oz. 

6. One lb. sarsaparilla; proceed as before; 
add sufficient rectified spirit to make the pro- 
duct up to 20 fluid oz. 

7. Sixteen oz. bruised sarsaparilla; 2 oz. 
bruised licorice root, 2 oz. rasped guaiacum 
wood, 2 oz. sliced sassafras bark, 6 drm. sliced 



Eyebrow. 



211 



Eyes. 



mezereon, 7 pt. spirit (sp. gr. - 935 = 13 u. p.); 
digest fourteen days, express, filter, evaporate 
to 12 fluid oz.; add 8 oz. sugar; as soon as this 
is dissolved, withdraw the heat. 

8. Sixteen oz. sarsaparilla, 2 oz. licorice 
root, 2 oz. sassafras, 360 grn. mezereon, all in 
fine powder; 4 oz. glycerine, 8 oz. rectified 
spirit, 4 oz. water; macerate in a closed perco- 
lator for four days; let the percolation com- 
mence, and finish it by adding diluted alcohol 
(equal volumes of alcohol at 0'835 and water), 
until 2 pt. have been obtained. Reserve the 
first 12 oz., having added 4 oz. glycerine to the 
remainder of the percolate, which evaporate 
to 6 oz., and mix with the reserved portion. 

9. There are different kinds of sarsaparilla 
extract; that most commonly used is the so- 
called sarsaparilla sirup, for soda water; it is 
made by adding to 1 gal of simple sirup 10 drops 
of anise oil, 20 drops of wintergreen oil, 6 oz. 
of caramel or burnt sugar for coloring and 20 
drops of oil of sassafras, while the sarsaparilla 
is left out simply for the sake of economy. 
The oils-should be first placed on some sugar 
and rubbed in a mortar, or mixed with some 
strong alcohol before adding them to the sirup. 
The honest fluid extract of sarsaparilla is, how- 
ever, made by cutting the roots very fine, or 
buying them in powdered condition, and moist- 
en 16 oz. with y% pt. of diluted alcohol; let it 
stand half an hour, pack it closely in a per- 
colator, cover the surface with a disk of cloth, 
muslin or linen, to prevent the disturbance of 
the powder, and pour on gradually 2 pt. of 
alcohol diluted with 1 pt. of water; when passed 
through, evaporate at a moderate heat, say 
150° F., on a water bath to 1 pt., add 10 oz. 
sugar and strain while hot. It is seen that 
boiling is not applied, as the heat of 212° F. 
destroys the essential virtues of the drug. 
There is also a compound extract of sarsapa- 
rilla made like the above, with the addition of 
a little guaiacum wood, pale rose senna and lic- 
orice root. After preparation, a few drops 
of anise, sassafras and gaultheria oil are added 
in the manner above mentioned. The lat- 
ter compound extract is also very often 
made by druggists with the sarsaparilla en- 
tirely left out; therefore, the only way to be 
sure that you have the sarsaparilla in, is to 
make the extract yourself. 

Strawberry — Pineapple oil, 1% oz.; tincture 
of orris, M oz.; tartaric acid, % oz.; alcohol, 80°, 
iy 2 pt. 

Soup Extract.— Boil your vegetables for six 
hours in a bain marie and squeeze. In the 
liquor which comes from the vegetables, bones 
and beef are boiled for the same length of time 
as the vegetables. The fluid is then strained 
off and on cooling the fat is skimmed off and 
after a while a part of the fat is added again 
together with 30% salt. It is then evaporated 
till it has the consistency of sirup. 

Vanilla.— Cut up fine 1 oz. vanilla bean, grind 
with 2 oz. of loaf sugar, in a mortar, mix 8 oz. 
of rose water and 21 oz. of alcohol 95°, add a 
portion to the vanilla and sugar, put in a dis- 
placer and pour on the balance of diluted al- 
cohol. Add a few drops of caramel if not dark 
enough. 

Walnut Shells. — A preparation with this 
harmless appellation is put up by a Berlin firm, 
but it contains, according to Schadler, a little 
nitrate of silver and chromate of copper in am- 
moniacal water used for the hair. 

The above is but one specimen selected to 
show that humbugs are pretty equally dis- 
tributed over the earth's surface, including 
China, while at the same time we are pleased 
to notice that some of our American prepara- 
tions are totally harmless, while others are even 
useful and beneficial. We hope at the same 
time to have satisfied a pardonable curiosity in 
some of our readers. See the Hair. 

Eyebrow, Pencil. See Cosmetics. 



Eyelaslies.— Deficient Color.— The following- 
preparation may be carefully applied twice 
daily on the external aspect of the skin near 
the root. 

Sulphur sublimed 1 oz. 

Tincture of cantharides 1 oz. 

White wax 8 oz. 

Glycerine 2 oz. 

Melt the wax and add the other ingredients and 
stir. 

Dye for the Eyelashes.— Black.— Wash the 
lashes in Goulard water and afterward apply 
the following with a small brush : 

Sublimed sulphur 1 part. 

Lard 4 parts. 

Glycerine 2 parts. 

Melt the lard and mix in the glycerine and sul- 
phur. Let it stand until cool. 

Ingrowth.— The lashes of either lid must be 
held transversely with a pair of tweezers or 
forceps and curled away from the eyeball ; they 
may be previously moistened with pure glycer- 
ine or egg. This should be repeated daily. 

Lotion for the Eyebrows.— The composition of 
the sample which you send us is, as near as we 
can make out, camphor, oil of rosemary, chlo- 
ride of ammonium, common salt, spirit and 
water. Try the following formula : 

Common salt 1 drm. 

Chloride of ammonium 10 grn. 

Camphor 5 grn. 

Oil of rosemary 10 drops. 

Rectified spirit 1 drm. 

Water to 1 oz. 

Dissolve the oil and camphor in the spirit, the 
salts in the water, and mix. 

Eyelashes, to Stimulate the Growth of.— Col- 
ogne, 2 oz. ; liquid hartshorn, 1 drm. ; tincture 
cantharides, 2 drm. ; oil rosemary, 12 drops ; 
lavender, 12 drops. 

Eyelids, Granulated.— The trouble is com- 
monly caused by a weak and impure state of 
the blood. Use sulphur and iron tonics for the 
blood and wash the eyes regularly, three times 
a day, with the following: Pure sulphate of 
zinc, 3 grn. ; tincture of opium, 10 drops ; water. 
2 oz. 

Eyes, The, The Care of.— At the sanitary 
convention held at Ann Arbor, Mich., not long 
ago, Dr. C. J. Lundy, of Detroit, read a paper 
on "Hygiene in Relation to the Eye," which 
should have the widest circulation, especially 
among teachers and school officers. A fruitful 
source of eye troubles is shown to be the ex- 
cessive strain upon the muscles and nerves of 
the eyes due to faulty educational methods, the 
ill-planned and insufficient lighting of school 
rooms, poor ink and fine print in school books, 
and other causes which education might cor- 
rect. In conclusion, Dr. Lundy laid down the 
following rules for the better care of the eyes : 

1. Avoid reading and study by poor light. 

2. Light should come from the side, and not 
from the back or front. 

3. Do not read or study while suffering great 
bodily fatigue or during recovery from illness. 

4. Do not read while lying down. 

5. Do not use the eyes too long at a time for 
near work, but give them occasional periods of 
rest. 

6. Reading and study should be done syste- 
matically. 

7. During study avoid the stooping position, 
or whatever tends to produce congestion of 
the head and face. 

8. Select well printed books, 

9. Correct errors of refraction with proper- 
glasses. 

10. Avoid bad hygienic conditions and the 
use of alcohol and tobacco. 

11. Take sufficient exercise in the open air. 

12. Let the physical keep pace with the men- 
tal culture, for asthenopia is most usually 
observed in those who are lacking in physical 
development. 



Eyes. 



313 



Eyes. 



Another set of rules which gives additional 
information on the care of the eyes are drawn 
up to serve as a guide to students and others 
working- by artificial light : 

1. If the work be carried on at a table, the 
cover should be green. 

2. If the light be given from a lamp or can- 
dle, it should be so covered with a shade as to 
prevent the glare from falling on the eye. 

3. It will, in addition, be advantageous to 
have the candle or lamp covered with a globe 
or chimney of tinted glass; which may be 
green, blue, or opaline. 

4. If gas is used it may be brought down by 
means of an india-rubber pipe to a lamp placed 
on the table, which may be arranged as before 
recommended. 

5. If this cannot well be done, the gas globes 
may be of tinted glass, and the person should 
wear a shade over the eyes, or should sit with 
his back to the light. 

6. If there is any defect of vision, compen- 
sating glasses should be worn, and they may 
be made of tinted glass. 

Reading by firelight is also injurious on ac- 
count of the glare, the quickly repeated dila- 
tations and contractions of the iris, due to the 
changes in the intensity of the light, and the 
frequent alteration of the accommodation of 
the eye which the latter necessitates. Persons 
as cooks, compelled to work before a strong- 
fire, should, if they experience any ocular in- 
convenience from the practice, wear smoked 
glasses. 

Where the eyes are easily irritated by the 
wind or sun, etc., the daily use of one of the 
eyewashes to be recommended for weak eyes 
will be beneficial, as also a solution of camphor 
in rose water in the proportion of 1 to 8. 

Eif& Ointments, Eye Salves.— These prepara- 
tions, even those that are used as cosmetics, or 
that fall within the range of domestic medi- 
cine, in general require such care in their prepa- 
ration as to render them unfit articles of 
domestic manufacture. Slight errors in the 
proportions of the ingredients, or neglect to 
reduce the hard or gritty substances which 
enter into their composition to impalpable 
powder, has often been followed by very 
serious consequences, and even blindness. The 
following are a few advertised proprietary arti- 
cles of the class, which, like all other nostrums, 
as a rule should be avoided by the reader : 
1. Sugar of lead 1 drm. 

Red precipitate 1 drm. 

Camphor 6 grn. 

Fresh butter (washed) 2J^ oz. 

3. Verdigris (levigated) }4 drm. 

Olive oil 1 fl. drm. 

triturate them together, and then add, of 

Yellow basilicon 1 oz. 

A popular nostrum in the cases noticed under 
No. 4 (infra), especially in those of a scrofulous 
nature. f 
3. Marshall's eye cerate.— Take- 
Sugar of lead .. ^drm. 

Calomel 1 drm. 

Citrine ointment 2 drm. 

Palm oil 5 drm. 

and carefully triturate them together, in a 
Wedgwood- ware mortar, as in No 1. In exco- 
riations of the eyelids, chronic inflammations 
and ulcerations, blear eyes, etc. ; in each largely 
diluted, to be safe. 

Stye Lotion.— Camphor water, }4 oz. ; muriate 
of morphia, 1 grn. 

A Cure for Sties.— Among the most trouble- 
some and often noticed eye affections are what 
are known as hordeolum, or common stye. Dr. 
Louis FitzPatrick, in the Lancet, differs from 
some of his professional brethren, who persist 
in ordering the application of poultices, bath- 
ing with tepid water, etc. These no doubt do 
good in the end, but such applications have the 
great disadvantage of prolonging the career of 



these unsightly sores, and encourage the pro- 
duction of fresh ones. Dr. FitzPatrick has 
found, after many trials, the local application 
of tincture of iodine exert a well-marked in- 
fluence in checking the growth. This is by far 
preferable to the nitrate of silver, which makes 
an unsightly mark, and often fails in its object. 
The early use of the iodine acts as a prompt 
abortive. To apply it the lids should be held 
apart by the thumb and index finger of the left 
hand, while the iodine is painted over the in- 
flamed papilla with a fine camel hair pencil. 
The lids should not be allowed to come in con- 
tact until the part touched is dry. A few such 
applications in the twenty-four hours is suffi- 
cient. 

Watery Eyes.— The eyes are tender, cannot 
bear a strong light, and there is an abundant 
secretion of tears. Treatment : If acute, that 
is, coming on suddenly and from some injury 
due to dust, etc., they should be bathed in 

1. Warm water 1 part. 

Poppy decoction I part. 

Chronic cases are best treated by astringents, 
as— 

3. Sulphate of zinc V/% grn. 

Water 1 oz. 

3. Alum 2 grn. 

Water 1 oz. 

4. Sulphate of copper V& grn. 

Water 1 oz. 

5. Nitrate of silver 1 grn. 

Water 1 oz. 

6. Acetate of zinc t . . . 1]4 grn. 

Water 1 oz. 

7. Diacetate of lead 11 grn 

Water 1 oz. 

The subsequent treatment of acute cases, 
after the inflammation has subsided, may be 
similar to that of the chronic. 

Rectified spirit, 1 part, and water, 8 parts, 
may be used as a lotion to chronic cases. 

Eye Waters. 

1. Distilled vinegar. ,.....,..,,,. 1 fl. oz. 

Distilled water 9 fl. oz. 

Mix. In simple chronic ophthalmia, weak and 
blear eyes, etc.; also to remove minute parti- 
cles of lime from the eyes. One-half fl. oz. of 
rectified spirit or 1. fl. oz. of good brandy is 
often added and improves it where there is 
laxness of the membranes. 

3. Sulphate of zinc 30 grn. 

Distilled water J^pt. 

Dissolve. An excellent astringent eye water, 
for chronic ophthalmia and in ordinary oph- 
thalmia, as soon as the inflammatory symp- 
toms subside; also in weak, lax, watery, irri- 
table eyes, etc. If there be much pain and irrita- 
bility, 5 or 6 grains of acetate of morphia (not 
hydrochlorate) or 3 fl. dr. of wine of opium 
may be added. 

3. Alum (crushed small) 10 grn. 

Sulphate of zinc 10 grn. 

Distilled water £lpt. 

Dissolve. Use, etc., as the last. 

4. Acetate (sugar) of lead 10 to 12 grn. 

Distilled vinegar 1 teaspoonf ul. 

Distilled water -. J^ pt. 

Dissolve. Uses, etc., as No. 2, particularly for 
children. 

5. Sulphate of copper 8 to 10 grn. 

Camphor julep J£ pt. 

Dissolve. In the purulent ophthalmia of 
infants and early childhood. The nostrum, 
Bate's Eye Water, has a similar composition, 
but is weaker. 

6. Chloride of barium .30 grn. 

Distilled water J^pt. 

Dissolve. In the ophthalmia of scrofulous 
and syphilitic patients. It often affords relief 



Eyes. 



213 



Feet. 



when other washes fail. When the eyes are 
very irritable, 5 or 6 or even 8 grn. of hydro- 
chlorate of morphia may be added with ad- 
vantage. 

7. Sal ammoniac (pure) 1 drm. 

Distilled water ^pt. 

Dissolve. In similar cases to Nos. 1 and 2 ; 
also to arrest the progress and prevent the 
accession of sties, etc., 1 fl. oz. of distilled vin- 
egar, or y% fl. oz. of rectified spirit (or both), is 
sometimes added to it, and renders it more ac- 
tive. "When there is much pain and irritation, 5 
or 6 grn. of hydrochlorate of morphia, or 2 or 3 
fl. drm, of wine of opium, is a useful addi- 
tion. 

8. Solution of acetate of am- 

monia 2)4 fl. oz. 

Rose water 2^ fl. oz. 

Camphor julep 5 fl. oz. 

Mix. A grateful and useful application to 
weak and swollen eyes, particularly after oph- 
thalmia. 

9. Hydrochlorate (or acetate) of 

morphia 5 to 8 grn. 

Distilled water 511. oz. 

Dissolve. In pain and extreme irritability of 
the organ, even during the acute stages of oph- 
thalmia. Camphor julep is often used instead 
of water. When morphia is unobtainable, 2 or 3 
fl. drm. of wine of opium or 3 or 4 fl. drm. of 
laudanum may be substituted, though inferior 
to it. 

10. Opium (Turkey, pure) 10 to 15 grm. 

Distilled water (boiling) — J4 pint. 

Dissolve. In the same cases as the last. One- 
half to 1 fl. oz. of solution of acetate of am- 
monia is often added. 

11. Goulard's Eye Water : 

Solution of diacetate of lead (Goulard's Ex- 
tract), 15 or 16 drops (minims). Distilled water, 
none other, y% pt. 

Mix. Uses, etc., similar to No. 4. 

12. (Krimer).— 

Hydrochloric acid lfl. drm. 

Mucilage 3 or 4 drm. 

Water . .6 oz. 

Mix. Used to remove minute particles of lime, 
mortar or iron from the eye, which it effects by 
its solvent action. 

Observe.— Eye waters should be perfectly clear 
and free from any floating matter, however 
trifling. To secure this it is in general neces- 
sary either to filter them through bibulous 
paper, or a piece of clean, fine calico, or to care- 
fully decant them after sufficient repose to 
allow the impurities to subside. When pure 
distilled water is used in their preparation, only 
some of them will require this. In using them 
a little of the liquid should be poured into a 
clean cup, gallipot, or glass, or into the clean 
palm of the left hand, when the eyes should 
be thoroughly wetted with it, either by means 
of a small piece of clean sponge or soft white 
rag, or the clean tips of the fingers of the 
right hand. In all cases it is advisable to 
bathe or wash the eyes in tepid water, and 
to wipe them dry before the application of 
the eye water ; and in most cases, this is abso- 
lutely necessary to insure benefit from their 
use. 

Eyes> Artificial, to Repolish— The glass can be 
made smooth by the use of moist washed flour 
emery, after which it is polished with fine col- 
cothar or rouge moistened with water, with 
rubbers of hat felt, finishing with a little moist- 
ened putty powder. 

Insects' Eyes, to Mount.— Collect the insects 
and carefully cut off each eye, then put the 
whole of them in a weak solution of caustic 
potash for a few days until when examined 
under the microscope the eye appears free 



from dirt, then take them out carefully and 
partly dry them between blotting paper, after- 
ward putting them in turpentine. Leave them 
in the turpentine for a day, then take out one 
at a time and lay it upon the glass slide on 
which you intend to mount it, then carefully 
drop a spot of Canada balsam on to the eye and 
warm the glass until the balsam has spread all 
round the eye, and then put the cover glass on 
the top of balsam, gently pressing it down un- 
til the eye is mounted well. 

Eyes, Paint for Black. See Rouges and 
Face Paints. 

Fabrics, to Bleach. See If leaching. 

Fabrics, Textile. See Fireproonng. 

Fabrics, to Waterproof. See Water- 
proofing. 

Face Paints. See Rouges and Face 
Paints. 

Face Powders. See Powders. 

Faience.— A name given to earthenware, 
enameled with painted designs and glazed. So 
called from its being made at Faenza; some- 
times called Raphael ware or majolica. 

Fainting.— Nothing more is necessary, or- 
dinarily, than to lay a person who has fainted 
down in a current of air, or where the air from 
an open window or door will play upon his 
face, and he will recover in a few minutes. If 
in a street or other open place, persons should 
be prevented from crowding closely around. 
The clothes also may be opened and cold water 
sprinkled upon the face, hands and chest, and 
some pungent substance, as smelling salts, 
camphor, aromatic vinegar, etc., may be ap- 
plied to the nostrils; and as soon as able to 
swallow, a little fresh water, or spirits and 
water may be given. Persons who faint easily 
should avoid crowded rooms and places where 
the air is close. See also Accidents. 

Fans, Varnish for. See Varnishes. 

Fat Oil. — Very thick turpentine. 

Feathers, to Rronze. See Bronzing. 

Feathers, Crushed and Bent.— To re- 
store when feathers are bent and out of curl, 
they should be exposed to steam, or else put in 
boiling water for one minute, when they should 
be taken out and laid in temperate water for 
some time. 

Feathers, to Clean. See Cleansing. 

Feathers, to Bye. See Byeing. 

Feed, Comparative Value of.— The compara- 
tive value of horse feed is found by experiment 
to be as follows: 100 lb. of good hay is equal in 
value to 591b. of oats, 57 lb. of corn, 2751b. of 
carrots, 54 lb. of rye or barley and 105 lb. of 
wheat bran. 

Feet, Fetid, Lotion for.— IS Union Medi- 
cate gives this recipe : Permanganate of potash, 
15 parts ; distilled water, 1,000 parts. The feet 
to be washed twice a day with the lotion. They 
are then to be carefully dried, and powdered 
either with potato starch or lycopodium. 

Feet, Offensive. — This condition is caused 
by excessive sweating of the feet, and the 
sweat, being confined, does not evaporate, and 
so decomposes. 

Treatment: The feet should be washed daily 
in cold water, and afterward rubbed thoroughly 
dry; the water may contain y z oz. powdered 
alum to the quart. Also at least once daily, es- 
pecially after exercise, lave the feet with a 
solution of chlorinated lime, or— 

Permanganate of potash 80 o-rn 

Water i pt- 

Also before putting on the socks or stockings, 
the feet should be thickly powdered, especially 
between the toes, with 

Chlorinated lime l part 

Prepared chalk , .1 par t' 

Starch powder i part 



Felons. 



214 



Files. 



The socks or stockings should be of thin flan- 
nel. 

Felons, to Cure.— 1. To cure a felon, says 
a correspondent, mix equal parts of strong- am- 
monia and water, and hold your finger in it 
for fifteen minutes. After that withdraw it 
and tie apiece of cloth completely saturated 
with the mixture around the felon, and keep it 
there till dry. 

2. Stir 1 oz. Venice turpentine in y 2 teaspoon 
of water until the mass resembles candied hon- 
ey. Spread on a cloth and wrap around the fin- 
ger. It should be used as soon as the felon 
makes its appearance. 

Fenton's Metal. See Alloys — White 
Metal. 

Fermentation.— Chemists divide fermen- 
tation into five kinds, viz.: 

1. Saccharine fermentation, by which starch 
and gum are converted into sugar. 

2. AlcoTiolic or vinous fermentation by which 
sugar is converted into alcohol. 

3. Viscous or mucilaginous fermentation, 
which converts sugar into slime or mucilage 
Instead of alcohol. 

4. Acetous fermentation, by which alcohol is 
converted into vinegar. 

5. Putrid fermentation, or putrefaction, 
which is exhibited in its most marked form in 
the putrefaction of animal substances. 

Fermentation, to Prevent.— 1. According to 
the Technologiste, common rosin prevents the 
formation of acetic acid in fermented liquids 
without having any disturbing effect on the 
process of alcoholic fermentation. The pecu- 
liar effect of the hop may be due, it is sug- 
gested, to its resinous matter rather than to its 
oils. Resin is added to sweet wines in G reece. 

2. Silicate of soda has been discovered to 
exert a very decided chemical action in check- 
ing alcoholic fermentation, in this respect being 
somewhat similar to borax, although much 
more energetic. A small quantity of the sili- 
cate will entirely arrest the fermentation of 
wine and also of milk. 

Fermentation, to Stop in Wine.— Bottle the 
liquor, and immerse a number of the bottles, 
with the mouths only projecting, in a large 
vessel of water. Loosen the stoppers and heat 
the water until of a uniform temperature of 
180° F., then remove the bottles, stopper and 
seal them tightly and place in an inverted 
position. 

Fertilizers.— Hon. Levi Stockbridge, Pro- 
fessor of Agriculture of the Massachusetts 
Agricultural College, Amherst, publishes the 
following formulas, by means of which the 
farmer may compound his own fertilizers and 
thus save to himself large amounts now paid to 
those who make a business of preparing these 
phosphates : 

To produce 50 bushels of corn more than the 
natural product to the acre, use : 

1. Nitrogen, 61 lb., in the form of stilphate of 
ammonia ; 

2. Potash, 77 lb., in the form of chloride o£ 
potash ; 

3. Phosphoric acid, 31 lb., in the form of muri- 
ate of superphosphates. 

To grow 1 ton of hay to the acre more than 
the natural product, use : 

4. Nitrogen, 36 lb., in the form of sulphate of 
ammonia ; 

5. Potash, 31 lb., in the form of chloride of 
potash ; 

6. Phosphoric acid, 12 lb., in the form of 
superphosphate. 

To produce 100 bushels of potatoes per acre 
and their usual proportion of tops more than 
the natural proportion of the land, and other 
quantities proportionally, use : 

7. Nitrogen, 21 lb., in the form of sulphate of 
ammonia ; 

8. Potash, 34 lb., in the form of sulphate of 
potash ; 

9. Phosphoric acid, 11 lb., in the form of 
superphosphate. 



To produce 25 bushels of oats and the usual 
proportion of straw per acre more than the 
natural product of the soil, and in proportion 
for other quantities, use : 

10. Nitrogen, 10 lb., in the form of sulphate of 
ammonia ; 

11. Potash, 31 lb., in the form of chloride of 
potash ; 

12. Phosphoric acid, 8 lb., in the form of 
super ph osphate . 

To produce 1,500 lb., of dried leaf tobacco 
with the usual proportion of stalk more than 
the natural yield per aci*e of land, use : 

13. Nitrogen, 149 lb., in the form of sulphate 
of ammonia . 

14. Potash, 172 lb., in the form of sulphate of 
potash ; 

15. Phosphoric acid, 16 lb., in the form of 
superphosphate ; 

16. Lime, 160 lb., in the form of sulphate of 
lime (lime plaster). 

These mixtures should be sown over the land 
broadcast when the ground is well prepared, 
before planting, and not put in the hills, so that 
the roots may seek the food and not concen- 
trate and thereby cause the plants to burn up. 

Cheap Fertilizer from Fish.— Pass fish refuse 
through mincing machine and expose in layers 
3 in. deep in a kiln heated to 300° F. until prop- 
erly dried. 

Fertilizers, Cotton, Vegetable and Orange.— An 
orange fertilizer should have the following 
composition: ammonia, 3*25$; available phos- 
phoric acid, 3*50,^ ; potash, 14 - 50$. Cotton ferti- 
lizer: ammonia, 2"50#; available phosphoric 
acid, 7'50$; potash, 4%. The formula for the 
vegetable fertilizer varies with the kind of 
vegetable which is cultivated : Ammonia, h% to 
1% ; available phosphoric acid, Q% ; potash, 8$ to 
l$jf. 

A cheap fertilizer consists of sulphate of 
ammonia, 60 lb.; nitrate of soda, 40 lb.; ground 
bone, 250 lb.; plaster, 250 lb.; salt, % bushel ; 
wood ashes, 3 bushels ; stable manure, 20 bush- 
els. Apply the above amount to six acres. 
Labor in preparing included, it costs about 
$15. It is said to give as good results as most 
of the commercial fertilizers costing $50 per 
ton. 

Fertilizing Powder.— Bone dust, 9 parts (very 
fine); plaster Paris, y 2 part; sulphate ammonia, 
y 2 part. Steep the seed in the drainings of a 
dunghill; drain, but while still wet, sprinkle 
with the powder and dry. 

Ferro-Manganese. See Alloys. 

Ferrotypes, Varnish for. See Var- 
nishes. 
Feuille Mort. See Alloys. 

Fig: Paste. — Pig paste is thus made: Ten 
lb. figs are cut up finely and boiled to a pulp 
with a little over 1 gal. of water. This is 
strained through a sieve, and 30 lb. of sugar 
are added. It is evaporated in a water bath 
until stiff. It may be poured into moulds of 
any desired shape. Carefully cooked corn 
starch may be added to the above before the 
last evaporation. After removal from the 
moulds, which must open or come apart, roll 
in sugar. 

Files, to Sharpen by Chemical 
Means.— Boil the files in strong soda and 
water to clean off all grease, oil or gum. Then 
dip for a few minutes in a bath of nitric acid 1 
part, water 4 parts ; the length of time being 
less on fine files, as your experience may sug- 
gest . 

To Besharpen Old Files.— "Wash the files in 
warm potash water to remove the grease and 
dirt, then wash in warm water and dry by 
heat. Put 1*4 pt. warm water in a wooden 
vessel, put in the files, add 3 oz. blue vitriol 
finely powdered, 3 oz. borax. Mix well, and 
turn the files so that every one may come in 
contact with the mixture. Add 10J4 oz. sul- 
phuric acid and y 2 oz. cider vinegar. Remove 






Fillers. 



2i5 



Filters. 



a 



the flies after a short time, dry, rub witn olive 
oil, wrap in porous paper. Coarse files should 
be kept "in the mixture for a longer time than 
fine ones. 

Files, to Sharpen. — The files must be thor- 
oughly cleansed in warm water containing 
a small quantity of potash, which readily re- 
moves all the grease and dirt. After they are 
thus cleansed they must be washed with warm 
water and dried by artificial heat. Next place 
1 pt. of warm water in a wooden vessel and 
put in as many files as the water will cover, 
then add 2 oz. blue vitriol (sulphate of copper), 
finely pulverized, and 2 oz. borax, well mixed, 
taking care to turn the files over so that each 
may come in contact with the mixture. To the 
above mixture now add 7 oz. sulphuric acid 
and y± oz. cider vinegar, which will cause the 
files to assume a red appearance at first, but 
they will in a short time resume their natural 
color. Then remove them, wash in cold water 
and dry by artificial heat. When dry, sponge 
with olive oil, wrap in porous paper, and lay 
aside for use. 

Fillers for "Wood.— 1. Take equal parts 
japan boiled linseed oil and turpentine, and 
half that quantity starch. Mix thoroughly, 
and apply with a sponge or flannel. When the 
polish is for walnut, a little burnt umber is 
added to the solution, and a little Venetian red 
when for cherry wood. 

2. Hard Wood Filler.— Use boiled oil and 
enough corn starch to make a very thick paste. 
Add a little japan, and reduce with turpentine. 
Add no color for white oak ; for dark ash and 
chestnut use a little raw sienna ; for walnut, 

■ burnt umber and a very little Venetian red ; 
for bay wood, burnt sienna. Use enough color 
to cover the white of the*starch. Apply with 
brush and rags. Let it dry forty-eight hours, 
or until it is in condition to rub down with No. 

sandpaper, without much gumming up, and 
if an extra fine finish is desired, fill again with 
the same materials, using less oil, but more of 
japan and turpentine. The second coat will 
not shrink, it being supported by the first coat. 
When the second coat is hard, the wood is ready 
for finishing up in any desired style or to any 
degree of nicety by following up the usual 
methods. This formula is not intended for 
rosewood, and will not be satisfactory if used 
therefor. 

3. Boiled linseed oil, I qt.; turpentine, 3 qt.; 
eorn starch, 5 lb.; japan, 1 qt.; calcined mag- 
nesia, 2 oz.; mix thoroughly. 

4. Whitening, 6 oz.; japan, H, pt-: boiled lin- 
seed oil, Hj pt.; turpentine, ]4, pt.; corn starch, 

1 oz.; mix well together and apply to the wood. 
Add coloring if required. 

5. Linseed oil, 1 qt.; spirits of turpentine, % 
pt.; lime, the size of a baseball, broken fine~ 
Let the mixture simmer on a stove, covered 
over, for two or three hours, then strain through 
■a coarse cloth. It is to remain on twenty-four 
hours, then rub off with a woolen cloth and 
polish. 

6. Filling for Cracks.— A very complete filling 
for open cracks in floors may be made by thor- 
oughly soaking newspapers in paste made of 1 
lb. flour, 3 qt. water, and a tablespoonful of 
alum, thoroughly boiled and mixed. Make the 
final mixture about as thick as putty, and it 
will harden like papier mache. This paper may 
be used for moulds for various purposes.— CaL 

/ A vcliitfct 

7. German Wood Filling.— Fill the pores of 
the wood with new tallow and plaster of Paris, 
well amalgamated before a fire, if the weather 
is cold. Darken, if required, with any coloring 
to suit. When well rubbed in, give a coat of 
shellac, and French polish or varnish. 

American Wood Filler.— Apply to the wood 
with a brush the following mixture: Pulverized 
starch bv weight. 3 parts; heavy spar, 3 parts; 
y> part by weight of siccative, with enough 
turpentine to make the consistency of ordinary 




varnish. For dark woods add to the siccative^ 
umber up to y% part. Rub across the grain oi'\ 
the wood with a piece of felt fastened to a v * 
piece of wood. Let the wood dry about eight 
hours, rub with glass paper, then polish and 
varnish. 

Filters.— Filter, an Inexpensive.— Use two 
stone pots or jars, as shown in the accompany- 
ing engraving, the bottom 
one being a water jar with 
side hole, if it can be pro- 
cured; otherwise, if no fau- 
cet can be used, the top jar - 
can be removed to enable 
the water to be dipped out. 
The top jar must have a hole 
drilled or broken in the bot- 
tom, and a small flowerpot 
saucer inverted over the 
hole. Then fill in a layer \ 
of sharp clean sand, rather ' 
coarse. A layer of finer 
sand, a layer of pulverized 
charcoal with dust blown 
out, then a layer of sand, the whole occupying 
one-third of the jar. 

Filters, Carbon for. See Carbon. 
Filter, Home Made.— To make a filter with a 
wine barrel, procure a piece of fine brass wire 
cloth of a size sufficient 
to make a partition 
across the barrel. Sup- 
port this wire cloth with 
a coarser wire cloth un- 
der it and also a light 
frame of oak, to keep 
the wire cloth from sag- 
ging. Fill in upon the 
wire cloth about three 
inches in depth of clear, 
sharp sand, then two 
inches of charcoal bro- 
ken finely, but no dust. 
Then on the charcoal 
four inches of clear, sharp sand. Fill up the 
barrel with water and draw from the bottom. 
A Quick Filter— Take a clear piece of cha- 
mois skin, free from thin places ; cut it of the 
desired size, wash it in a weak solution of 
soda or any alkali to remove the grease, 
and. rinse thoroughly in cold water before 
using. Tinctures, elixirs, sirups, and even 
mucilages are filtered rapidly. A pint of the 
thickest sirup will run through in four or five 
minutes. By washing thoroughly after each 
time of using it will last a long time. 

Filtering Stone— K. Steinman, in Tiefenfurt 
hei Gorlitz, proposes filtering plates from the 
following mixture : 

Clay 10 parts or 10 or 15 

Levigated chalk 1 1 1 

Glass sand, coarse . . 55 . . . . 

Glass sand, fine 25 6o 

Ground flint 30 5 

The ingredients are mixed thoroughly in 
water, moulded, and hard burnt.— Dingler's 
Journal. 

Filtration is the process of separating insol- 
uble matters, precipitates, etc., by means of 
porous media which allow the passage of the 
liquids only; and is used for rendering liquids, 
as tinctures, etc., clear and transparent, and 
separating valuable precipitates. Filters are 
made of various substances, but those of un- 
sized paper are well suited for all liquids that 
are not corrosive or viscid, and ai-e in general 
use for pharmaceutical purposes. Filtration 
affords the best method of separating and wash- 
ing precipitates. When filter papers beeomo 
wet they are very tender and the liquid should 
be added gradually. To fold filter papers, fold 
first on its diameter, then at right anffles, then 
open out so that three folds are left on one 
side and one on the other. 




Filtration. 



216 



Fire. 



Filtration, Fessenden's Rapid. 
Fig. i. 




Fig. 




t : w. 3. 



TtG, 4. 





The following method enables nitrations to 
be made very rapidly, and in such a manner 
that the precipitate can be readily removed. 
Use prepared filter paper only. 

The filter paper is folded three times; folds 
Nos. 1 and 2 are toward the reader, No. 3 from 

Fig. 5» 




him. The filter is then gathered (Fig. 2) and a 
piece of glass rod, bent at a very acute 
angle inserted in the clef t of the filter (Figs. 3 



and 4), thus giving a filtration surf ace of nearly 
four times the usual one. 

The filtration being complete, the glass rod 
is grasped by the projecting ends and lifted 
from the funnel, bearing the filter upon it. 
One end of the filter paper is then bent down 
and the precipitate is easily washed oif (Fig. 5). 

Fig. 6. 




An improvement on this is to use instead of 
the glass rod a plate of glass (Fig. 6) ribbed on 
both sides. This renders the filtration very 
rapid indeed. — Chem. News. 

Finings. —A solution of gelatine, used to 
clarify beer, wine, etc. Isinglass (ordinary), 1 
lb.; stale beer, cider, or vinegar, 3 or 4 pt. Mix 
and macerate until the former becomes gela- 
tinous, then reduce it to a proper consistence 
with weak, mild beer, cider, or any other 
liquid that the finings are intended for. A pt. 
or more is the usual dose for a barrel of beer or 
porter and a qt. for a hogshead of wine. 

Fires, Colored. See Pyrotechny. 

Fire Extinguishing Agents.— Vienna 
Fire Extinguishing Agent.— A solution of 5 
parts ferrous sulphate (copperas), 20 parts am- 
monium sulphate, 125 parts water. 

Other Mixtures. — 1. Alum, 24$; ammonium 
sulphate, 52%; ferrous sulphate, 1%. 

2. Boric acid, 16 parts, by weight; alum, 24 
parts; ferrous sulphate, 20 parts; dissolve in 160 
parts of water. The solution is slowly poured 
into a cold solution of sodium hyposulphite 24 
parts by weight; water glass, 40 parts; water, 
640 parts. 

3. Johnstone's.— Make a mixture of equal 
parts of pyrolusite (manganese dioxide), potas- 
sium chlorate, potassium nitrate. Moisten with 
water glass and press into a block. Place the 
block in a pasteboard box. Several boxes, con- 
nected by fuses, are suspended from the ceiling 
of a room. 

4. Bucher's fire extinguishing powder con- 
tains 59 parts saltpeter, 36 parts of sulphur, 4 
parts of charcoal, 1 part of oxide of iron. We 
fail to see the advantage of this peculiar sort of 
impure gunpowder as a fire extinguisher. 

5. One of the best solutions for the extinction 
of incipient fires consists of crude calcium 
chloride 20 parts, salt 5 parts, dissolved in 
water 75 parts. Keep at hand and apply with a 
hand pump. 

6. Hand Grenades for Extinguishing Fires. — 
Fill thin, spherical bottles of blue glass with a 
solution of calcium chloride, salammoniac or 
borax. 

7. Fire Extinguishing Powder.— Eight parts 
common salt, 6 parts sodium bicarbonate, 2 



Fire. 



217 



Fireproonng. 



parts Glauber's salt, 2 parts calcium chloride, 
2 parts sodium silicate. 

8. Common salt, 60$; salammoniac, 60$; sodium 
bicarbonate, 80$. 

9. Salammoniac, 100$; sodium sulphate, 60$; 
sodium bicarbonate, 40$. 

10. How to Treat a Burning- Chimney.— Shut 
all the doors of the room so as to prevent any- 
current of air up the chimney, then throw a 
few handf uls of common fine salt upon the fire 
in the grate or stove. This will immediately 
extinguish the fire in the chimney. In the 
process of burning the salt, muriatic acid gas 
is evolved, which is a good extinguisher of fire. 

11. Fire Extinguishers, To Charge.— The Bab- 
cock fire extinguisher is charged with a solu- 
tion of bicarbonate of soda in water and sul- 
phuric acid in a lead bottle, which, when 
required, is turned over by a crank, spilling 
the acid into the charge of soda water. Car- 
bonic acid gas is instantly generated, by which 
a pressure is obtained sufficient for throwing 
the whole contents of the apparatus with 
much force through a nozzle for fire purposes. 
Use of sulphuric acid 5 parts, bicarbonate of 
soda 6 parts, by weight. Other combinations 
are used, such as carbonate of ammonia, pot- 
ash, etc. Iron can be used for the alkaline 
reservoirs. 

12. Eight lb. carbonate of soda, 4 lb. alum, 3 
lb. borax, 1 lb. carbonate of potash and 24 lb. 
silicate of soda solution are mixed together; Vy& 
lb. of this mixture is added to each gal. of water 
when required for use. The object is to cover 
everything with a fireproof film or deposit. 

13. A committee of the Polytechnic Society 
of Munich have lately issued a report on the 
means to be adopted for extinguishing burning 
petroleum. This states that since concentrated 
water of ammonia evolves a great amount of 
gas when heated, and this gas is unable to sus- 
tain the combustion of any substance, it may 
be asserted that petroleum will not continue to 
burn even in a room filled with atmospheric 
air wherein a considerable proportion of am- 
monia gas is present. The place where the 
petroleum is stored must be broken up in com- 
partments, so as to limit the bulk. The am- 
monia water must contain at least 10$ of the 
gas. The proposed method of employing the 
agent is to keep a bottle full of it on each cask; 
the bottle and its contents would remain in- 
tact till fire caused the destruction of the one 
and the liberation of the other, so that there 
would be no loss except when needed. 

14. The now well known extincteur intro- 
duced by Sinclair is a vessel filled with water 
charged with carbonic acid gas under great 

. pressure. 

15. Foster, of Bolton, has introduced an ex- 
tincteur in the form of a portable pump, which 
can draw a continuous water supply from any 
source, and saturate it with carbonic acid under 
pressure before emitting it in a jet. 

16. To Extinguish the Flame of Petroleum or 
Benzine.— Smother with a woolen cloth or car- 
pet, or a wet muslin or linen cloth. Or the 
flames may be extinguished by throwing on 
earth or sand. 

Fire Klndlers.— 1. Dip the wood in melted 
resin. The following composition is sometimes 
used : 60 parts melted resin and 40 parts tar, in 
which the wood is dipped for a moment. Or, 
take a qt. of tar and 3 lb. of resin, melt them, 
then cool, mix as much sawdust with a little 
charcoal added as can be worked in. Spread 
out on a board, and when cold break up into 
lumps the size of a hickory nut, and you will 
have enough kindling to last a good while. 

2. Use the cheapest rosin and add about 2 oz. 
of tallow to each lb. of the rosin. Melt the rosin 
first and add the tallow. Either smear over 
small blocks of wood or mix with sawdust and 
pour into moulds made of boards which can be 
knocked apart and the mass broken up. 

Fireproof Glue. See Glues. 



Fireprooflnk. See Inks. 
Fireproof Paint. See Paints, also. 
Fireproofing.— Cloth. See Textile Fabrics 
below. 

Paints. — 1. Various substances have been 
proposed as fireproof coatings for the protec- 
tion of woods employed for building purposes, 
but most of them have been abandoned as 
being either too costly or not sufficiently dur- 
able. The following, invented by Vilde and 
Schambeck, seems to succeed. The paint con- 
sists of 20 lb. finely pulverized glass, 20 lb. 
finely pulverized porcelain, 20 lb. any sort of 
stone in powder, 10 lb. calcined lime and 30 lb. 
water glass (silicate of soda), such as usually 
found in commerce. The solid elements hav- 
ing been powdered as finely as possible and 
sifted, are moistened and then intimately 
mixed with the water glass. This yields a mass 
of sirupy consistence that may be employed 
for painting either alone or mixed with color. 
The addition of the lime gives a certain unctu- 
osity to the mass for whitewashing, and its 
combination with the silicic acid of the soluble 
glass serves to bind the other materials to- 
gether. The proportions of the different ele- 
ments above mentioned may be changed, save 
that of the water glass, which must remain 
constant. These elements may even be re- 
placed one by another; but it is always well to 
preserve the lime. Instead of the silicate of 
soda (soluble glass of soda) soluble glass of pot- 
ash might be used, but the former is less ex- 
pensive. The coating is applied with a brush, 
as other paints are, as uniformly as possible 
over the surface to be protected. The first 
coat hardens immediately, and a second one 
may be applied six hours or more afterward; 
two are sufficient.— La Papeterie. 

2. Take of common lime, freshly slaked, of 
hydraulic lime, and of silicious or argillaceous 
matter (sand or pulverized slate), equal parts; 
to which add cows 1 milk in sufficient quantity 
to give the whole, when thoroughly mixed, the 
proper consistency for laying and spreading- 
with the ordinary brush. Any desired color- 
ing matter may be added, The addition of glue 
or rosin may in some cases be of value. The 
proportions may vary considerably, but those 
above given are considered to produce the 
best result. 

3. Dissolve crushed rosin in turps sufficient 
to make it as thick as cream. Then mix to- 
gether in a paste oxide of zinc and boiled lin- 
seed oil, and add it to the other; it will become 
white. Thin it out for use with boiled oil and 
turps. The above paint will take most pig- 
ments, and should be put on flowing. 

4. Two substances are in general use for the 
purpose of protecting wood against combus- 
tion, viz., zinc chloride and soda silicate. Both 
of these have certain drawbacks. A paint con- 
sisting of zinc chloride volatilizes when the 
material on which it is spread is heated or ex- 
posed to flame, and its vapors are insupport- 
able by human beings. It would therefore be 
difficult, if not altogether impossible, to enter 
wooden dwellings painted with the zinc salt 
when on fire, and thus the salvage of furniture, 
etc., would be obstructed. The water glass 
paint, on the other hand, is liable to be washed 
away when exposed to rain or other watery 
influences. Sieburger therefore recalls to mind 
two fireproof compositions which were for- 
merly in much use. The one is a saturated 
aqueous solution of 3 lb. alum and 1 lb. cop- 
peras, with which the wood is twice painted; 
after drying, a solution of copperas in which 
powdered clay is suspended is brushed over the 
alum layer. The other protective paint is a 
mixture of 1 lb. sulphur, 1 lb. clay and 6 lb, 
copperas, spread as powder over wood previ- 
ously washed with a solution of glue. — Ding. 
Polytech. Jl. 

Paper that Resists the Action of Fire and 
Water.— 1. Mix from 5 to 75 parts of aluminum 



Fireprooflng. 



218 



Fireprooflng. 



sulphate with 62^ parts of asbestos fiber. 
Moisten this mixture with chloride of zinc and 
wash thoroughly with water. Treat with a so- 
lution composed of 20 to 25 parts of pure alumi- 
num sulphate and 2^£ parts of resin soap. 
Afterward manufacture into paper in the same 
way as with ordinary pulp. See also Writing 
Materials below. 

2. The Chemiker Zeitung gives the following 
modes of preparing incombustible writing and 
printing paper, which appear worth attention. 
The best asbestos is treated with a preparation 
of permanganate of potash and then with sul- 
phuric acid. Ninety-five per cent, of this as- 
bestos- is mixed with five per cent, of wood 
pulp in water containing borax and glue. A 
fireproof writing ink is made by mixing Indian 
ink and gum with chloride of platinum and oil 
of lavender; for printing ink lampblack and 
varnish are to be substituted. 
„ 3. Pass the paper through strong solution of 
alum and dry. 

Textile Fabrics.— Several preparations for ren- 
dering textile and other inflammable fabrics 
incombustible and practically fireproof have 
been recently introduced by Martin and Tes- 
sier, of Paris. The compositions are said to be 
of an inexpensive nature and capable of render- 
ing incombustible all kinds of readily inflam- 
mable substances, such as woven and other 
fabrics of cotton and other fibrous materials, 
paper, printed or otherwise, including bills of 
exchange and other securities, woodwork, the- 
atrical scenery, straw, etc. 

1. The first composition, which may be ap- 
plied to all kinds of fabrics, without deterior- 
ating them in any way, consists of sulphate of 
ammonia (pure), 8 lb.; carbonate of ammonia, 
2*5 lb.; boracic acid, 31b.; borax (pure), 1*7 lb.; 
starch, 21b.; water, 100 lb. It is simply neces- 
sary to steep the fabrics in a hot solution com- 
posed as above until they have become thor- 
oughly impregnated, after which they are 
drained and dried sufficiently to enable them to 
be ironed or pressed like ordinary starched 
goods. 

2. A second composition, to be used for the- 
atrical scenery (or the mounted but unpainted 
canvas to be used for this purpose) and also for 
woodwork, furniture, door and. window frames, 
etc., is to be applied hot with a brush like ordi- 
nary paint. It is composed of boracic acid, 5 
lb.; hydrochlorate of ammonia or sal am- 
moniac, 15 lb.; pota°,h feldspar, 5 lb.; gelatine, 
1*5 lb.; size, 50 lb.; « ar, 100 lb.; to which is 
added a sufficient quantity of a suitable cal- 
careous substance to give the composition suf- 
ficient body or consistency. 

3. A third composition to be u-^d for coarse 
canvas or sailcloth, cordage, straw and wood, 
is applied by immersing the articles therein or 
by imbibition, and consists of boracic acid, 6 
lb.; hydrochlorate of ammonia or sal ammo- 
niac, 15 lb.; borax (pure), 3 lb.; water, 100 lb. 

4. A fourth composition, applicable to all 
kinds of paper, whether printed or not, includ- 
ing securities, books, etc., is formed of sulphate 
of ammonia (pure), 8 lb.; boracic acid, 3 lb.; 
borax, 1*7 lb.; water, 100 lb. 

The solution is to be placed in a vat heated to 
122° F. (50° C.) at the end of the paper making 
machine, and the paper as it leaves the ma- 
chine is passed through the solution in this vat, 
so as to be completely impregnated therewith, 
after which it is dried upon a warm cylinder 
and then wound on a reel. If the paper be in 
sheets or printed, it is simply immersed in the 
above heated solution, spread out to dry, and 
afterward pressed to restore the glaze de- 
stroyed by the moisture. The above composi- 
tions insure a degree of incombustibility with- 
out precedent as regards the preservation of 
the materials to which they are applied. The 
proportions Of the several ingredients are 
given as examples only, and may be varied as 
found necessary in practice.— Sci. Am. 



5. Among the means recommended for this 
purpose we may, in the first place, mention 
one of exceeding simplicity, applicable to mus- 
lins and all dresses which are starched after 
washing. It is merely necessary to mix the 
starch with sal ammoniac and plaster of Paris. 
The goods thus dressed may certainly be set on 
fire by the flame of a match, but the flame does 
not extend. The inventor of this first process 
afterward recommended 

Borax. 12 parts. 

Epsom salts 9 parts. 

dissolved in 80 parts of warm water. The tis- 
sues to be prepared are dipped in the solution 
till thoroughly saturated. They are then 
pressed, wrapped in a cloth, wrung- again, laid 
between cloths, and passed through a mangle, 
after which the articles are ironed while still 
damp. The necessary quantity of starch can 
be stirred in the saline solution. 

6. Vog-t dissolves- 
Sublimed sal ammoniac 2 parts. 

Sulphate of zinc 1 part. 

in 15 to 20 parts of water. The starch or other 
ingredients required for stiffening or finishing 
are added to the solution. The dresses, etc., 
are steeped in the mixture till thoroughly sat- 
urated, pressed well out and dried. According 
to Siebrath a good result may be got by steep- 
ing the dresses in a solution containing 5$ alum 
and 5$ phosphate of ammonia. Tissues so 
treated are said not to burn, even if previously 
rubbed with gunpowder. The powder deflag- 
rated, but left the tissue unburnt. 

7. Hottin proceeds in a very similar manner. 
He takes a solution of acid phosphate of lime, 
mixed, with ammonia in excess. After decolor- 
izing it with animal charcoal he adds 5$ gelatin- 
ous silica, and evaporates to dryness. The dress- 
es to be made fireproof are laid in a 30$ solution 
of this mixture, which he calls "•Hottine.' 1 

I If this mixture has once been evaporated to 
dryness, we do not see how it can be all brought 
into solution again without the aid of an acid. 
Acid phosphate of lime, if mixed with am- 
monia, will be precipitated as insoluble tri- 
basic phosphate of lime, while the excess of the 
phosphoric acid will combine with the am- 
monia. So that the process is, in reality, 
merely a method of making phosphate of am- 
monia.] 

8. Among other agents proposed for the. 
same purpose are soluble glass, tungstate of 
soda, ammonia, alum and hyposulphite of 
soda. 

9. According to Versman and Oppenheim, 
phosphate of ammonia is mixed with half its 
weight sal ammoniac, and a 20$ solution of the 
mixture is used. Tissues which are to be after- 
ward ironed are afterward treated with a 20$ 
solution of the tungstate of soda. 

10. The phoenix essence of M. Pereles con- 
sists of a mixed solution of tungstate, silicate 
and phosphate of soda. 

11. Nicoll proposed a bath of — 

Alum 6 parts. 

Borax 2 parts. 

Tungstate of soda 1 part. 

"Dextrine dissolved in soap lye. . 1 part. 
The dextrine is said to cause the sa.ts to ad- 
here better to the fiber. 

12. More recently two " receipts have been 
given in the Berichte der Deutsch Chem. Gessel- 
schaft (XII., p. 2391). 

The first is : 

Sulphate of ammonia 8 parts. 

Carbonate of ammonia 2^j parts. 

Boracic acid 2 parts. 

Borax Imparts. 

Starch 2 parts. 

Water 100 parts. 

The dresses or other tissues are taken 
through this mixture boiling. 

13. The second receipt 



Fireproofing. 



219 



Firep rooting. 



Boraeic acid 5 parts. 

Sal ammoniac 15 parts. 

Potash feldspar 5 parts, 

Gelatine 1}4 parts. 

Starch paste 50 parts. 

Water 100 parts. 

This mixture is applied with a brush.— Indus- 
trie-blaetter.— Chemical Review, 

14. Steep the fabric in almost any saline solu- 
tion, such as borax, alum, sal ammoniac, etc. 
The addition of about 1 oz. alum or sal ammo- 
niac to the last water used to rinse a lady's 
dress, or set of bed furniture, or the addition 
of a less quantity to the starch used to stiffen 
them, renders them uninflammable,or at least so 
little combustible that they will not readily take 
lire, and if kindled, will not burst into flame. 

15. Make a solution of sodium tungstate 28° 
Tw., mix with 3% of sodium phosphate. 

16. Equal weights of acetate of lime and chlo- 
ride of calcium, dissolved in twice their weight 
of hot water, is a fireproofing mixture for 
fabrics. 

17. Fireproof Wash for Clothes.— Tungstate 
of soda is excellent, but rather too expensive ; 
satisfactory results are obtained by the simple 
solution of 4 parts borax and 3 parts Epsom 
salts. The only precaution necessary is that 
the solution (which is easily made by adding 3 
or 4 parts warm water to 1 part of the mixture) 
be used immediately, since the active principle, 
the insoluble borate of magnesia, soon precipi- 
tates. 

18. The Manufacturers' Review tt^slates 
from Hager the ^'lowing directions for pre- 
paring a stare! >j .^i impregnation with which 
renders a fabric m r „, mbustible: 10 parts cal- 

.cined and 'pulverized bones are treated with b0 
parts ; - j r, a) which 6 parts concentrated 

sulphuj^. ;.v_d are gradually added. The mix- 
ture is well stirred, and left to stand two days 
in a warm spot, being stirred from time to 
time : 100 parts distilled water are then added, 
and the liquid filtered. 5 parts sulphate of 
magnesia (Epsom salts) are dissolved in 15 parts 
distilled water, the solution added to the first, 
and caustic ammonia added till the liqvrid smells 
of it. The precipitate is thrown on a linen fil- 
ter, pressed, dried in a moderately warm place, 
and rubbed to a very fine powder. Of this 
powder, 2 parts are mixed with exactly 1 part 
tungstate of soda and 6 parts wheat starch, and 
a little indigo blue added to impart a bluish 
tint to the powder. In order to use this pow- 
der, it is stirred up with about twice its weight 
of cold water, and enough hot water is then 
added to produce a gelatinous liquid, in which 
the fabrics that are to be rendered incombusti- 
ble are steeped. 

1. Deal boards become almost incombustible 
when painted over with a diluted solution of 
water glass or silicate of soda. The water glass 
is usually sold as a thick fluid, like honey. This 
may be thinned out with water, about six or 
seven times its own bulk. The water must be 
soft— boiled water will do— and apply the solu- 
tion warm. In about twenty-four hours apply 
a second coat, and perhaps a third. Use a new 
brush, and wash in clean water after using, or 
it will get too soft. Avoid grease or fat on the 
boards before painting them. 

2. Soak the wood in a strong solution of 
alum and sulphate of copper. About 1 lb. of 
alum and 1 lb. of sulphate of copper should be 
sufficient for 100 gal. of water. These sub- 
stances are dissolved in a small quantity of hot 
water, then mixed with the water in the vessel 
in which the wood is to be steeped. The timber 
to be rendered fireproof can be kept under the 
liquor by stones or any other mode of sinking- 
it. All that is required is a water-tight vessel 
of sufficient dimensions to hold enough of the 
liquor to cover the timber, which should be al- 
lowed to steep for about four or five days. 
After this it is taken out and allowed to dry 
thoroughly bef ore being used. 



3. A plan of rendering the wood partially 
fireproof is to whitewash it two or three times. 

4. The wood is twice painted over with a hot 
saturated solution of 1 part green vitriol and 3 
parts alum. The wood after drying is again 
painted with a weak solution of green vitriol, 
in which pipe clay has been mixed to the con- 
sistency of ordinary paint. This coat is re- 
newed from time to time. 

5. Shingle roofs, and indeed all woodwork, 
may be rendered less liable to take fire from 
falling- cinders, etc., by coating it with a wash 
composed of lime, salt, and fine sand or wood 
ashes. This compound also preserves the wood, 
and should be applied in the same manner as 
ordinary whitewash. 

6. Fireproof wash for shingles, etc. Dissolve 
in a barrel of hot water : 

Sulphate of zinc 20 lb. 

Alum 20 lb. 

Caustic potash 81b. 

Manganic oxide 8 1b 

and add 
Sulphuric acid 81b. 

Pack the shingles loosely in another barrel 
and fill with the liquid, holding the shingles 
under the mixture. Fdl up the first barrel also 
with shingles, soak for 3 hours and pile to dry, 
and repeat until all the shingles are fireproof ed. 
After the house is shingled paint with oxide of 
iron paint, tempered with other mineral color 
in boiled linseed oil, and mixed to suit your 
taste as to shade of color. 

Timber.— 1. By Payne's process, patented in 
1841, the timber is inclosed in a close iron ves- 
sel in which a vacuum is formed. A solution 
of sulphate of iron is then admitted into the 
vessel, which instantly insinuates itself into all 
the pores of the wood, previously freed from 
air by the vacuum, and after about a minute's 
exposure, impregnates its entire substance. 
The sulphate of iron is then withdrawn, and 
another solution, of muriate of lime, thrown 
in. The two salts then react upon each other 
and form two new combinations within the 
substance of the wood— muriate of iron and 
sulphate of lime. Timber thus treated is pre- 
served both from rot and from the attack of 
worms, and is perfectly incombustible. 

2. Dr. Burnett's process consists in treating 
the timber to a solution of chloride of zinc, 1 
lb. chloride of zinc to 4 gal. water. It inquires 
to be immersed for about two days for each 
inch in thickness, and afterward left to dry for 
a period of fourteen to ninety days. This ren- 
ders the wood incombustible, but not so tho- 
roughly as the former process. It is like- 
wise a preservative. 

3. There are many chemicals employed to 
render articles uninflammable, such as com- 
mon salt, sulphate of ammonia, tungstate of 
soda, etc. The wood would require to be thor- 
oughly dried, and then saturated with one of 
the above salts dissolved in water. The woods 
least inflammable are beech, oak, American 
elm, plane tree, and other non-resinous woods. 

4. A trial at Devonport Dockyard, ordered 
by the Admiralty, of the method of rendering 
wood uninflammable by saturating it with 
tungstate of soda, showed that the prepared 
wood is under all circumstances much less rea- 
dily inflammable than ordinary wood; that 
shavings and chips of the preparad wood, al- 
though they may be made to burn, cannot be 
made by themselves to set fire to substantial 
timbers of the prepared wood; that prepared 
timber steadfastly resists mere flame, although 
it may be made to burn when acted upon con- 
tinuously by great heat. The cost of prepara- 
tion and the largely increased weight of the 
prepared wood are disadvantages to be set 
against these advantages. 

5. Some years since, experiments were made 
by Prof. Pepper, with a view of rendering arti- 
cles fireproof by the use of chemical solutions. 
The following were the results: Treated with 



Fireproof! ng. 



220 



Fireproofing. 



alum, the article soon yielded, and burst into 
flames; with borax, it lasted longer; with 
tungstate of soda, longer still; with phosphate 
of ammonium, it resisted best of all. 

6. Wood can be rendered practically fire- 
proof by first drying it thoroughly and then 
coating it with common whitewash. If the 
wood is not thoroughly dry, the coat of white- 
wash shells off, but it is a very difficult matter 
to burn wood which has been plastered over 
with whiting or even limewash. 

Paterno reviews several substances which 
are used ; some of them, as sodium tungstate, 
answer very well, but are objectionable on ac- 
count of cost. The author has made numer- 
ous experiments with various substances in 
their power of rendering fabrics non-inflam- 
mable. He recommends the following as being 
quite equal to sodium tungstate. 

7. A mixture of borax and sulphate of mag- 
nesia. To prepare this, for 20 lb. water take 3 
lb. borax and 234 lb. sulphate of magnesia. The 
action of this mixture depends on the forma- 
tion of a borate of magnesia, insoluble in water, 
hot or cold, which surrounds and impregnates 
the threads of the texture or the fibers of the 
wood, and thus renders the development of 
combustible gases and the spread of flame very 
difficult. 

8. A mixture of sulphate of ammonium and 
sulphate of lime, or gypsum, in various propor- 
tions, according as it is to be applied to ma- 
terials of greater or less fineness. The sulphate 
of lime is transformed, with the salt of ammo- 
nium, into a double compound, which produces 
none of the disagreeable effects of the latter, 
or at least in a very slight degree. The action 
of this mixture of salts— which, on account of 
its cheapness, may be extensively employed — 
depends on an incrustation of the idbers, which 

Erevents the spread of fire, and, on the other 
and, extinguishes flame in consequence of 
the volatilization of the salt of ammonium at a 
high temperature. Take 1 lb. liquid ammonia 
and 2 lb. sulphate of lime, and a single coating 
with a concentrated solution of this compound, 
which costs little, suffices to preserve wooden 
structures from burning. The wood is not 
rendered absolutely incombustible, but it is not 
easy to light, and ceases to burn when the 
action of foreign inflammable substances comes 
to an end. Hoofing often washed with rain 
water, and presenting every condition favor- 
able for easily taking fire, was impregnated 
with this mixture. It had been covered with a 
layer of tar and drying oil, and thus rendered 
more liable to burn. Nevertheless, all attempts 
to set it on fire failed. The experiments have 
been so satisfactory that the Austrian Minister 
of Finance has recommended this method to 
be used in all the establishments of the empire. 
—OesU Zeit.fur Berg-u.-Hut.-W. 

Wicks, to Fireproof. —To prepare lamp wicks 
so that they will not burn out, steep them in a 
concentrated aqueous solution of tungstate of 
soda and then dry thoroughly in an oven. 

Incombustible Wick.— Sea sand, 15 parts ; pow- 
dered fireclay, 5 parts ; fine wood sawdust, 10 
parts; powdered glass. 2% parts; cotton or 
cotton dust, 2% parts. Moisten this mixture, 
dry, and fire at a full red heat for half an hour. 
This is said to yield a permanent and porous 
material for lamp wicks. 

Writing Materials.— -1. A really incombustible 
paper, without a fireproof ink, would be a very 
valuable article in many businesses, and for 
many purposes of everyday life, but if it can 
be supplemented by a fire proof ink, its value 
will be enchanced tenfold. Such a discovery 
G. W, Halfpenny believes he has made, and 
that paper prepared by his process under such 
circumstances as fires in houses, factories or 
other buildings is ordinarily incombustible. 
The inventor prepares his paper in the usual 
manner from a pulp consisting of vegetable 
fiber, asbestos^lum and borax, in or about the 
following pBg^p-tions: Vegetable fiber, 1 lb.; 




asbestos, 2 lb.; borax, •& lb., and alum, £ lb. 
The vegetable fibers are minutely divided and 
treated in the manner usual in the production 
of ordinary paper; the asbestos is also divided 
as much as possible and the two are then in- 
timately mixed with the alum and borax in a 
sufficient quantity of water to make a pulp of 
the requisite consistency, which is then made 
into paper by any of the well known processes. 
The proportions given may be varied to suit 
the quality and nature of the desired product, 
and also to suit the different qualities of the 
raw materials. Thus the inventor says he has 
made incombustible paper in which the pro- 
portions of the ingredients varied from 50 to 
70 parts of asbestos, and from 30 to 50 parts of 
flax or other vegetable fiber, with only 2)4, per 
cent, each of alum and borax. He proposes to 
use in some cases silicate of soda, in order to 
insure hardness and coherence in the substance 
of the paper after it has been acted upon by 
fire. In order to obtain a paper of great 
strength and flexibility the sheets may be made 
of linen or other woven fabric, and coated on 
both sides with the incombustible paper. The 
fireproof ink for use in writing or printing on 
the incombustible paper is made of the follow- 
ing substances: Graphite, 22drm.; copal or other 
resinous gum, 12 grn.; iron sulphate, 2drm.; 
tincture of nutgalls, 2 drm.; and sulphate of 
indigo, 8 drm. These materials are mixed to- 
gether and boiled in water, the graphite of 
course having- been reduced to an impalpable 
powder. This ink, besides being fireproof, is 
said to be insoluble in water under ordinary 
circumstances, and is black; but when colored 
inks are desired the graphite is replaced by an 
earthy or mineral pigment of the desired color. 

2. Fireproof paper was prepared by L. Fro- 
been by bleaching choice asbestos fibers with 
sulphurous acid, and adding h% of ground wood 
fiber with borax or glue water, and worked 
into paper; it can be nicely smoothed, and is 
said to resist a white glow heat. 

3. The Chemiker Zeitung gives the following 
modes of preparing incombustible writing and 
printing paper, which appear worth attention; 
Asbestos is treated with a preparation of 
permanganate of potash and then with sul- 
phuric acid; 95$ of this asbestos is mixed with 
5% of wood pulp in water containing borax and 
glue. A fireproof writing ink is made by mix- 
ing Indian ink and gum with chloride of pla- 
tinum and oil of lavender; for printing ink, 
lampblack and varnish are to be substituted. 

4. Paper made of pure asbestos resists a high 
temperature without material alteration. An 
ammoniacal solution of nitrate of silver, col- 
ored with a little Indian ink, will perserve a 
legible copy when written with on the asbestos 
paper mentioned above, and subjected to 
strong heat. 

5. A free flowing ink for writing on fireprool 
paper with an ordinary metallic pen may be 
obtained by using 5 parts dry platinum chloride 
with 15 parts of oil of lavender, 15 parts of 
Chinese ink, and 1 part of gum arabic, adding 
thereto 64 parts of water. When the paper is 
ignited after being written upon with this ink, 
the platinum ingedient causes the writing to 
appear transparent, and, as a consequence, it 
is claimed that such writing as has become 
black or illegible will become readily legible 
again during the process of heating the paper. 
Colors for painting may also be make fireproof 
by mixing commercial metallic colors with 
the chloride of platinum and painters' varnish 
adding an ordinary aquarelle pigment- to 
strengthen the covering power of the color 
These fireproof paints or colors can be easilj 
used in the same manner as the common water 
colors, and it is claimed they will resist the 
destructive influence of great heat quite as 
successfully as the fireproof printing and writ- 
ing inks just referred to. 

Much useful information will be found in W. 
G. McMillan's paper on Some Causes of Fi/re 



Fireworks. 



221 



Flowers, 



' ind Methods for tlieir Prevention (J~l. Soc. Arts, 
, ml. xxxii.) 

Fireworks, Colored. See Pyrotechny. 

Fish Lines, to Protect. See Cleans- 

I ins:, Mildew. 

Fishing Line, to Waterproof. See 
i Waterproofing. 

Fish Lines, to Wax. See Waxes. 

Fixing Agents. See Microscopy. 

Fixing Baths. See Photography. 

Fixing, Sensitizing and Toning. See 
: Photography. 

Flannel, to Bleach. See Bleaching. 

Flannels, to Wash. See Cleansing. 

Flash.— Burnt sugar coloring 1 , 1 gal. fluid ex- 
tract of capsicum or essence of Cayenne, % pt., 
or enough to give a strong fiery taste. Used to 
color spirits and to give them a false strength. 

Flash Light. See Photography. 

Flea*, on Dogs and Other Animals.— 

Soap water, carbolic acid in dilute alcoholic 
solution, flowers of sulphur either used as a 
powder or mixed by agitation with water con- 
taining a little glycerine; dilute solutions of 
sulphate of magnesia— any powder or solution 
containing tannin, as dried sumac, tea and Per- 
sian insect powder. These are the least objec- 

i tionable exterminators. A little of the carbolic 
solution may be mixed in with the soap water, 
and this used as a wash or sprinkled in infected 
localities. Flowers of sulphur contain sulphur- 
ous acid, which is fatal to the insect, but it 
must not be used on or near colored woolen 
fabrics, as it is liable to injure the colors. Sul- 
phate of magnesia solution (in water) may be 
used as a wash. Sumac powder, etc., give ex- 
cellent results. The sulphur mixture men- 

I tioned, or carbolic acid shaken up with about 
30 parts of water, and sprinkled in the cellar, 
will soon depopulate the coal heap. 

Fleas, to Bid Cellars of.—L. O. Howard recom- 
mends benzine. A safer method is to sprinkle 
the floor thickly w^th quicklime, or a good size 
bundle of fresh pennyroyal scattered over the 
floor will drive them out. If fresh pennyroyal 
is not obtainable get 2 oz. oil of pennyroyal, 2 
oz. oil of sassafras, 4 oz. alcohol; shake together 
well in a bottle and spray around with an atom- 
izer. Substitute sweet oil for alcohol, and the 
mixture rubbed on the hands and face will 
keep off mosquitoes.— P. H. L. 

Fleckenwasser. See Cleansing. 

Flies, to Destroy.— 1. Take an infusion of 
quassia, 1 pt.; brown sugar, 4 oz,; ground pep- 
per, i oz. To be well mixed together, and put 
in small shallow dishes where required. 

3. Black pepper (powdered), 1 drm.; brown 
sugar, 1 drm.; milk or cream, 3 drm. Mix, and 
place it on a plate or saucer where the flies are 
most troublesome. 

3 . Pour a little simple oxymel (an article to be 
obtained at the druggists) into a common tum- 
bler glass, and place in the glass a piece of cap 
paper, made into the shape of the upper part of 
a funnel, with a hole at the bottom to admit the 
flies. Attracted by the smell, they readily enter 
the trap in swarms, and by the thousands soon 
collected prove that they have not the wit or 
the disposition to return. 

4. Take some jars, mugs, or tumblers, fill 
them half full with soapj r water ; cover them 
as jam ppts are covered with a piece of paper, 
either tied down or tucked under the rim. Let 
this paper be rubbed inside with wet sugar, 
molasses, honey, or jam, or anything sweet; 
cut a small hole in the center, large enough for 
a fly to enter. The flies settle on the top, at- 
tracted by the smell of the bait; they then 



crawl through the hole, to feed upon the sweet 
beneath. Meanwhile the warmth of the weather 
causes the soapy water to ferment, and pro- 
duces a gas which overpowers the flies, and they 
drop down into the vessel. Thousands may be 
destroyed this way, and the traps last a long 
time. See also Paper, Fly. 

Floors, Cement for. See Cements. 

Floors, Lacquer for. See Lacquers. 

Floors, to Scour. See Cleansing. 

Floors, to Wax. See Waxes. 

Florida Water. See Waters. 

Flour Paste. See Pastes. 

Flour.— How to Select.— 1. Look at its color. 
If it is white, with a slightly yellowish or straw 
colored tint, it is a good sign. If it is very 
white with a bluish cast, or with black specks 
in it, the flour is not good. 3. Examine its ad- 
hesiveness—wet and knead a little of it between 
the fingers; if it works dry and elastic, it is 
good; if it works soft and sticky, it is poor. 
Flour made from spring wheat, is likely to be 
sticky. 3. Throw a little lump of dry flour 
against a dry, smooth, perpendicular surface; 
if it adheres in a lump, the flour has life in it; 
if it falls like powder, it is bad. 4. Squeeze 
some of the flour in your hand ; if it retains 
the shape given by the pressure that, too, is a 
good sign. Flour that will stand all these tests 
is safe to buy. These modes were given by 
old flour dealers, and we make no apology for 
printing them, as they pertain to a matter that 
concerns everybody, namely, the quality of 
that which is the staff of life. 

Flour, Self -Raising. —The following are the 
compositions of several of these powders in ex- 
tensive use : 1. Bicarbonate soda, 33 oz. ; burnt 
alum, 19 oz. ; starch, 57 oz. 3. Bicarbonate 
soda, 2434 oz. ; sesquicarbonate soda, 3J4 oz. ; 
starch, 4T oz. ; burnt alum, 36^ oz. 3. Bicarbo- 
nate soda, 31 oz. ; burnt alum, 39^ oz. ; starch, 
39 oz. 

Flowers, Mass for. See Compositions. 

Flowers, Preservation of.— 1. A method 
of preserving the natural colors of flowers, re- 
commended by R. Hegler in the Deutsche Bota- 
nische Monatsnefte, consists in dusting salicylic 
acid on the plants as they lie in the press, and 
removing it again with a brush when the 
flowers are dry. Red colors in particular are 
well preserved by this agent. Another method 
of applying the same preservative is to use a 
solution of 1 part of salicylic acid in 14 of alco- 
hol by means of blotting paper or cotton wool 
soaked in it and placed above and below the 
flowers. Powdered boracic acid yields nearly as 
good results. Dr. Schonland, in the Gardeners'' 
Chronicle, recommends, as an improvement in 
the method of using sulphurous acid for pre- 
serving the color, that in the case of delicate 
flowers they might be placed loosely between 
sheets of vegetable parchment before immer- 
sion in the liquid, so as to preserve their natu- 
ral form. 

3, Insert their stems in water in which 35 grn. 
ammonium chloride (sal ammoniac) have been 
dissolved. Flowers can be preserved in this 
way for fifteen to thirty days. To preserve 
them permanently for several months dip them 
into perfectly limpid gum water and then allow 
them to drain. The gum forms a complete coat- 
ing on the stems and petals, and preserves their 
shape and color long after they have become 
dry. 

Flowers in Water.— Any kind of flower can be 
well preserved for at least two weeks by rut- 
ting a little saltpeter or carbonate of soda in 
the water in which the flowers' are left stand- 
ing. 

Flowers, Varnish for. S*e Varnishes. 

Waxes. 



Flowers, Wax, to TJIak 



sjeVa, 



Fluorescent Liquids. 



222 



Fluxes. 



Fluorescent Liquids. . — The following 
table shows the characteristic colors of : 

Substances. Transmitted. Reflected. 

Q-n-e { T ™C ™« \ Pale blue. 

jEsculine Straw color. Pale blue. 

Amido-phthalic 

acid Paleyellow Pale violet. 

Amido tere- 

phthalic acid... Pale green Bright green. 

Paviine Palegreen Bluegreen. 

Fluorescine....... Orange red. Intense green 

Eosin Orange — Gamboge. 

Rose of Magdala. { ^mine and^ J Opaque^ 



Saflfronin Crimson. 



Dirty yellow. 



Fluxes.— These articles being- easy to fuse, 
are added to substances which are more' re- 
fractory, to promote their fusion. Following 
is a list of the most common fluxes, with a 
brief account of their properties and uses : 

1. Ammonium Chloride (AmCl), called sal am- 
moniac. This substance is decomposed by sev- 
eral metals forming- metallic chlorides and 
liberating ammonia, which property is taken 
advantage of in purifying gold. A similar re- 
action occurs with several metallic salts. 

2. Sodium Chloride (NaCl), or common salt, is 
employed for preserving the substance beneath 
from the action of the atmosphere, and to 
moderate the action of bodies which cause 
violent ebullition. It melts and volatilizes at a 
red heat in an open crucible, but requires a 
white heat to vaporize it in a closed vessel. 
When heated to redness with silica it forms a 
readily fusible silicate. It forms fusible com- 
pounds with antimony and arsenic, thus re- 
moving them from other metals during the 
process of refining. As the crystals decrepi- 
tate when heated, common salt should be pow- 
dered before using as a flux. 

3. Borax (B 4 7 Na 2 ).— In the crystalline form 
it may contain 5 or 10 molecules of water, 
which are given off on heating, causing an en- 
ormous increase in volume, so that the vitrified 
form is much more suitable for assaying. It 
forms fusible compounds with silica and nearly 
all bases, being especially useful in uniting- 
with metallic oxides, sulphides and arsenides. 
The commercial salt is adulterated with com- 
mon salt and alum. 

4. Sodium Carbonate (Na 2 C0 3 ) has the prop- 
erty of oxidizing many metals, such as tin, 
iron, zinc, etc., by the action of its carbonic 
acid, and as a consequence of this action it 
acts as a desulphurizer. It forms fusible com- 
pounds with silica and many metallic oxides; it 
also melts at a low temperature, absorbing- 
many infusible substances, such as lime, alum- 
ina, charcoal, etc. In some cases it acts as a 
reducing agent, as in the case of chloride of 
silver. When mixed with carbonate of potash 
a double salt is formed, which fuses at a lower 
temperature than either taken alone, a prop- 
erty very useful in the fusion of silicates, etc. 

5. Potassium Nitrate (KN0 3 ), also called niter 
and saltpeter, is largely used as an oxidizing 
agent. It fuses below redness and at a higher 
temperature is decomposed, yielding a large 
volume of oxygen, whereby the sulphur of 
metallic sulphides is converted into sulphurous 
acid and the metals into oxides. Sodium 
nitrate acts in the same way. 

6. Potassium Bitartrate (THoKo), known also 
as cream of tartar or tartar. When pure this 
substance is white, but the variety chiefly used 
on the large scale is colored and sold as red 
argol. This is cheaper, and contains other car- 
bonaceous matters, which give it greater re- 
ducing power than pure cream of tartar. This 
reagent is very valuable in operations requir- 
ing much carbonaceous matter. 

7. Potassium Chlorate (KC10 3 ).— This substance 
is sometimes used with niter as an oxidizing 
agent, especially in assaying. 

8. Potassium Cyanide (KCN).— This flux is 
valuable on. account of the f acuity with which 
it fuses and the readiness with which it reduces 



many metallic compounds when mixed with 
carbonate of soda. Common cyanide is prefer- 
able as a reducing agent, because it contains 
carbonate of potash. 

9. Calcium Oxide (CaO) or lime is used in the 
caustic state, or combined with carbonic acid 
in the form of carbonate. It is a useful flux 
for silica and silicates, and is also used to re- 
move sulphur and phosphorus from metals and 
their compounds. 

10. Calcium Fluoride (CaF 2 ) or fluorspar. 
This substance acts as a flux in two ways: 
1. By combining with silicates, forming fusible 
compounds. 2. By reacting with silicates and 
evolving the gas silicon fluoride Si F 4 . It forms 
fusible compounds with sulphates, such as 
plaster of Paris, and with phosphate of lime 
(bone ash). It should be free from pyrites, 
blende and galena, with which it is likely to be 
contaminated. 

11. Lead Oxide.— There are two oxides of lead 
of importance in treating metals, viz., litharge 
(PbO) and red lead (Pb 8 4 ;. Both oxides are 
reduced by carbon or hydrogen, producing 
metallic lead. Lead oxides, when melted, ox- 
idize nearly all metals, except mercury, gold, 
silver and platinum. With other oxides they 
form easily fusible compounds. When heated 
with sulphur, lead oxides are reduced and sul- 
phurous acid is liberated. When oxide of lead 
in sufficient quantity is melted with an infus- 
ible silicate, a fusible double silicate is formed. 

12. Manganese Dioxide (Mn0 2 ).— This sub- 
stance is black in color, opaque and a good con- 
ductor of electricity. When heated alone it is 
infusible, but gives off oxygen, forming Mn 2 3 
or Mn 3 4 , according to the degree of heat em- 
ployed; heated with charcoal it is reduced to 
MnO. The facility with which it gives up oxy- 
gen makes it a valuable oxidizing agent. With 
hydrochloric acid it is extensively used for 
generating chlorine. When strongly heated in 

j a crucible lined with a paste of carbon it is re- 
duced to the metallic state. 

13. Silica (Si0 2 ).— This body occurs in crystal- 
line and amorphous forms; it is white, infus- 
ible, except at the very highest temperatures, 
non-volatile, insoluble in water and acids, ex- 
cept hydrofluoric; after ignition it is decom- 
posed by carbon in the presence of iron, cop- 
per or silver at a white heat, forming silicides 
of those metals. The amorphous and gelatin- 
ous varieties are slightly soluble in alkaline 
carbonates, but readily soluble in caustic al- 
kalies. It combines with all the bases forming- 
silicates, and is, therefore, frequently employed 

1 to effect the fusion and separation of gangues 
in ores, the best forms to use being pure white 
sand and quartz. 

14. China Clay is essentially a hydrated sili- 
cate of alumina, and when pure may be repre- 
sented by the formula (2A1 2 3 , 3Si0 3 )+30H 2 ; 
but clay is generally mixed with other silicates. 
It is white and infusible in an ordinary fur- 
nace when heated alone, but readily unites 
with earthy and metallic gangues to form a 
fusible slag. 

15. Glass is a mixture of silicates of sodium 
and potassium with some insoluble silicate; 
such as silicate of barium, magnesium, alum- 
inum, iron or lead. Being a compound silicate, 
it fuses easily at a high temperature, and 
readily combines with lime and other bases 
containing little or no silica, so that it is often 
preferred to pure silica, "and serves to econo- 
mize borax. It is also employed as a covering- 
in melting metals, so as to exclude the air. 
Plate or window glass, or green bottle glass, is 
the most useful, but flint glass, which contains 
much oxide of lead, would be detrimental in- 
many cases. 

16. Ferrous Sulphide (FeS) is chiefly used as a. 
source of sulphureted hydrogen. Roasted 
with easily decomposable sulphides, such as 
that of silver, it converts them into sulphates. 
Heated with oxides of copper, nickel, etc., it. 



Fly. 



223 



Foils. 



forms regulus. Heated in air it is oxidized to 
sulphate, and at a high temperature to oxide. 

17. Iron Pyrites (FeS»).— This body loses half 
its sulphur at a white heat, forming ferrous 
sulphide, and is used for similar purposes to 
that compound. It is chiefly employed in the 
metallurgy of copper, nickel and cobalt. 

18. Ferric Oxide (Fe 2 OQ).— This oxide is very 
stable, non- volatile, and of a red color. At a 
white heat it gives up oxygen, forming Fe^O^. 
By heating with carbon, or carbonic oxide, it is 
reduced to the metallic state, but if much car- 
bonic acid is present, ferrous oxide may be 
formed, which combines with any silica pres- 
ent, forming a fusible silicate. For this reason 
it is sometimes used as a flux. In refining iron 
it acts as an oxidizing agent. In presence of 
sulphur it oxidizes that element to sulphurous 
acid. 

19. Zinc Oxide (ZnO) is a powerful base; it 
forms combinations with alkaline earths and 
several bases, and has a strong affinity for 
alumina. It is reduced by carbon, carbonic 
oxide and hydrogen. Zinc oxide and carbon in 
small quantity is added to molten copper for 
producing sound castings. 

The above synopsis of fluxes is due to Hiorn's 
valuable work, "Mixed Metals." 

1. Black Flux. — Cream of tartar, 2 parts; niter, 
1 part; powder, mix and deflagrate, by small 
quantities at a time, in a red hot crucible. This 
is merely carbonate of potash, mixed with 
charcoal in a finely divided state. It is used f or 
smelting metallic ores, and exercises a reducing 
action, as well as promoting the fusion. 

2. White Flux, Cornish Refining Flux.— Cream. 
of tartar and niter, equal parts; deflagrate as 
last. 

'3. Morveau^s Reducing Flux.— Powdered glass 
(containing no lead), 1 lb.; calcined borax, 2 oz.; 
powdered charcoal, 1 oz.; mix. Used for the 
same purposes as black flux. 

4. Cornish Reducing Flux.— Cream, of tartar, 
10 oz.; niter, 4 oz.; borax, 3 oz.; mix. 

5. Crude Flux.— Niter mixed with twice its 
weight of tartar, without deflagration. Re- 
ducing. 

6. Borax, tartar, niter, sal ammoniac, com- 
mon salt, limestone, glass, fluorspar, and sev- 
eral other substances are used as fluxes in 
metallurgy. 

Flux forReducing Arsenic. —Carbonate of soda 
in crystals, 8 parts; finely powdered charcoal, 

1 part; heat gradually to a red heat. 
Enamel Flux. — 1. Eight parts red lead, 6 parts 

flint glass, 3 parts borax, 3 parts flint. 2. 7 parts 
red lead, 4 parts borax, 2*4 parts flint. 3. 4 
parts borax, 3 parts red lead, 3 parts flint glass, 

2 parts flint. 4. 3 parts red lead, 1 part flint 
glass, 1 part flint. 

Gold Flux.— Eleven parts borax, 5)4 parts 
litharge, 1 part oxide of silver. In these en- 
amel fluxes the materials are to be made very 
fine, particularly the flint, and mixed well to- 
gether, so that the particles may more easily 
concrete when in a state of fusion ; then cal- 
cined in an air furnace or an earthenware glaz- 
ing oven, when the whole mass, by means of the 
proper temperature of fire, will be changed 
into a brittle, resplendent and transparent 
glass. 

Fluxes for Soldering or Welding.— 

Iron or steel Borax or sal ammoniac. 

Tinned iron Resin or chloride of zinc. 

Copper and brass .... Sal ammoniac or chloride 
of zinc. 

Zinc — Chloride of zinc. 

Lead Tallow or resin. 

Lead and tin pipes. . .Resin and sweet oil. 

Flux for Soldering Zinc— Dissolve small bits 
of zinc, or zinc drops, in muriatic acid, mixed 
with an equal bulk of water. 

Fly Paper. See Paper. 

Fly Specks, to Remove. See Cleans- 
ing. 



Fly Poison.— 1. A strong solution of white- 
arsenic (say 1 drm. to the pt.) sweetened with 
moist sugar, molasses or honey. Poisoti. 

2. Molasses, honey or moist sugar, mixed with 
about one-twelfth their weight of King's yel- 
low or orpiment. Both the above are danger- 
ous preparations, and should never be employed 
where there are children. 

3. (Redwood) quassia chips (small), J4 oz.; 
water, 1 pt.; boil ten minutes, strain and add 
of molasses, 4 oz. Flies will drink this with 
avidity, and are soon destroyed by it.' 

4. Black pepper, 1 teaspoonf ul; brown sugar, 
•2 teaspoonfuls; cream, 4 teaspoonfuls. Fly 
Powder. The dark gray colored powder (so 
called suboxide) obtained by the free exposure 
of metallic arsenic to the air. Mixed with 
sweets, it is used to kill flies. See also Flies, 
above. 

Foils, (From feuille, Fr., or folium, Lat., 
a leaf.) — Thin leaves of polished metal, put 
under stones or pastes, to heighten the effect. 
Foils were formerly made of copper, tinned 
copper, tin and silvered copper, but the latter 
is that wholly used for superior work at the 
present day. There are two descriptions of 
toils employed, viz., white, for diamonds and 
mock diamonds, and colored, for the colored 
gems. The latter are prepared by varnishing 
the former. By their judicious use the color 
of a stone may be often modified. Thus, by 
placing a yellow foil under a green stone that 
turns too much on the blue, or a red one 
turning too much on the crimson, the hues 
will be brightened. 

1. White or Common Foil.— This is made by 
coating a plate of copper with a layer of silver, 
and then rolling it into sheets in the flatting 
mill. The foil is then highly polished or var- 
nished. 

2. Colored Foils.— These are made by coloring 
the preceding foil, highly polished, with certain 
transparent solutions or varnishes The fol- 
lowing produce beautiful colored effects, when 
judiciously employed : 

3. Blue. — Prussian blue (preferably Turn- 
bull's) ground with pale, quick drying oil. 
Used to deepen the color of sapphires. It may 
be diluted with oil. 

4. Green. — a. Pale shellac, dissolved in alco- 
hol (lacquer) and tinged green by dissolving 
verdigris or acetate of copper in it. b. Sesqui- 
ferrocyanuret of iron and bichromate of po- 
tassa, of each y% oz.; grind them with a stone 
and muller to a fine powder, add gum mastic 
(clean and also in fine powder) 2 oz.; grind 
again, add a little pyroxilic spirit, and again 
grind until the mass becomes homogeneous and 
of a fine transparent green; the beauty in- 
creases with the length of the grinding. The 
predominance of the bichromate turns it on the 
yellowish green; that of the salt of iron, on the 
bluish green. For use it is to be thinned with 
pyroxilic spirit. (Chemist, iii., 238.) This is 
used for emeralds. It may be brightened by 
adding a little yellow varnish. 

5. Yellow.— a. Various shades of yellow may 
be produced by tinging a weak alcoholic solu- 
tion of shellac or mastic, by digesting tur- 
meric, annatto, saffron, or socotrine aloes 
therein. The former is the brightest and 
most fit for topazes, b. Digest hay saffron in 
five or six times its weight of boiling water, 
until the latter becomes sufficiently colored, 
filter and add a little solution of gum or isin- 
glass. When dry, a coating of spirit varnish 
should be applied. 

6. Red.— Carmine dissolved in spirits of harts- 
horn, or a weak solution of salt of tartar, and 
gum added as above. 

7. Garnet.— Dragon's blood dissolved in recti- 
fied spirit of wine. 

8. Vineger Garnet.— Orange lake finely tem- 
pered with shellac varnish. 

9. Amethyst.— Lake and Prussian blue, finely 
ground in pale drying oil. 



Foment at ion. 



224 



Frosting, 



10. Eagle Marine.— Verdigris tempered in 
shellac varnish (alcoholic,) with a little Prus- 
sian blue. 

11. Ruby.— a. Lake or carmine, ground in 
isinglass, b. Lake ground in shellac varnish. 
Used when the color turns on the purple. 
c. Bright lake ground in oil; used when the 
color turns on the scarlet or orange. 

12. Diamond.— a. Cover the inside of the 
socket in which the stone or paste is to be set 
with tin foil, by means of a little stiff gum or 
size; when dry, polish the surface, heat the 
socket, fill it with warm quicksilver, let it rest 
for two or three minutes, then pour it out and 
gently fit in the stone; lastly well close the 
work round the stone, to prevent the alloy 
being shaken out. b. Coat the bottom of the 
stone with a film of real silver, by precipitating 
it from a solution of the nitrate in spirits of 
ammonia by means of the oils of cassia and 
cloves. Both these methods vastly increase 
the brilliancy both of real and factitious gems. 

Fomentation.— A liquid, either simple or 
medicated, used for local bathing. Fomenta- 
tions are distinguished from lotions chiefly in 
being applied in a heated state and in larger 
quantities and for a longer period at a time. 
Fomentations are chiefly employed to allay 
pain or irritation, or to promote suppuration, 
or the healthy action of the parts. 

Dried mallows, 2 oz.; chamomile flowers, 
dried, 1 oz.; 1 qt. water. Boiled for twenty 
minutes and strained. 

Foot Powders. See Powders. 

Fossils, to Take Casts of.— Clear the 
edges of the fossil of the limestone, etc., it may 
be imbedded in and paste all round its circum- 
ference a piece of smooth note paper, thus 
making a mould, say half an inch deep. Before, 
however, pasting the paper, well blacklead the 
surface of fossil and rub it with grease. Then, 
after pasting, pour into mould some melted 
wax, sufficient to make a mould, say half an 
inch thick. When cool remove the paper and 
wax, trim up if ragged in any part, and then 
paste another piece of paper around the wax, 
making the mould to receive the plaster of 
Paris for casts. The plaster of Paris should be 
very fine, and should be mixed with water con- 
taining a little albumen, then poured into 
mould and allowed to harden, afterward re- 
moving and sharpening up with a fine pointed 
needle. The cast may now be painted, so as to 
imitate original fossil. 

Foundry Recipes : 

1. Fire clay crucibles, 2 Stourbridge clay, 

1 hard gas coke, finely 

powdered. 

2. Berlin crucibles, 8 Stourbridge clay, 

3 old crucibles, ground 

finely, 
5 coke, 

4 graphite or blacklead. 

3. Blacklead crucibles. 1 fire clay, 

2 graphite. 
See also Crucibles above. 

Frames, Gold Tarnish for. See Tar- 
nishes. To Gild. See Gilding. 

Frames, to Renovate. See Cleansing. 

Frankfort Rlack. See Pigments, 

Black, Frankfort. 

Frankincense.— The turpentine which 
exudes from the bark of Abies excelsa (Norway 
spruce fir), and Pinus palustris (pitch or swamp 
pine), hardenened by the air. The gum resin 
olibanum, which is the produce of the Boswel- 
lia thurifera, is the odorous frankincense of 
commerce. 

Prepared Frankincense.— Frankincense, 1 lb. ; 
water, q. s. to cover it ; boil until the resin is 
melted, and strain through a hair sieve ; when 
the whole has cooled pour off the water, and 
keep the frankincense for use. Resembles 
common resin in its general properties. 



Freckles. See Cosmetics. 

Freezing Mixtures. See table on page 
225. 

French Rerries.— Persian berries. The 
berries or fruit of the Rhamnus infectorius. 
They are imported from France and Persia; 
those from the latter country being esteemed 
the best. Their decoction dyes cloth, mor- 
danted with alum, tartar, or protomuriate of 
tin, of a yellow color; with sulphate of copper, 
an olive, and with red sulphate of iron, an 
olive green color. 

French Chalk. — Steatite or talc. It is 
much used in the arts. 

French Polish. See Polishing, Wood, 
French. 

Friction.— The ratio obtained by dividing 
the entire force of friction by the normal pres- 
sure is called the coefficient of friction, hence 
we may define the unit or coefficient of fric- 
tion to be the friction due to a normal pres- 
sure of one pound : 

Iron on oak 0'62 

Cast iron on oak 0*49 

Oak on oak, fibers parallel G - 48 

Oak on oak, greased 0'10 

Cast iron on cast iron. . . t . . . 0'15 

Wrought iron on wrought iron. 0*14 

Brass on iron 0*16 

Brass on brass 0*20 

Wrought iron on cast iron 0*19 

Cast iron on elm 0*19 

Soft limestone on the same 0*64 

Hard limestone on the same 0*38 

Leather belts on wooden pulleys 0"47 

Leather belts on cast iron pulleys .. 0*28 
Cast iron on cast iron, greased 0*10 

Pivots or axes of wrought or cast iron, on 
brass or cast iron pillows : 
First, when constantly supplied with oil.0"05 
Second, when greased from time to time.0'08 
Third, without any application 0'15 

Friction Matches. See Matches. 
Frilling. See Photography. 

Fritt.— For making glazes many substances 
would be unfitted on account of being soluble 
in water, but if these substances, such as 
borax, soda or niter are fused into a glass, this 
glass can be run into water, thus breaking it 
up into fragments. This is called a fritt. The 
fritt is now pulverized and mixed with other 
materials and water. 

Frost Rites.— For frost bites rub the af- 
fected parts with pure oil of peppermint. It 
will also prevent the after effect of chilblains. 
Care should be taken to use only the pure oil, 
and not the essence of peppermint, as the es- 
sence will not have the desired effect. 

Frosting of Cutlery, etc. — By etching 
the polished surface with acid. The articles 
ai^e first heated to about 212°, then a thin coat 
of beeswax is melted over their surface, and 
when this cools the design is scratched through 
the wax by a needle, the acid is then poured on 
the design, and may be prevented from falling 
off by a little wall of wax built around the de- 
sign. Muriatic acid answers very well for etch- 
ing. The time required for the operation is 
best found by a little practice, as the fine lines 
of the design take more time to etch than is 
required for the coarse ones. When it is de- 
cided that the etching is complete, with clean 
cold water thoroughly wash away all traces of 
acid and then with a little benzine remove the 
wax and polish with clean, dry chamois leather. 

Frosting Glass. See Glass. 

Frosting and Whitening of Silver 
Goods, Pickle for.- Sulphuric acid,l^drm.; 
water, 6 oz. Heat and immerse the silver un- 
til frosted as desired. Wash well, dry with a 
soft linen cloth or in fine sawdust. For whi- 
tening only, use less acid. See also Silver. 



Freezing Mixtures. 



225 



Freezing Mixtures. 



Freezing Mixtures. 



Mixtures. 



1. 
2. 

3. 

4. 

5. 

6. 

7. 
8. 

9. 
10. 

11. 

12. 

13. 
14. 

15. 
16. 
17. 

18. 

19. 

20. 
21. 

22. 

23. 
24. 
25. 
26. 
27. 
28. 
29. 



Two parts snow or pounded ice, 1 part sodium chloride. . . 

Five parts snow or pounded ice, 2 parts sodium chloride, 1 ) 
part ammonium chloride f 

Twenty -four parts snow or pounded ice, 10 parts sodium ) 
chloride, 5 parts ammonium chloride, 5 parts potassium >- 
nitrate ) 

Twelve parts snow or pounded ice, 5 parts sodium chloride, / 
5 parts ammonium nitrate f 

Three parts sodium phosphate, 2 parts ammonium nitrate, I 
4 parts diluted mixed acids f 



Eight parts snow, 10 parts dilute sulphuric acid 

One part snow, 3 parts crystallized calcium chloride 

Five parts sodium phosphate, 3 parts ammonium nitrate, 4 
parts dilute nitric acid 



One part ammonium nitrate, 1 part water 



Five parts ammonium chloride, 5 parts potassium nitrate, j 
16 parts water f 

One part snow, 1 part dilute sulphuric acid 

Three parts snow, 2 parts dilute nitric acid 



Thermometer 
sinks : 



Actual 
Reduction 

of Tem- 
perature : 



i 

a 

2 ® 



to 



to 



- 5 

-12 



to -18 



to —25 



Eight parts snow, 3 parts dilute sulphuric acid, 3 parts j 
dilute nitric acid ....f 

Five parts ammonium chloride, 5 parts potassium nitrate, ) 
8 parts sodium sulphate, 16 parts water \ 

Five parts sodium sulphate, 4 parts dilute sulphuric acid. . . 

Three parts sodium nitrate, 2 parts dilute nitric acid 

Two parts snow, 3 parts calcium chloride 

Three parts snow, 2 parts dilute sulphuric acid 



One part ammonium nitrate, 1 part sodium carbonate, 1 
part water 



Eight parts snow, 5 parts hydrochloric acid. 



Six parts sodium sulphate, 4 parts ammonium chloride, 2 
parts potassium nitrate, 4 parts dilute nitric acid 

Nine parts sodium phosphate, 4 parts dilute nitric acid. . . 

Seven parts snow, 4 parts dilute nitric acid 

One part snow, 2 parts crystallized calcium chloride. . . 

Three parts snow, 4 parts calcium chloride. 

Four parts snow, 5 parts calcium chloride 

Two parts snow, 3 parts crystallized calcium chloride 

Three parts snow, 4 parts potash 



2 \ 



Six parts sodium sulphate, 5 parts ammonium nitrate, 4 I 
parts dilute nitric acid. f 



from —34 to —50 



M -68 to 
tl —40 to 

to 
40 to 

50 to 

" —20 to 

to 



—91 
—73 

—34 
4 

10 

-60 
—46 



—10 to —56 



50 to 4 




46 


" 50 to 3 




47 


50 to - 


- 3 


53 


" —15 to - 


-68 


53 


32 to - 


-23 


55 


50 to - 


- 7 


57 


32 to - 


-27 


59 


50 to - 


-10 


60 


50 to - 


-12 


62 


32 to - 


-30 


62 


to - 


-66 


66 


20 to - 


-48 


68 


" 32 to —40 


72 


32 to - 


-50 


82 


32 to - 


-51 


83 


50 to - 


-40 


90 



16 

23 
33 

34 
36 

40 

40 
46 

46 



Fruit. 



226 



Fulmination. 



Frosty Windows. See Windows, 
Frosty. 

Fruit Acid. — Citric acid,12oz.; pure water, 
12 oz. Used for flavoring- and for sirups. 
Fruit Cans, Cement for. See Cements. 

Fruit to Crystallize. — The following- pro- 
cess may meet the requirements: Make a 
sirup from 1 lb. of sugar and y& pt. of water, 
stir until the sugar is dissolved, then boil 
quickly about three or four minutes. Try by 
dipping- a little in cold water. If it forms a 
small ball when rolled between the thumb and 
finger it has attained the desired degree, known 
as the ball. Throw the fruit to be conserved 
a little at a time into this sirup, let it simmer 
for a moment, lift with a skimmer, draining 
free from all sirup. Sprinkle sugar thickly 
over boards or tin pans, place the fruit over it 
in a single layer, sprinkle over thickly with 
granulated sugar and place in the oven or sun 
to dry. When dry, make a sirup as before, 
and just before it reaches the ball degree add 
the fruit, stir with a wooden spoon until it be- 
gins to grain and sticks to the fruit. When 
cold, sift off the sugar and put out again to 
dry. When dry, place in boxes in layers be- 
tween sheets of waxed paper. Keep in a cool, 
dry place. See also Preserving. 

Fruit Essences. See Essences. 

Fruit Flavoring's.— I give instructions 
by which all confectioners may extract and 
preserve their own fruit essences, and so guard 
the health and add to the pleasure of all for 
whom they provide. Among the juicy fruits 
are strawberries, raspberries, blackberries, 
cherries and currants ; among non-juicy fruits 
are the apples, pears, peaches, quinces, apricots, 
and plums. 

Mash the juicy frviits in a basin to a pulp. 
Place on the fire and make scalding hot. Now 
pour into a hair sieve and allow the juice to 
strain through. Put into bottles and securely 
tie down. Place these bottles in a caldron of 
cold water and boil for twenty minutes. Re- 
move from the fire and allow to remain in the 
caldron until cold. Then set away for use. 

In the case of non- juicy fruits, such as apples, 
pears, peaches, etc., put the fruit into a basin. 
Cover with water and boil to a pulp. Now 
place on a hair sieve and allow to drain without 
any pressing. Observe now that it is only the 
liquor which passes through the sieve without 
pressing which is to be used for flavoring pur- 
poses. What remains in the form of pulp is 
not adapted for these uses. Now put the juice 
obtained as above into bottles, and proceed to 
treat as already laid down for the juicy fruits. 

The foregoing processes are to be gone 
through with in the case where the extracts are 
to be kept trans parent and clear, as for sirups, 
cordials and beverages. 

In case where the flavorings are to be used 
for any purpose where transparency or clear- 
ness is not desirable, such as for ice creams, 
fruit ices, or bonbons, then I would use not 
only the clear fluid, but the pulp of the fruit- 
also. I would for these opaque purposes save 
and utilize everything of the fruit except the 
skins and seeds. This pulp is to be treated as 
already laid down. 

As thus obtained and preserved our confec- 
tioners can supply themselves with a quantity of 
perfectly pure extracts of all their favorite 
fruits, and which can always be at hand, for 
flavoring every description of pastry, cakes, 
pies, tarts, puddings, creams, ices and bever- 
ages, and at any season of the year. Especially 
when there is any one in the house who is sick 
or feverish, cordials may be flavored with these 
delightful sub-acids— these remedies and rest- 
oratives of kind mother Nature herself— such 
as will shoot through all the veins of the most 
debilitated and infirm the most delicious sen- 
sations of happiness and hope.— James W. Park- 
inson, in Confectioners" Journal. 



Fruit Salt.— (1.) 2 oz. carbonate soda, 2 oz. 
tartaric acid, 2 oz. cream tartar, 2 oz. Epsom 
salts, 2 oz. sifted sugar. Dry the salts in the 
oven, and beat fine ; then mix the whole well 
together and keep in a dry place. The above 
forms a useful family aperient. 

2. Is composed of carbonate of soda, citric 
acid, fine white sugar and powdered ginger. It 
makes a pleasant drink and is an excellent 
antagonist to indigestion. Ginger is a carmin- 
ative, and the carbo ate of soda destroys the 
acidity which occasions flatulency. Lamp- 
lough's pyretic saline is a mixture of carbonate 
of soda and tartaric acid, with 2% potassium 
chlorate. 

3. Carbonate of soda, 4 oz. ; citrate of mag- 
nesia, 4 oz. ; tartaric acid, 2^ oz.; cream of tar- 
tar, 2 oz.; Epsom salts, 1 oz. The salts and soda 
to be well dried, and the whole well mixed in 
mortar with pestle.— IT'. B. 

Fuchsinc or Fuscliine. — One of the red 

coloring matters obtained from aniline, gener- 
ally included under the common name— ma- 
genta. 

Fuel, Economical. — Mix coal, charcoal, 
or sawdust, 1 part; sand of any kind 3 2 parts; 
marl or clay, 1 part ; in quantity as thought 
proper. Make the mass up wet into balls of a 
convenient size, and when the fire is suffi- 
ciently strong place these balls, according to 
their size, a little above the bar, and they will 
produce a heat considerably more intense than 
common fuel, and insure a saving of one-half 
the quantity of coals. A fire thus made up 
will require no stirring nor fresh fuel for ten 
hours. 

Fuller's Earth. — A soft marl used by ful- 
lers and others in cleansing fabrics. 

Fulminating Powder.— Prep.— Niter, 3 
parts ; carbonate of potash, 2 parts ; flowers of 
sulphur, 1 part; dry, and reduce them sep- 
arately to fine powder, then carefully mix 
them. About 20 or 25 grn. slowly heated on a 
shovel over the fire, first fuses and becomes 
brown, and then explodes with a deafening re- 
port. 

Fulmination and Fulminates. — Syn. 
Fulminatio {Lot.). Fulmination (JFV., from 
fulmen, a thunderbolt). Detonation. The term 
is applied in chemistry to the violent explosion 
of a fulminate. 

Fulminate of Silver.— Dissolve 10 grn. of pure 
silver at a gentle heat in 70 minims of ordinary 
concentrated nitric acid, sp. gr. 1'42, and 50 
minims of water. As soon as the silver is dis- 
solved the heat is removed, and 200 minims of 
alcohol, sp. gr. 0*87, are added. If the nitric 
acid and alcohol are not of the exact strength 
here given, it may be difficult to start the ac- 
tion, in which case add two or three drops of 
red nitric acid, which contains nitrous acid. 
Standard silver containing paper may be used 
for the preparation of the fulminate. If the 
action does not commence after a short time, a 
very gentle heat may be applied until effer- 
vescence begins, when the fulminate of silver 
will be deposited in minute needles, an d may 
be further treated as in the case of fulminate 
of mercury. As the fulminate of silver is ex- 
ploded much more readily than the fulminate 
of mercury, it must be handled with the great- 
est caution when dry. It should be separated 
into small quantities, each portion wrapped in 
paper, and kept in a cardboard box ; nothing 
harder than this should be brought in contact 
with it. This mixture is of no use for percus- 
sion caps, being too violent in its action. 

Tlwowdown Detonating Cracker— Screw up a 
particle of fulminate of silver in a piece of thin 
paper, with some fragments of a crushed 
quartz pebble. 

Double Fulminate of Silver and Ammonia.— 
Dissolve fulminate of silver in warm ammonia; 
the solution, on cooling, will deposit crystals of 
the double fulminate. This is very violent in 



Fumigation. 



227 



Fuse] Oil. 



its explosion, and is dangerous while still 
moist. 

Fulminating Platinum.— Dissolve binoxide of 
platinum in diluted sulphuric acid ; mix the 
solution with excess of ammonia ; a black pre- 
cipitate is obtained, which detonates violently 
at about 400° F. 

Fulminating Gold. — Add ammonia to a solu- 
tion of terchloride of gold; the buff precipitate 
which it deposits is violently explosive at a 
gentle heat. 

Terchloride of Gold.— Dissolve gold in hydro- 
chloric acid with one-fourth of its volume of 
nitric acid. Evaporate on a water bath to a 
small bulk; when cool, yellow prismatic crys- 
tals of a compound of the terchloride, with 
hydrochloric acid are deposited, from which 
the hydrochloric acid may be expelled by a 
gentle heat, not exceeding 250° ¥. The ter- 
chloride forms a red brown deliquescent mass, 
which dissolves very readily in water. 

Fumigation. — 1. The diffusion of gaseous 
matter or vapors through the atmosphere, for 
the purpose of destroying contagion and infec- 
tion. 2. The exposure of solid bodies to such 
fumes or vapors to remove the miasm of con- 
tagion from their pores. See also Disin- 
fectants. 

Fumigating Paper. See Paper. 

Fumigating Pastils. See Pastils. 

Fuming (Paper). See Photography. 

Furniture, to Take Bruises Out of. — 

Wet the part with warm water; double a 
piece of brown paper five or six times, soak it 
in warm water, and lay it on the place ; apply 
•On that a warm, but not hot, flat iron till the 
moisture is evaporated. If the bruise be not 
; gone, repeat the process. After two or three 
.applications, the dent or bruise will be raised 
to the surface. If the bruise be small, merely 
soak it with warm Avater, and hold a red hot 
iron near the surface, keeping the surface con- 
tinually wet— the bruise will soon disappear. 

Furniture Cream.— 1. Yellow wax, 4oz.; 
yellow soap, 2 oz.; water, 50 oz.; boil, with con- 
stant stirring, and add boiled oil and oil of tur- 
pentine, each 5 oz. 

2. Soft water, lgal.; soap, 4 oz.; white wax, 
in shavings, 1 lb. Boil together, and add 2 oz. 
of pearlash. To be diluted with water, laid on 
with a paintbrush, and polished off with a hard 
brush or cloth. 

3. Wax, 3 oz. ; pearlash, 2 oz. ; water, 6 oz. 
Heat together, and add 4 oz. of boiled oil and 5 
oz. of spirits of turpentine. 

White Furniture Cream. — Raw linseed oil, 6 
oz. ; white wine vinegar, 3 oz. ; methylated 
spirit, 3 oz.; butter of antimony, y z oz.; mix the 
Unseed oil with the vinegar by degrees, and 
shake well so as to prevent separation ; add the 
spirit and antimony, and mix thoroughly. 

Furniture Oil.— Linseed oil,4oz.; vinegar, 
2 oz.; mucilage, oil of turpentine, alcohol, J4 
oz. each ; butter of antimony, y 8 oz.; hydro- 
chloric acid, Yz oz.; or linseed oil, 4 fl. oz.; oil of 
turpentine, 2 oz. ; alcohol, 2 oz. ; resin, 1 oz. ; 
rose pink, J4 oz. 

2. Boiled linseed oil, 1 pt.; yellow wax, 4 oz.; 
melt, and color with alkanet root. 

2. Acetic acid, 2 drm.; oil of lavender, Yz drm.; 
rectified spirit, 1 drm.; linseed oil, 4 oz. 

4. Linseed oil, 1 pt. ; alkanet root, 2 oz. ; heat, 
strain and add lac varnish, 1 oz. 

5. Linseed oil, 1 pt.; rectified spirit, 2 oz.; but- 
ter of antimony, 4 oz. 

Oil for Darkening Furniture. — 1. One pt. lin- 
seed oil ; 1 oz. rose pink, and 1 oz. of alkanet 
root, beaten up in a metal mortar; let the 
mixture stand for a day or two ; then pour off 
the oil, which will be found of a rich color. 
Or mix 1 oz. of alkanet root with 4 oz. of shel- 
lac varnish, 2 oz. of turpentine, the same quan- 
tity of scraped beeswax, and 1 pt. of linseed 
•oil ; this should stand a week. 



Furniture Paste.— 1. To keep wood light, 
scrape M lb- beeswax into y*> pt. of turpentine. 
By adding linseed oil the wood is darkened. 

2. Dissolve 6 oz. pearlash inl qt. of hot water, 
add J4 lb. of white wax, and simmer for half an 
hour in a pipkin ; take from off the fire, and 
when cool the wax will float, which should be 
taken off, and, with a little hot water, worked 
into a paste. 

3. Beeswax, spirits of turpentine and linseed 
oil, equal parts; melt and cool. 

4. Beeswax, 4oz.; turpentine, 19 oz.; alkanet 
root to color ; melt and strain. 

5. Digest 2 drm. of alkanet root in 20 oz. of 
turpentine till the color is imparted ; add yel- 
low wax in shavings, 4 oz.; place on a water 
bath and stir till the mixture is complete. 

6. Beeswax, 1 lb.; linseed oil, 5 oz.; alkanet 
root, 3^j oz.; melt, add 5 oz. of turpentine, strain 
and cool. 

7. Beeswax, 4 oz.; resin, 1 oz.; oil of turpen- 
tine, 2 oz.; Venetian red to color. 

8. One lb. of white wax; 1 oz. black resin; 1 
oz. alkanet root, and 10 oz. linseed oil. 

Furniture Polish. See Polisliing, Wood. 

Furniture Renovator. — Mix together 
2 lb. oil of amber (refined); olive oil, 2 lb.; tinc- 
ture of henna, 2 oz. Apply with a rag. 

Furniture Reviver. — Pale linseed oil, 
raw, 10 oz. ; lac varnish and wood spirit, of 
each 5 oz. Mix well before using. 

Furniture, to Restore. See Cleans- 
ing. 

Furniture, Varnish, for. See Var- 
nishes. 

Furs, to Clean. See Cleansing. 

Furs and Skins, to Preserve. See also 
Tanning.— 1. To preserve skins of any kind. 
First stretch them out on a board with tacks 
as soon as taken from the body; then cover 
them with wood ashes; let them remain a fort- 
night, and renew the ashes every three days. 

2. The following soap is recommended by 
Ward, of London : The skins must be well 
sci-aped and divested of all fat, and well rub- 
bed with the soap; 1 lb. yellow soap, 1 oz. lime, 

1 oz. camphor, 1 oz. arsenic, 1 oz. alum; mixed 
together. 

3. Sublimed sulphur and nitrate of potash, of 
each 2 drm.; black pepper, camphor, bichloride 
of mercury, burnt alum, and tobacco, of each 
y% oz.; reduce to a fine powder. 

4. Bichloride of mercury, 1 oz.; hydrochloric 
acid, 3 drm.; methylated spirit of wine, add to, 

2 oz. Use as follows: Pour sufficient into a 
cup, and paint it freely on with a brush, espe- 
cially about the cavities of the skull, the arms, 
wings, and thighs. A liberal supply of the 
powder (No. 3) afterward to the same 
parts will insure their keeping any length of 
time (that is, if you have any doubt about their 
keeping). If you would prefer it, you may use 
the powder alone. 

5. To preserve and render the skins of moles 
soft and pliant soak them for three or four 
days in water which has had oak sapling bark 
boiled in it for two or three hours. To 2 qt. 
water put a good double handful or more of 
oak bark, or, better still, oak galls, and when 
this has got cold, put the mole skins in, fresh 
flayed. They will dry soft and pliant, and per- 
fectly cured. 

6. Nothing is required to preserve mole skins 
but drying. Skin them neatly, turn them in- 
side out, hang to dry, turn them when dry, and 
scrape them with a blunt knife. 

Fusel Oil.— Fousel Oil, Potato Oil, Oil of Po- 
tato Sjnrit, Ghrain Oil, Grain Spirit Oil, Marc 
Brandy Oil, Crude Hydrated Oxide of Amyl.— 
An offensive strong smelling oil, produced 
along with alcohol during the fermentation of 
grain, potatoes, etc., on the large scale, and 
which gives the peculiar and disagreeable fla- 
vor and odor to raw whisky. It is found chiefly 
in the last portion of the spirit which passes 



H 



Fusible Metals. 



228 



Gas. 



over, called the faints, to which it imparts 
its characteristic odor and flavor. By rectify- 
ing the faints at a very gentle heat, most of 
the alcohol and water first pass over together 
with only a little fusel oil, while the latter 
forms the residuum in the still. 

Fusible Metals. See Alloys. 

Fustic.— A species of mulberry; it is exten- 
sively used in dyeing. 

Fusion.— The liquefaction of solid bodies 
by the action of heat. The term aqueous fu- 
sion has been applied to the melting of salts in 
their water of crystallization; and the term 
igneous fusion to the liquefaction of bodies by 
heat alone. 

Gallipot.— A Frengh term for that portion 
of turpentine which gathers on the trunk of 
the tree when wounded, and is removed in the 
winter 

Gall. -Ox gall, the bile of an ox. It is of 
great use in removing spots, etc. 

Gall, to Decolorize.— To a pint of gall, boiled 
and skimmed, add 1 oz. of alum and leave the 
mixture on the fire until the alum is dissolved. 
When cold pour into a bottle and cork loosely. 
Next treat another pint of gall in the same 
way. only substituting salt for alum. In about 
three months these preparations will deposit a 
sedimeut, then decant the fluid portion and 
mix them. A precipitate is immediately form- 
ed, which takes down the coloring matter and 
the fluid portion is removed. 

Ox Gall, to Clarify.— "Let the gall of a newly 
killed ox settle for twelve hours; pour off the 
liquor and boil until somewhat thick. Then 
spread it upon a dish until almost dry; place 
in jelly pots covered with paper. When de- 
sired for use dissolve a small piece in a table- 
spoonful of water. 

Gall Nuts.— The so-called gall nuts are not, 
as commonly supposed a fruit, but a diseased 
growth produced upon the twigs of a dwarf 
oak, Quercus infectoria, when irritated by the 
eggs of the gall wasp, Cynips gallae tinctoriae. 
The part of the branch where the egg is depos- 
ited swells into a round nutlike mass, within 
which the larvae of the insect grows and un- 
dergoes its metamorphosis. The tannin con- 
tained in the gall nut is not only larger in 
amount than in most other natural sources of 
this principle, but is of finer quality. Hence 
they are selected as the best material for the 
preparation of pure tannin. 

Galvanizing.— 1. For galvanizing cast iron 
with zinc, first clean the castings thoroughly 
by immersing in a bath of 1 part muriatic acid, 
2 parts water, for a few hours; wash thoroughly 
in hot water and scrub with brush and sand. 
Then dip in a solution of sal ammoniac and 
water, y% lb. to the gal., hot. Dry quickly and 
dip in the zinc bath. 

2. To galvanize sheet iron work, dip in a bath 
of muriatic acid 1 part, water 4 parts; leave the 
work in long enough to break up the scale; 
clean with brushes or scrapers so that the sur- 
faces shall be free from scale or dirt. Then dip 
in a fresh bath of muriatic acid and water, 1 to 
4, with about 1 oz. sal ammoniac to the gal. of 
solution. Then dry quickly and thoroughly in 
a hot oven or on hot plates of iron and dip in 
the zinc bath. Never dip if any moisture re- 
mains among laps or rivets, for an explosion 
will ensue. Heat the zinc so that it will have a 
clear shining surface. Sprinkle a little pow- 
dered sal ammoniac upon the surface to clear 
it. Skim away the dross. 

3. Clean all scale, rust and dirt or oil from 
the surface, and if oily, by boiling in caustic 
soda, and then remove scale and rust by a bath 
of hydrochloric acid and water. If necessary 
a little scrubbing with a metallic brush, and 
then thoroughly rinse in hot water and dry 
quickly. After drying immerse in a bath of 
melted zinc, at the same time sprinkle a little 



powdered sal ammoniac upon the surface of 
the melted zinc to clear it. Judgment is re- 
quired as to length of time for the immersion 
and temperature of the melted zinc. Very 
small work immersed but a few seconds. 

Galvanized Iron, Crystals on.— Clean it per- 
fectly with a solution of chloride of zinc, and 
you will find that the coating is already crys- 
talline. Or use a wash of dilute nitric acid, 1 of 
acid to 1 of water, and wash in a stream of 
clean water 

Gamboge.— A gum resin which exudes from 
trees in Ceylon; 85% is soluble in alcohol. 

Gangue. — Is a term applied to the earthy 
matter of iron and other ores. It consists 
chiefly of clay. 

Ganister.— A refractory material used for 
the lining of Bessemer converters, and of steel 
moulds. It consists of a highly siliceous ma- 
terial cemented with fire clay, the silica equal- 
ing about 90%. 

Ganteine. See Cleansing. 

Gargle.— A gargle, or wash for the throat.' 
Gargles are applied by allowing a small mouth- 
ful to run as much as possible over the affected 
parts, by holding the head backward, and 
breathing through it, by which means the liquid 
is agitated and its action promoted. They 
should not be swallowod. 

1. For a very mild one use salt and water; 
for a more effective one use about 1 drm. 
chlorate of potash in 2 oz. water, or % to 1 
oz. alum in 1 pt. water sweetened with honey. 
The chlorate of potash gargle must be used 
with care, as it is poisonous. , 

2. Gargle for Sore Throat — 

Tinct. guaiciammon 3 drm. 

Liquor potassae 3 drm. 

Tinct. opii 2 drm. 

Aq. cinnamoni 8 oz. 

Gas.— Hints to Gas Consumers. — 1. Always 
keep a plan of pipes and burners. It will fre- 
quently be useful. 

2. Keep bell wires away from gas pipes. 

3. Do not use a candle or open light in exam- 
ing meters. 

4. In case of serious leak, close main cock, 
open the windows, and locate the leak. Never 
sleep in any room where there is even a faint 
odor of gas. 

5. If a gas flame goes out suddenly, it may be 
owing to water in the pipes, a frozen meter, or 
air in the pipes. An unsatisfactory flame may 
be owing to an obstruction of the burner or 
pipes. 

6. To thaw out a frozen gas meter, use hot 
water or hot sand bags. 

. 7. If gas lights bob up and down or flicker, it 
is a sign of water in the pipes. Remove the 
water, if possible, or notify the gas company. 

8. A roaring or hissing sound indicates too 
much pressure ; use a governor burner or par- 
tially close the stop cock to meter. 

9. Never keep a gas flame turned down low in 
a bedroom. The air will become vitiated, owing 
to imperfect combustion. Also the flame may 
be extinguished by variations in pressure. See 
that all gas keys have pinstops, and that the 
fittings are tight. 

10. In using rubber tube connections,7always 
turn off the gas from above when leaving, as 
gas will in time leak through the tube. 

11. To reduce the bills, have tight fittings, a 
pressure regulator, and examine the meter fre- 
quently.— Abridged from Builder, Decorator 
and Woodworker. 

Gas Fixtures, to Bronze. See Bronzing. 

Gas, Detection of Leakage. — Dr. Bunte's 
method for detecting gas leakage by means of 
palladium paper has oeen rendered still more 
delicate by Herr Schaufflers, who uses, to every 
three parts of chloride of palladium, one part of 
chloride of gold. The increase of sensitiveness 
may be partly due to catalytic action, that is,. 



Oases. 



239 



Gilding. 



to the mere presence of the gold, perhaps to 
the action of traces of acetylene upon the 
gold solution. The solution used for making 
the paper contains '%% of chloride of pal- 
ladium and Yq% of chloride of gold. One 
pt. costs about 9s. and will steep filter paper 
enough for 8,000 to 11,000 tests. The main 
sources of error are tobacco smoke, stoves and 
smoky chimneys, which let carbonic oxide into 
the room, the vapor of fusel oil, onion smell, 
mercury vapor and sulphureted hydrogen. 

To Prevent Gas_ Meters from Freezing— Add. 
glycerine to the water in the proportion of 3^ pt. 
to a gallon of water. Glycerine does not affect 
the metals of which the meter is composed. 

To Detect a Leak, in a Gas Pipe.— Rub a little 
soap water upon the suspected place. The 
formation of a bubble will show where the 

Gas Pipe, Strength of.— The thread on a % 

Inch gas pipe will sustain a weight of 5,000 lb., 

y% inch, 7,000 lb. and % inch 9,000 lb., so that 

chandeliers cannot readily be shaken from 

. their supports. 

Gases and Vapors, Refraction of.— (M. 
Mascart).— The new results obtained by the 
author are : 

Refraction with 
Relation to that 
of Air. 

Chlorine^...... .....«»»n»kk» 2'63 

Bromine 3*85 

Hyprochloric acid 1'52 

Hydrobromic acid 1*95 

Hydriodic acid 3*10 

Hydrocyanic acid 1*49 

Sulphydric acid. 2*12 

Ammonia 1*29 

Water . . 0*88 

Phosphorus protochloride 5'92 

Carbon sulphide. 5*05 

Gasoline.— About 166 ft. of gas can be made 
from a gallon of gasoline. 

Gas Tar. — This commonly called coal tar. 

Gazogene. — A portable apparatus for 
aerating water and other liquids. Many forms 
have been given to this instrument, but in all 
the principle is the same. Powders for gener- 
ating carbonic acid gas are placed in a separate 
compartment and the liquid to be aerated in 
another. The two compartments are connected 
by a suitable tube, and a second tube furnished 
with a spring tap affords an exit for the aerated 
liquid. The following are the proportions of 
soda and acid required for charging gazo- 
genes : 

1. For 2 pt., powdered tartaric acid, 280 gr.; 
bicarbonate of soda, 340 gr. 

2. For 3 pt., powdered tartaric acid, 340 gr.; 
bicai'bate of soda, 420 gr. 

3. For 5 pt., tartaric acid, 620 gr.; carbonate 
of soda, 760 gr. Put the acid and soda in differ- 
ent colored papers. 

Gearing, Simple Rules on.— The fol- 
lowing rules will apply to both bevel and spur 
gears. When the term pitch is used, it always 
signifies diametrical, not circular pitch. For 
illustrations we will use gears having 64 teeth 
and 8 pitch. 

To Find Pitch Diameter.— Divide the number 
of teeth by the pitch : 64 ~s- 8 = 8 in. pitch diam- 
eter. 

To Find Number of Teeth.— Multiply the pitch 
diameter by the pitch : 8 in. x 8 — 64, number 
of teeth 

To Find the Pitch— Divide the number of teeth 
by the pitch diameter : 64 -*- 8 in. = 8, pitch. 

To Find Outside Diameter of Spur Wheels.— 
Add 2 to the number of teeth and divide by 
the pitch : 64 + 2 = 66 + 8 = W\ in. O. D. 

To Find Circular Pitch.— Divide the decimal 
31416 by the diametrical pitch : 3*1416 -*- 8 = 
0.3927 in. 

To Find the Distance hctween the Centers of 
Two Spur Gears.— Divide half the sum of the 



teeth of both gears by the pitch : 64 + 64 = 128 
-f-2 = 64-r-8 = 8in centers. 

A simple rule to determine the face of bevel 
gears is to make them seven times the pitch ; 8 
pitch bevel will thus be % in. face. 

Gelatin or Gelatine. — Animal jelly, ob- 
tained by the prolonged action of boiling 
water on the organic tissue of the bones, ten- 
dons and ligaments, the cellular tissue, the 
skin and the serous membranes. Glue and size 
are coarse varieties of gelatin, prepared from 
hoofs, hides, skins, etc., and isinglass is a purer 
kind, obtained from the air bladders or some 
other membranes of fish. 

Gelatine, Bichromated.— Make a hot saturated 
solution of bichromate of potash in water, and 
in another vessel make a strong solution of 
gelatin. Then pour them together, stir well 
and allow to cool. The proportion of bichrome 
solution which is added varies according to the 
use. On exposure to the light it becomes insol- 
uble, which is useful in many ways. 

Gelatine Manufactured from Seaweed. — The 
seaweed, called by the native name of tengusa, 
is carefully washed and afterward boiled, so as 
to form a gluish decoction, which is strained 
off and put into square boxes. When cool it 
forms a stiff jelly, which can easily be divided 
into squares a foot in length. The manner in 
which the surplus water is removed is very in- 
genious. The jelly prisms are exposed in the 
open air during a cold night and allowed to 
freeze. During the day the sun melts the 
water, which runs off, leaving behind what one 
might term the skeleton of white, horny sub- 
stance, which is extremely light and easily dis- 
solved in hot water; when cooled, it again 
forms a stiff jelly. This article can be applied 
to many purposes— for culinary uses, for mak- 
ing bonbons and jellies, for clarifying liquids, 
as a substitute for animal isinglass, for making 
moulds used by the plaster of Paris workers, 
for hardening the same material, in short, as a 
substitute for all kinds of gelatines, over which 
it has the advantage of producing a firmer 
JeUy. 

Gelatine Sheets.— Dissolve fine glue or isinglass 
in water so that the solution when cold may be 
consistent. Pour it hot on a plate of glass 
(previously warmed with steam and slightly 
greased) fitted in a metallic frame whose edges 
are just as high as the wafer should be thick. 
Lay on the surface a second glass plate, also 
hot and greased, so as to touch every point of 
the gelatine while resting on the edges of the 
frame. By its pressure the thin cake is ren- 
dered uniform. When the glass plates have 
cooled, the gelatine will be solid and may be 
removed. It can then be cut into disks by 
punches, etc. It can of course be colored by 
adding suitable coloring material, aniline colors 
for instance. 

Gems, Imitation. See Jewels. ] 

Geranium Water. See Waters. 

Gerbe. See Pyrotecliny, 

German Silver. See Alloys. 

German Silver, to Polish. See Pol- 
isliing. 

German Silver, Solder for. See Sold- 
ering. 

Gersnein's Alloy. See Alloys. 

Gesso.— A formula for a drying powder for 
oil and distemper painting, and to make the 
colors retain their brilliance, is this : 

Pure silica 4drm. 

Calcined borax . . 12 drm. 

Litharge 24 drm. 

Mix and fuse into a crystal, which must be 
powdered and levigated with water. 

Gilding.— Gilding by Immersion in a Solu- 
tion of Chloride of Gold. Articles of steel, cop- 
per, silver, and some other of the baser metals,^ 
may be gilded by simply immersing them in a 



Gilding. 



230 



Gilding. 



weak solution of the chloride of gold; this is, 
however, more interesting as a fact than of 
any practical value. 

Solution for Gilding Brass and Copper.— The 
following formula has been adopted for water 
gilding, as it is termed. Fine gold, 6*4 dwts. 
Convert the gold into chloride and dissolve in 
1 qt. of distilled water, then add 1 lb. bicarbon- 
ate of potassium and boil the mixture for two 
hours. Immerse the articles to be gilded in 
the warm solution for a few seconds, up to one 
minute, according to the activity of the bath. 

2. Another method of gilding brass and cop- 

§er articles, by simple immersion, is to first 
ip them in a solution of proto-nitrate of mer- 
cury (made by dissolving quicksilver in nitric 
acid and diluting with water) and then dipping 
them into the gilding liquid. It is said that 
copper may be gilded so perfectly by this 
method as to resist for some time the corrosive 
action of strong acids. During the action 
which takes place, the film of mercury, which 
is electro-positive to the gold, dissolves in the 
auriferous solution, and a film of gold is de- 
posited in its place. 

Process of Gilding. — Place in a plate leaf 
gold, add a little honey; stir the two substances 
carefully together with a glass stopper, the 
lower end of which is very flat. Throw the 
resulting paste into a glass of water mixed with 
a little alcohol; wash it and leave it to settle. 
Decant the liquid and wash the deposit again. 
Repeat the same operation until the result is a 
fine, pure, and brilliant powder of gold. This 
powder, mixed with common salt and pow- 
dered cream of tartar, and stirred up in water, 
serves for gilding. 

As another method of gilding, Boutet Mou- 
vel gives the following : Dissolve in aqua regia 
1 grn. of fine gold, previously rolled out very 
thin, in a porcelain capsule heated on the sand 
bath and concentrated till it is the color of ox 
blood. Add 1 pt. of distilled water, hot, in 
which have been dissolved 4 grn. of white cy- 
anide of potassium. Stir with a glass rod, and 
filter the liquid through unsized paper. To 
gild with this liquid, it is heated a little above 
lukewarmness, and the articles to be gilt are 
immersed in it and supported upon a piece of 
very clean zinc. 

Gilding Solution, BecquereVs. — Chloride of 
gold, 1 part; ferrocyanide of potassium, 10 
parts ; water, 100 parts. Dissolve the salts in 
the water, then filter. Add 100 parts of a sat- 
urated solution of ferrocyanide of potassium, 
and dilute the mixture with once or twice its 
volume of water. In general the tone of the 
gilding varies, according as the solution is 
more or less diluted. The color is most beauti- 
ful when the liquid is most dilute and most 
free from iron (from the ferrocyanide). To 
make the surface appear bright, it is sufficient 
to wash the article in water acidulated with 
sulphuric acid, rubbing gently with a piece of 
cloth. 

Solution for Gilding Bronze, etc.— Small ar- 
ticles may be gilded by immersing them in tbe 
following solution, which must be used at 
nearly boiling heat. Caustic potash, 180 parts; 
carbonate of potash, 20 parts; cyanide of potas- 
sium, 9 parts; water, 1,000 parts. Rather more 
than l^j parts chloride of gold is to be dissolved 
in the water, when the other substances are to 
be added and the whole boiled together. The 
solution must be strengthened from time to 
time by the addition of chloride of gold, and 
also after being worked four or five times, by 
the addition of the other salts in the propor- 
tions given. This bath is recommended chiefly 
for gilding economically small articles of cheap 
jewelry, and for giving a preliminary coating 
of gold to large articles, which are to receive a 
stronger coating. 

Brass and Copper, Solution for Gilding.— Fine 
gold, 6J4 dwts. Convert the gold into chloride 
and dissolve it in 1 qt. water and add potassium 



bicarbonate, 1 lb., and boil for two hours. Im- 
merse the articles for one minute. 

Coloring Processes.— When gilding is of an in- 
ferior color, it is sometimes necessary to use 
some process to improve the color. There 
must always be a sufficient coating of gold upon 
the article to withstand the action of the mate- 
rials employed. This condition being fulfilled, 
the artificial coloring processes may be applied 
with advantage, and gold surfaces of "great 
beauty obtained.— Sulphate of copper, 2 dwt.; 
French verdigris, 4 dwt. 12 grn.; sal ammoniac, 4 
dwt.; niter, 4 dwt.; acetic acid, about 1 oz. The 
sulphate of copper, sal ammoniac and niter 
are first pulverized in a mortar, then the ver- 
digris is added and well mixed with the other 
ingredients. The acetic acid is then poured in, 
a little at a time, and the whole worked up to- 
gether, when a thin mass of a bluish green color 
will result. The article to be colored is to be 
dipped in the mixture, and then placed on a 
clean piece of sheet copper, which is next to be 
heated over a clear fire, until the compound 
assumes a dull black color; it is now allowed to 
cool, and is then plunged into a tolerably strong 
sulphuric acid pickle, which soon dissolves the 
coloring salts, leaving the article a fine gold 
color. Rinse well in hot water to which a small 
quantity of carbonate of potash should be 
added ; next brush with warm soap and water,, 
then rinse in hot water. 

Coloring Gilt Work.— In working gold solu- 
tions employed in the dipping process, it may 
sometimes occur that the color of the deposit 
is faulty and patchy instead of being of the 
desired rich gold color. To overcome this, 
certain coloring salts are employed, the com- 
position of which is as follows: Nitrate of 
potash, sulphate of zinc, sulphate of iron,, 
alum, of each equal parts. These substances are 
placed in an earthenware vessel, and melted at 
about the temperature of boiling water. When 
fused the mixture is ready for use. The arti- 
cles are to be brushed over with the composi- 
tion and then placed in a charcoal furnace, 
and heated until, by applying the moistened tip 
of the finger to one of the pieces, a slight hiss- 
ing sound is heard. This indicates that the heat 
has been sufficient. Then the articles should be 
at once removed and thrown quickly into a. 
very weak sulphuric acid pickle, which dis- 
solves the salts and leaves the work -clear and 
bright. This coloring process has a rather 
severe action upon gilt work, and should not 
be used when the gilding is a mere film. 

Books, the Edges of, to Gild.— To gild the edges,, 
the book should be put into the press straight 
and on a level with the cheeks of the press be- 
tween cutting boards, the boards of the book 
being thrown back. The press should be screwed 
up very tightly, and any projection of the cut- 
ting boards should be taken away with a chisel. 
If the paper is unsized or at all spongy, the 
edge should be sized and left to dry. This may 
be ascertained by wetting a leaf with the 
tongue ; if spongy, the moisture will sink 
through as in blotting paper. The edge should 
be scraped quite flat and perfectly even, care 
being taken to scrape every part equally, or one 
part of the edge will be hollow or perhaps one 
side scraped down, and this will make one 
square larger than the other. When scraped 
quite smooth and evenly, a mixture of.black 
lead and thin glair water is painted over the 
edge, and with a hard brush it is well brushed 
until dry. 

The gold is now cut on the gold cushion. 
Lift a leaf out of the book with the gold knife, 
lay it on the gold cushion, breathe gently on 
the center of the leaf to lay it flat; it can then 
be cut with ease to any size. The edge is now 
glaired evenly, and the gold is taken up with a 
piece of paper previously greased by drawing 
it over the head. The gold is then gently laid 
on the edge which has been glaired. The whole 
edge or end being done, it is allowed to get per- 
fectly dry, which will occupy two hours. 






Gilding. 



231 



Gilding. 



Before using the burnisher on the gold itself, 
some gilders lay a piece of fine paper on the gold, 
and gently flatten it with the burnisher. Books 
are often treated in this manner: they then 
become dull gilt. When intended to be bright, 
a waxed cloth should be gently rubbed over the 
surface two or three times before using the 
burnisher. The beauty of burnishing depends 
upon the edge presenting a solid and uniform 
metallic surface, without any marks of the 
burnisher. 

Gilding Books.— White of egg well beaten up 
is the ordinary sticking material used by binders 
to put the gold leaf on. The leather back of 
the book is varnished with it, and when dry, 
a strip of gold leaf is put on the place where the 
letters or ornaments are to be placed ; the let- 
ters used are common printing types (they must 
be new, however, and not been used with print- 
ing ink). They are heated a little above the 
boiling point of water, which is easily tried 
with a wet finger, and then they are pressed on 
the gold leaf for a lew seconds only, when the 
heating of the albumen or white of egg under 
it fixes them to the leather of the book. The 
ornamental figures used are commonly made of 
brass and manufactured for the use of book 
binders, while the type is screwed in an appro- 
priate brass or iron holder, with wooden handle. 
The back of a well-bound book being always 
round, the proper way of putting on the gilded 
letters and ornaments requires a certain way 
of manipulation, which it is best to acquire by 
visiting some good book binder's shop in the 
next large city to see the operation and use your 
eyes properly so as to get all little details. The 
sides of books being flat, it is best to put the 
letters and ornaments under a press. The type 
is put up in a proper form, it is heated, put 
under the press with the varnished side of the 
book, covered with gold leaf on the right place, 
and the press screwed down. Sometimes the 
binder puts the strip of gold leaf on the face of 
the type, in place of en the book. This is equally 
good, and under certain circumstances prefer- 
able. 

Watch Plates, to Gild.— After plating with 
gold, using the regular solution (cyanide), im- 
merse in a mixture of : 

Copper sulphate 3 parts by weight. 

Verdigris 7 parts by weight. 

„ Ammonium chloride. 6 parts by weight. 

'" Botash nitrate 6 parts by weight. 

Acetic acid 31 parts by weight. 

Use solids in powder. After dipping, heat the 
articles on a plate of copper until they turn 
dark or black, and then treat with concentrated 
sulphuric acid. 
2. Or instead of above mixture use : 

Alum 3 parts by weight. 

Botash nitrate tf parts by weight. 

Zinc sulphate 3 parts by weight. 

Sodium chloride. ... .3 parts by weight. 

Use as a paste; coat articles with it, heat on 
iron plate until they turn black, and wash with 
cold water. 

Calf and Sheepskin, Gilding on.— Wet the 
leather with the white of eggs; when dry, rub 
it with your hand and a little olive oil, then put 
the gold leaf on and apply the hot iron to it. 
Whatever the hot iron shall not have touched 
will go off by brushing. 

Cards, to Gild the Edges of '.— 1. Obtain an ex- 
tremely thin leaf of gold. But your cards to- 
gether so that the edges are perfectly even. 
Then place in a press, with the exposed edge 
uppermost. Coat the edge with a mixture of 
red chalk and water. The gold is blown out 
from small books, and spread on a leather- 
cushion, where it is cut to the proper size by a 
smooth-edged knife. A camel's hair pencil is 
dipped into white of egg mixed with water, and 
with this the partially dry edge is moistened ; 
ttfe gold is then taken upon a tip brush and ap- 
plied to the moistened edge, to which it instantly 



adheres. When all the four edges have been 
gilt in this way, and allowed to remain a very 
few minutes, take a burnisher formed of a very 
smooth piece of hard stone (usually bloodstone), 
and rub the gold very forcibly, which gives the 
gold a high degree of polish. To silver edges 
take a brush, dip it in a saturated solution of 
gallic acid, and wash the edges; then dip the 
brush into a solution composed of 20 parts 
nitrate of silver to 1,000 parts distilled water. 
Keep on alternating these solutions until the 
edges assume a brilliant tint. Then wash with 
distilled water, and dry by free air and heat. 

2. A composition consisting of 4 parts of Ar- 
menian bole and 1 of candied sugar, ground 
together with water to a proper consistence 
and laid on by a brush with the white of an 
egg. This coating, when nearly dry, is smoothed 
by the burnisher. It is then slightly moistened 
by a sponge dipped in clean water and squeezed 
in the hand, after which gold leaf is applied. 

China, Common, Gilding on.— The gilding is 
done either by an adhesive varnish or by heat. 
The varnish is prepared by dissolving in hot 
boiled linseed oil an equal weight of either am- 
ber or copal. This is diluted with a proper quan- 
tity of oil of turpentine so as to be applied as 
thin as possible to the parts to be gilt. Let stand 
after varnishing about twenty-four hours, then 
heat in an oven until so warm as almost to burn 
the fingers when handled. The heat softens the 
varnish, which is then ready to receive the gold 
leaf, which may be applied with a brush or 
pledget of cotton, and the superfluous por- 
tions brushed off. Burnish when cold, inter- 
posing a piece of thin paper between the gold 
and burnisher. Where burning in is prac- 
ticed the gold reduced to powder is mixed with 
powdered borax glass (anhydrous borax), moist- 
ened with a little gum water, and applied to 
the clean surface with a camel hair pencil. 
When quite dry the article is put into a stove 
heated to about the temperature of a n anneal- 
ing oven. The gum burns off and the borax, by 
vitrifying, cements the gold with great firmness 
to the surface. 

Gold Luster for China Painting.— Dissolve 1 
drm. gold in % oz. aqua regia, or simply dis- 
solve this weight of chloride of gold in water. 
Add 6 grn. of metallic tin, and enough aqua 
regia if required to dissolve it. Bour with con- 
stant stirring into a mixture of % drm. balsam 
of sulphur and 20 grn. oil of turpentine. As 
it stiffens add % drm. oil of turpentine and 
mix. More gold gives a brighter effect; tin 
inclines it to a violet tinge. Balsam of sulphur 
is made by boiling together in a covered vessql 
1 part flowers of sulphur and 4 parts oil until 
the mass thickens. 

Cotton, to Gild.— The cotton should be spread 
with glue, dried, then coated with a thick solu- 
tion of parchment size and dried again thor- 
oughly. Then apply the gilding. 

To Dissolve Gold for Gilding ivhich has to be 
Fired.— Triturate in a mortar some gold leaf 
and honey until reduced very fine. Then dis- 
solve the honey with hot water and mix with a 
little gum water for use, or dissolve gold in hot 
aqua regia, evaporate to dryness in a porcelain 
dish and dissolve in ether for use. 

Gilding Glass.— 1. Thoroughly clean the glass, 
then take some very weak isinglass size, and 
while warm float the glass where you intend 
the gold to be laid, with the size and a soft 
brush ; then lay the gold on with a gilder's tip, 
previously drawing it over the hair of your 
head to cause the gold to adhere to it. Tilt the 
glass aside to allow the superfluous size to run 
away, then let it dry, and if it does not look 
sufficiently solid upon the face, give another 
layer of gold the same way. Where the black 
lines are to show, take a piece of pointed fire- 
wood, cut to the width the lines are needed, 
and with a straight-edge draw a line with the 
piece of wood, which, if made true and smooth, 
will take the gold oft clean, and so square and 
sharpen up all the edges, lines, etc. When tins 



Gilding. 



Gilding. 



is done, give a coat of Brunswick black thinned 
with a little turps, and the lines will show 
black, and it will preserve the gold. Try a 
small piece first, so as to get all in order. 

2. The proper flux is anhydrous borax ; the 
real gilding is effected by tbe aid of heat. For 
this purpose a solution of gold in aqua regia 
(chloride of gold) is precipitated by potash or 
green vitriol— a finely divided powder (brown) 
consisting of metallic gold. This is washed, 
dried and rubbed up with the flux (anhydrous 
borax). Mix the same with oil of turpentine or 
gum water ; apply with a brush. When heated 
in the muffle, the volatile oil escapes ; the gum 
consumed, the borax melts and firmly attaches 
the gold to the surface of the vessel. 

3. Two grn. of isinglass; new rum, 2 parts; 
water, 3 parts. Put the water and the isinglass 
into a clean pan, and let them simmer over the 
fire for about an hour ; add the rum when 
taken off the fire, then let it cool. Clean the 
glass, pour on the liquid, gild with camel's hair 
tip, set the glass upon its edge ; the liquid will 
run from beneath the gold, and in less than 
twenty minutes you wiU have a burnished 
plate. When dry, rub lightly with fine cotton; 
if there are any spots not gilded, gild them. 
Draw your design on paper, perforate your 
lines with a needle, put your paper next the 
gilded side, with the reading the wrong way, 
dust through the holes with a rag and whiting, 
lift off the paper and you will find your design 
marked off. If you wish the letters left clear 
black, cut round the letters with yellow, paint 
all over but the letters, wash off the gold with 
water, then paint all over black. If you want 
the letters gold, paint the letters yellow, and 
wash off the surplus gold, then paint all over 
black. 

4. Prof. Schwarzenbach, of Berne, has re- 
cently devised the following method of gilding 
on glass : Pure chloride of gold is dissolved in 
water. The solution is filtered and diluted 
until in 20 qt. water but 15 grn. gold are con- 
tained. It is then rendered alkaline by the ad- 
dition of soda. In order to reduce the gold 
chloride, alcohol, saturated with marsh gas and 
diluted with its own volume of water, is used. 
The reaction which ensues results in the depo- 
sition of metallic gold and the neutralization 
of the hydrochloric acid by the soda. In prac- 
tice, to gild a plate of glass, the object is first 
cleaned and placed above a second plate slightly 
larger, a space of about & in. separating the 
two. Into this space the alkaline solution is 
poured, the reducing agent being added im- 
mediately before use. After two or three 
hours' repose, the gilding is solidly fixed, when 
the plate may be removed and washed. 

Embossing and Gilding on Glass.— There are 
two ways of embossing glass: by means of 
hydrofluoric acid and by the sandblast. The 
second method being rather beyond the power 
of amateurs, I shall not describe it here. In 
the hydrofluoric acid process, the glass is first 
coated with some protecting substance, and 
upon this the design is drawn with a sharp 
instrument, so as to expose the glass below. 
The acid is then applied, when the exposed 
portion of the glass becomes corroded. The 
wax can be afterward removed. In practice 
the glass should be warmed and coated with 
molten beeswax (not paraffin, which is too 
brittle). Superfluous wax should drained off, 
so as to leave as thin a coating as possible. Or 
a composition may be used, formed by melting 
together 2 parts of beeswax, 2 of asphalt, 1 of 
black pitch and 1 of Burgundy pitch, and heat- 
ing them together until a drop placed upon a 
cool surface gets hard and tough. Whatever 
the protecting substance used, it should be per- 
mitted to set, and the design should then be 
traced with some pointed instrument, care be- 
ing taken to cut right down to the glass. If 
the design is complicated, it will be found bet- 
ter to trace it first on paper, and then to go 
over the lines with a pricker. The paper can 



then be placed upon the wax and some dark 
colored powder dusted over the holes. On re- 
moving the paper, the outline of the design 
will be found marked on the surface of the 
wax. [t will then be easy to cut away the wax 
at the desired places. A shallow tray of gutta- 
percha or of sheet lead must then be taken, 
and into it be placed about half an inch of the 
dilute hydrofluoric acid of commerce. The 
glass must then be placed wax side down over 
the tray and left exposed to the vapor of the 
acid for some time. On removing it, washing 
with water, and cleaning off the wax, the de- 
sign will be found etched in opaque lines upon 
a bright ground. If required bright upon an 
opaque ground, the waxed glass, instead of 
being exposed to the vapor of the acid, should 
be dipped into the acid itself. After the re- 
moval of the wax the surface of the glass 
should be ground with very fine emery. An- 
other way is to draw the design on the glass 
with a pencil and Brunswick black, using as a 
guide a sketch on paper placed beneath the 
glass. On exposure to the acid vapor the whole 
background will be rendered opaque. The 
Brunswick black can be cleaned off with tur- 
pentine, leaving the design in clear glass. In- 
stead of Brunswick black, an ink may be used, 
made by dissolving asphalt in turpentine, and 
thickening with beeswax and resin. Where it 
is desired to produce an artistic effect by the 
introduction of shading, recourse may be had 
to Gruene's patent process, wherein the wax 
or Brunswick black is replaced by substances 
not altogether impervious to the action of the 
acid. The design is drawn with oil varnishes, 
greasy printing inks, or some such substances 
(using a good protector for the high lights, a 
bad protector for the deep shades, and so on), 
and is then dusted over with finely powdered 
metal, copal, etc. When dry, the glass is dipped 
into hydrofluoric acid and allowed to remain 
in for a few seconds and is afterward washed. 
If care is taken in the selection of the protect- 
ing materials, it is possible!' or an artistic work- 
man to obtain very striking results. 

Gilding may be done either with bronze 
powder or with gold leaf. If the powder is to 
be used, the design should be traced on the 
wrong side of the glass with japan gold size 
thinly laid on, which is afterward dusted over 
with bronze powder. When dry, a coat of 
varnish is laid on. In tracing the design, it 
must not be forgotten that the wrong side of 
the glass is being worked at, and that when 
viewed from the front everything will appear 
twisted round— the right being to the left and 
the left to the right. To gild with leaf, the 
glass must be carefully cleaned and laid upon 
the design. Then a solution of isinglass is put 
on by aid of aflat camel hair brush. While 
still wet, gold leaf is laid on with a gilder's tip 
(for the sake of economy adhering to the design 
as nearly as possible). When quite dry, the de- 
sign, the outline of which has been pricked out 
as before described, is taken and placed upon 
the gold. Dark colored powder is then sprinkled 
on as before. The paper is next removed and 
the outline carefully gone over with Bruns- 
wick black. The superfluous gold is cleaued 
off by the aid of a sharp narrow chisel. The 
size is made by dissolving *4 oz. of isinglass in 
a sufficiency of water, adding *4 pt. rectified 
spirits, and making up to half a pint with water. 

Note.— If hydrofluoric acid is dropped upon 
the fingers it is desirable to wash it off without 
unnecessary delay; but let no one be deterred 
from using the acid by the dreadful things the 
textbooks cay of it* They don't apply to the 
diluted acid sold at the shops.— Alfred W. 
Soward. 

5. Dissolve a piece of isinglass (gelatine) the 
size of a silver dollar in % pt. of hot water, and 
after cooling apply this size, with a 2 or 3 in. flat 
camel's hair brush, to the glass, previously freed 
from all traces of grease by washing with al- 
cohol; apply the gold leaf cut to the size of let- 



Gildinj 



233 



Gilding. 



ters desired with a gilder's brush, rubbing- the 
brush on the hair while the size is wet. In pre- 
senting- the gold leaf to the sized surface do not 
touch the glass with brush or gold; bring the 
leaf within Yz in. of the surface, when it will be 
found that the leaf leaves the brush and at- 
taches itself to the sized surface (owing to the 
electrical condition of the brush). Spread the 
leaf evenly, give it a second coating of the size, 
outline with asphaltum varnish and fill up the 
letters with the same. When all is dry rub off 
the superfluous gold with cotton wool. 

Granite, Gilding on.— Apply a coat of size and 
then two or three coats of size and fine pow- 
dered whiting. Let each coat dry and rub down 
with fine glass paper before the next is applied. 
Then go over it thinly and evenly with gold size 
and apply the gold leaf. 

Iron,to Gild.— Kircnmann says: Rub the sur- 
face of the iron with sodium amalgam, then 
apply a strong solution of chloride of gold; on 
heating, mercury will be driven off and the 
iron will be gilded. 

Ivory, to Gild.— Put the ivory into a solution 
of sulphate of iron (copperas), and then into a 
solution of nitro-muriate of gold; on withdraw- 
ing it from the latter it will be beautifully 
gilded. 

Gilding Metals with Gold Leaf.— Articles of 
steel are heated until they acquire a bluish 
color, and iron or copper is heated to the same 
degree. The first coating of gold leaf is now 
applied, which must be gently pressed down 
with a burnisher and again exposed to gentle 
heat; the second leaf is then applied in the 
same way, followed by a third, and so on; or 
two leaves may be applied instead of one, but 
the last leaf should be burnished down while 
the article is cold. 

Gilding, Wax for. J$ee Waxing. 

Gold Beaters' Skin.— Is prepared from the 
peritoneal membrane of the caecum of the ox. 
It is used to separate the leaves of gold while 
under the hammer, as a nearly invisible dress- 
ing for cuts, as tissue for court plaster, etc. 

Gold, Powdered.— Divided gold, gilding pow- 
der, gold bronze, gold color, Auri pulvis. Gold 
1 part, mercury 7 parts; form an amalgam 
and expose it to heat until all the mercury is 
volatilized; or the mercury may be dissolved 
out with hot nitric acid. In either case the 
residuum is to be powdered, washed and dried. 
If the quantity operated on is considerable, the 
process should be so conducted as to save the 
mercury. 

Coloring of Gold.— This operation consists of 
imparting a color to gold articles after every 
other process has been completed. Its object 
is to give to alloyed gold all the appearance of 
fine gold itself, by dissolving out the base 
metal from the surface of the articles and leav- 
ing a facing of gold of a deep rich color. Two 
distinct modes of coloring are adopted by jew- 
elers, termed respectively dry coloring and 
wet coloring. The latter is most frequently 
practiced, as the former cannot well be ap- 
plied to gold inferior to 18 carat. 

Wet Coloring.— The ingredients of the mix- 
ture employed in this process have a powerful- 
ly solvent action on the base metal with which 
the gold is alloyed, and a weaker action on the 
gold itself, so that the article loses weight in 
direct ratio to the length of time it is submitted 
to the coloring process, and this loss is greater 
as the gold is lower in quality. Gee states that 
the coloring is hastened and the loss in weight 
reduced to a minimum by using old coloring 
liquid, and he assumes that the dissolved gold 
is, to some extent, deposited again on the arti- 
cle, because the loss in weight of some common 
qualities of gold was found to be very little, 
and the amount of gold recovered from the 
spent coloring liquid very small indeed. This 
statement is in accord with the well known 
fact that in any liquid in which a metal, say 
copper, is electro-positive to the metal in solu- 



tion, say gold, the latter is deposited on the 
former. 

Many different mixtures are used for color- 
ing gold, some of which will be afterward 
given in tabular form. The following has been 
supplied by an experienced Birmingham jew- 
eler, which he has found to be effective: 

Potassium nitrate , 12 oz. 

Common salt 6 oz. 

Hydrochloric acid , . 3 oz. 

The nitrate and salt are pounded to a fine 
powder and placed in a previously warmed 
plumbago crucible about 8 in. by 7 in., then 
stirred with a wooden spoon for a minute or 
two. The acid is then added with about 1 oz. 
of boiiing water, and the mass constantly stir- 
red until it boils up to the top of the pot. The 
work, which has been previously cleansed in hot 
potash or soda solution, is then suspended in 
the coloring liquid by means of a silver or 
platinum wire for about one minute, then well 
swilled in boiling water. A little more water is 
added to the color pot, and when the liquid 
boils up the work is again immersed for an- 
other minute, and swilled in boiling water as 
before. This operation of dipping and swilling 
is repeated several times, the coloring liquid 
being weakened by adding water before each 
immersion, until the desired appearance is at- 
tained. The work is finally well washed in hot 
water and dried in boxwood sawdust. The 
whole process takes five to seven minutes. 

The colored work is next scratch-brushed, 
on a lathe, with a revolving brush made of very 
fine brass wire and having stale beer dropping 
on it. If the coloring has been properly con- 
ducted, a beautiful rich and dead color will be 
produced. 

Dry Coloring.— This term is applied to the 
coloring process when no liquids are used as 
constituents of the mixture. The ingredients 
used are — 

Potassium nitrate 8 oz. 

Common salt 4 oz. 

Alum 3 oz. 

These substances are ground to a fine powder, 
well mixed and placed in a previously heated 
blacklead color pot, of the same dimensions as 
that described for use in wet coloring, but the 
same pot must not be employed for dry color- 
ing as has been used for the wet process. It is 
well to get the pot nearly red hot before plac- 
ing the color in it. The mixture must then be 
constantly stirred with an iron rod. It will 
first boil up as a greenish liquid, then solidify, 
and afterward boil up a second time and be- 
come thoroughly fused, having a brownish 
yellow color. At this stage the work, which 
has been previously annealed and dipped in di- 
lute aquafortis, is dipped in the color, being 
suspended on a silver or platinum wire, the 
latter being preferred, and kept in motion for 
about a minute and a half, then immersed in 
boiling water containing a little aquafortis. 
The immersion and swilling are again repeated, 
when the articles possess a beautiful color. 
They are then washed in hot water containing 
a little potash, and finally dried in warm box- 
wood sawdust. 

In dry coloring the work should be as highly 
polished as possible previous to the coloring, 
for the brighter it is the better will be the final 
color. The time given above is only intended 
as a general guide, as some work will color 
much quicker than others, and the time can 
only be arrived at by experience. The follow- 
ing mixtures have been recommended for col- 
oring : 

Dry Process. 

1. Potassium nitrate 8 oz. 

Common salt 4 oz. 

Alum 4 oz. 

2. Sal ammoniac 4 oz. 

Potassium nitrate 4 oz. 

Borax 4 oz. 



Gilding. 



234 



Gilding. 



Wet Process. 

Potassium nitrate *. . . 8 14 15 14 

Common salt 4 7 7 7 

Alum 4 7 7 .. 

Hydrochloric acid 2 1 5 

Water iu each case 

The following 1 is a useful mixture for remov- 
ing- tarnish from colored gold articles which 
nave been kept in stock for some time : 

Bicarbonate of soda 2 oz. 

Chloride of lime 1 oz. 

Common salt 1 oz. 

Water 16 oz. 

Well mix the above ingredients and apply 
with a soft brush. 

Gold, Etruscan, Color on.— Alum and fine 
table salt each 1 oz.; powdered saltpeter, 2 
oz.; hot rain water sufficient to make solution. 
Add sufficient muriatic acid to produce the 
color desired. The solution is best used warm. 
After coloring wash in soft water, then in al- 
cohol, and dry in clean sawdust. 

Gold Leaf. — About 160,000 leaves are re- 
quired to make an inch in height. 

Gold, to Plate With. See Electro-Metal- 
lurgy. 

Melting Points of Gold.— The following shows 
Ihe degree of heat at which gold of varying de- 
grees of fineness melts : 23 carat gold, 2,012° F.; 
22 carat, 2,009° ; 20 carat, 2,002° ; 18 carat, 1,995° ; 
15 carat, 1,992° ; 13 carat, 1,990° : 12 carat, 1,987° ; 
10 carat, 1,982° ; 9 carat, 1,979° ; 8 carat, 1,973° ; 
1 carat, 1,960° ; composition, 1,587°. 

Fine gold will melt at 2,016° F.; pure copper 
at 1,994° ; fine silver at 1,873°, and pure spelter 
at 773°. 

Gold Leaf, to Burnish. — The burnishers 
used by the frame gilder are either of flint or 
agate, generally the former. They are made of 
various sizes and shapes to suit the work. 
These are passed lightly over the gilded and dry 
work. Frame gilding requires much practical 
dry work until properly burnished. It is then 
usually given a thin coat of very weak clear 
experience to do properly. 

A kind of varnish is put on silver leaf to 
make it appear like gold, Dissolve, by diges- 
tion, fine pale shellac in alcohol, and color with 
turmeric and dragon's blood. 

Leather, Gilding or Silvering. — 1. To orna- 
ment the sides of an album, finely powder 
some resin and dust it over the surface of the 
leather; then lay on the leaf and apply (hot) 
the letters or impression you wish to trans- 
fer; lastly, dust off the loose metal with a 
cloth. 

2. The cover is first washed with clear gum 
water. The parts to be gilded are then coated 
twice with white of egg beaten into a froth 
and allowed to subside into a clear liquid. A 
little ammonia may be added. To gild spread a 
leaf of gold on the gilding cushion with a 
knife, and blow it flat, then cut it into strips 
about one-fifth inch wide. Heat the tool until 
it is just hot enough to fizz under ihe wet 
finger ; if it sputters it is too hot and will burn 
the leather; touch its edge with a rag slightly 
moistened with sweet oil, and with the same 
rag rub over the part of the book to be gilt. 
Roll the tool softly on the strips of gold, which 
will adhere to it, and when enough is taken up 
roll it with a heavier pressure along the places 
to be gilt, and the gold will be transferred to 
the leather, the excess being wiped away with 
a soft rag. 

Gilding, Liquor.— Alum and common salt, of 
each 1 oz.; purified niter, 2 oz.; water y± pt.; 
used to impart a rich color to gold surfaces, 
principally trinkets. Its application should not 
be too long continued, as it dissolves a small 
portion of the gold. For common purposes it 
is best used diluted with water. 

Marble, to Gild Letters on.— Apply a coat- 
ing of size first, then apply successively 



several coats of size thickened with whiting 
until a good face is produced. Let each coat 
dry, and rub it down with fine glass paper be- 
fore applying the next. Then go over the mar- 
ble thinly and evenly with gold size. Apply 
the gold leaf, and burnish with an agate. The 
gold leaf must be applied several times to give 
a good effect. 

Mercury Gilding.— Preparation of the Amal- 
gam. — To prepare the amalgam of gold for the 
purpose of mercury gilding, weighed a quan- 
tity of fine or standard gold is first put in a 
crucible and heated to dull redness. The requi- 
site proportion of mercury, 8 parts to 1 part of 
gold, is now added, and the mixture is stirred 
with a slightly crooked iron rod, the heat being- 
kept up until the gold is entirely dissolved by 
the mercury. Pour the amalgam into a small 
dish about 3 parts filled with water and work 
about with the fingers under the water to 
squeeze out as much of the excess of mercury 
as possible. To facilitate this, the dish is 
slightly inclined to allow the superfluous mer- 
cury to flow from the mass, which soon ac- 
quires a pasty condition capable of receiving- 
the impression of the fingers. Afterward 
squeeze the amalgam in a chamois leather bag, 
by which a further quantity of mercury is 
liberated; the amalgam which remains after 
this final treatment consists of about 33 parts of 
mercury and 57 parts of gold in 100 parts. The 
mercury which is pressed through the bag re- 
tains a good deal of gold, and is employed in 
preparing fresh batches of amalgam. It is 
important that the mercury employed should 
be pure. 

The Mercurial Solution.— To apply the amal- 
gam a solution of nitrate of mercury is em- 
ployed, which is prepared by dissolving in a 
glass flask 100 parts of mercury in 110 parts of 
nitric acid, of sp. gr, 1*33, gentle heat being em- 
ployed to assist the chemical action. The red 
fumes which are given off must be allowed to 
escape into the chimney, since they are highly 
deleterious when inhaled. When the mercury 
is all dissolved the solution is to be diluted with 
about 25 times its weight of distilled water and 
bottled for use. 

Applying the Amalgam.— The pasty amalgam 
is spread with the blade of a knife upon a hard, 
flat stone; the article, after being well cleaned 
and scratch-brushed, is treated in the following 
way: Take a small scratch brush," formed of 
stout brass wire, dip in the solution of nitrate 
of mercury, then draw over the amalgam; pass 
the brush carefully over the surface to be 
gilded, repeatedly dipping the brush in the 
mercurial solution, and drawing it over the 
amalgam, until the entire surface is uniformly 
and sufficiently coated. Then rinse the article 
well and dry. The next operation is the evap- 
oration of the mercury. For this pui-pose a 
charcoal fire, resting upon a cast iron plate, has 
been generally adopted, a simple hood of sheet 
iron being the only means of protection from 
the injurious effects of the mercurial vapors. 
When the amalgamated article is rinsed and 
dried, it is exposed to the glowing charcoal, 
turned about and heated by degrees to the 
proper point; then it is withdrawn from the 
fire by means of long pincers or tongs. The 
article is then taken in the left hand, which 
should be protected with a leather glove, 
turned over the fire in every direction, and 
while the mercury is volatilizing the article 
should be struck with a long-haired brush to 
equalize the amalgam coating and force it upon 
such parts as may appear to require it. When 
the mercury has become entirely volatilized 
the gilding has a dull, greenish yellow color. If 
any bare placesare apparent they are touched up 
with amalgam and the article again submitted 
to the fire, care being taken to expel the mer- 
cury gradually. The article is then well scratch 
brushed; when it is of a pale, greenish color* 
heat it again to expel any remaining mercury* 
when it acquires the orange yellow of fine gold. 



Gilding. 



235 



Oildin: 



If required to be bright it is burnished in the 
ordinary way. 

Gilding Metal.— The metal employed for gild- 
ing is usually brass or a mixture of brass and 
copper. The f ollowing alloys have been recom- 
mended : 

1. Copper, 6 parts; brass, 1 part. 

2. Copper, 4 parts; Bristol brass, 1 part. 

3. Copper, 13 parts; old Bristol brass, 3 parts; 
tin, 14 parts. 

Mixtures employed in gilding by fire or by the 
wet processes. 

Red Ormolu.— Potash alum, nitrate of pot- 
ash, 30 parts of each; sulphate of zinc, 8 parts; 
common salt, 3 parts; red ocher, 28 parts; sul- 
phate of iron, 1 part. Add to it a small pro- 
portion of annatto, madder, cochineal or other 
coloring matter, ground in water or in weak 
vinegar. 

Yellow Ormolu.— Red ocher, 17 parts; potash 
alum, 50 parts; sulphate of zinc, 10 parts; com- 
mon salt, 3 parts; nitrate of potash, 20 parts. 

Dead Luster for Jewelry.— Sulphate of iron, 
sulphate of zinc, potash alum, nitrate of pot- 
ash, equal parts of each. All the salts are 
melted in their water of crystallization. 

Hard Dead Luster for Clocks.— Water, 5 
parts; nitrate of potash, 37 parts; potash alum, 
42 parts; common salt, 12 parts; pulverized 
glass and sulphate of lime, 4 parts. The whole 
is thoroughly ground and mixed. 

Soft Dead Luster for Smooth Surfaces and 
Figures.— Water, 5 parts; nitrate of potash, 46 
parts; potash alum, 46 parts; common salt, 3 
parts. The same treatment as the preceding 
mixture. 

Green for Red Luster.— Bitartrate of potash, 
65 parts; common salt, 25 parts; acetate of cop- 
per, 10 parts. The whole is ground together. 

Wax for Gilding.— Oil, 25 parts; yellow wax, 
25 parts; acetate of copper, 13 parts; red ocher, 
37 parts. The whole is melted and stirred until 
cold. 

Gold Leaves, to Apply to Paper.— Glaire, which 
is pure albumen, is sometimes used. It is made 
by shaking up the white of an egg with a few 
drops of ammonia and drawing off the clear 
liquid, which has subsided on standing. This is 
painted on the lines, and by slight heat, as of a 
hot iron, the leaf adheres. Gold size is used on 
thick paper, or thick gum arabic water may be 
used. The illuminators of to-day canuot get as 
good results as did the old workers of the mid- 
dle ages. The old gilding is never equaled now. 

Gilding, Oil.— This species of gilding may be 
divided into several operations. 

1. The surface is prepared by a coating of 
white lead in drying oil. 

2. Another coat is given, made with calcined 
white lead or masiscot ground in linseed oil and 
turpentine ; three or four coats of this mixture 
are often given, observing to carefully smooth 
off each coat with pumice or shave grass before 
the application of the following ones. 

3. The gold color, or paint, is next applied. 
It is usually very adhesive gold size, or the 
bottom of the pot or dish in which painters 
wash their brushes. For this purpose it is thor- 
oughly ground and strained. 

4. When the gold color becomes partially dry 
and sufficiently tenacious, the gold leaf is ap- 
plied and pressed on with a wad of cotton, 
wood or a soft brush. 

Preparation and Gilding of Picture Frames.— 
For the following description of picture frame 
gilding we acknowledge our indebtedness to 
" Workshop Receipts," Series 1 : Suppose that 
we have a plain picture frame; it is made by 
the joiner into a 12 feet length of moulding, 
and in that state it passes into the hands of the 
gilder. He hrst gives it a priming of hot size 
and whiting, called thin white. The whiting 
employed by the gilder is not the same as that 
used for domestic purposes, but is finer and 
more free from grit. The size employed is pre- 
pared by the gilder from parchment cuttings or 
glove cuttings. The cuttings are well washed 



in water and then boiled in a certain quantity 
of clean water until the latter has a particular 
degree of adhesiveness, which can only be de- 
termined by experience; this is then poured off 
into a clean, dry vessel and allowed to cool. 
When about to be used, the grease at the top 
and the sediment at the bottom are cut off 
with a knife, the size is melted in an earthen 
pipkin, and a small quantity of finely pow- 
dered whiting is mixed with it. When the thin 
white is dry all holes and irregularities in the 
moulding are filled up with putty. This putty 
is not the same as that employed by the glazier, 
but consists of whiting and size mixed to the 
consistence of putty. When the puttying is 
dry, a coating of thick white is laid on with a 
brush. This thick white differs from the thin 
white only in having a larger proportion of dry 
whiting mixed with a given amount of size, 
the consistence attained being rather thicker 
than that of oil paint. When the first thick 
white is dry another is laid on in the same 
manner, and, similarly, a third, a fourth and a 
fifth are laid on, all about equal in thickness, 
and each one being perfectly dry before the 
next is applied. As in laying on this large 
body of thick white, the fine squares, hollows 
and fillets would be liable to be stopped up and 
lose all their clearness and sharpness, opening 
tools, consisting of crooks, chisels and gouges, 
are drawn along the fine parts of the moulding, 
while the thick white is still wet, by which 
means the forms of the various mouldings are 
retained. This is still better effected by the 
double opening white, which consists of two 
thick whites, the one laid on almost imme- 
diately after the other, by which a thick soft 
coating covers the moulding. Hard stones, 
shaped to the forms of the mouldings, to- 
gether with the opening tools before described, 
are to be worked over every part of the mould- 
ing, by which asperities are smoothed down, 
depressions filled up and edges brought up 
nearly to their required sharpness. In this 
state the whiting on the moulding is from one- 
sixteenth to one-twelfth of an inch in thick- 
ness. It is now trimmed at the back and 
edges by cutting off the whiting which had 
flowed overt rom the f ront,which preparesitf or 
the process of smoothing. This is done by means 
of pieces of pumice and other stones, shaped 
so as to fit the various parts of the mould- 
ing. A sponge or soft brush is used to wet the 
moulding, and the stone which is to be used, 
being likewise wetted, is rubbed or worked to 
and fro along the moulding until that part is 
perfectly smooth. Another stone, fitting a 
different part, is then used in the same way, 
and so on, until every part of the length and 
breadth of the moulding has been worked over 
by the stones. The moulding, if the smoothing 
has been properly performed, now presents a 
smoothness of surface exceeding and a keen- 
ness of the edge nearly equaling that which 
the moulding presented when it left the hands 
of the joiner; but this must be attained with- 
out rubbing off too much of the whiting, since 
the whole beauty of the frame mainly depends 
on having a sufficient body or foundation of 
whiting. The brilliant burnishing on frames 
is, in a peculiar degree, dependent on the whit- 
ing which is first laid on the wood, and which, 
if deficient in quantity, cannot be adequately re- 
placed by other means. The moulding being 
thoroughly dried Irom the effects of the 
smoothing, is rubbed down with glass paper or 
sand paper, to take off any little asperities that 
may remain, and to make the whole perfectly 
smooth. It is now ready for the process of 
gold sizing. The burnish gold size used in this 
process is composed of ingredients exceedingly 
opposite in their nature, such as pipe clay, red 
chalk, black lead, suet, and bullock's blood. 
This diversity of ingredients is intended to pro- 
duce different effects; one substance helps to 
give a brilliancy to the burnish, another to the 
mellowness and smoothness, and so on. The torm 



Gilding, 



236 



Gilding. 



in which the gilder purchases his burnish gold 
size is that of a solid rather softer than butter. 
He first takes some very clear size, boiled pur- 
posely to a smaller degree of strength than the 
size for thick white, or, if already boiled, weak- 
ened by water. This size he melts in an earthen 
pipkin, but without makingit very hot, and then 
mixes the gold size with the melted size by 
means of a clean brush, much in the same 
manner as a painter mixes his oil paint; the 
consistence to be about equal to that of cream. 
It is a source of some confusion that the same 
term, burnish gold size, is applied to this 
creamy liquid as to the thicker substance from 
which it is prepared; it is necessary to say 
mixed gold size, or unmixed gold size, in 
order to indicate which is meant. This 
gold size is laid on the moulding either 
with a very soft hog hair brush, or by a large 
camel hair pencil fixed in a swan's quill. 
The gold size must be barely warm, and must be 
laid on with great care so as to leave it equally 
thick in every part, and obliterate the marks of 
the brush; upon the due observance of a 
medium between hot and cold, strong and 
weak, and thick and thin, in the gold size laid 
on, depends much of the beauty of the moulding 
when gilt. From 4 to 8 coats of this gold size are 
laid on the moulding, each one being perfectly 
dried before the next is applied. A soft, par- 
tially worn piece of glass paper is occasionally 
used, to take off any little roughness that may 
exist. When a sufficient body of gold size is 
laid on, it is carefully washed with clean water, 
a soft sponge and a piece of linen rag. This 
must be done with attention to the soft edges, 
which are very likely to lose the whole of their 
gold-size if care is not used; the object is to 
produce a perfectly smooth surface, especially 
in those parts which are to be matt gold. 

The test of good work is to produce the 
smoothest surface with the least loss of gold 
size. When the moulding is partially dry from 
this process, the matt parts are polished with a 
piece of woolen cloth, and the parts to be bur- 
nished receive another coating of gold size, 
laid on as smoothly as possible. The piece of 
moulding which is to be gilt is laid along the 
bench with one end higher than the other; and 
as the width of the moulding is broken up into 
several divisions, such as hollows and squares, 
it would be impossible to make a leaf of gold 
bend into all the various parts without break- 
ing. The gilder learns by experience how 
many separate lays, as they are called, of gold 
will be required to cover the width of the 
moulding without the breaking of the gold 
into irregular fractures called spider legs. In 
general, a deep hollow, or a depressed square, 
cannot be gilt at one lay, but must be covered 
with two strips of gold laid side by side and 
meeting at the center of the depression. When 
the gilder has made his decision as to the num- 
ber of lays that will be required, he selects one 
lay, and proceeds with it through the whole 
length of the moulding before he begins»an- 
other portion of the width. If the necessary 
lay be about % or % of an inch in width, he 
cuts the leaf which is spread out on his cushion 
into four strips; if it be about 1 inch in width, 
he cuts the leaf into three, regulating the di- 
vision of the leaf of gold according to the 
width of the lay. It is not often that a larger 
piece than half a leaf is used at once. The 
gilder '.has at hand a pan with clean water, and 
two or three camel hair pencils of different 
sizes. With one of these pencils he wets a few 
inches of that part of the moulding which is 
to form his first lay, taking care not to wet 
much beyond that lay. The water is to be al- 
lowed to remain pretty full on the surface, 
after some of it has been imbibed by the gold 
size. The gilder then takes his tip in his right 
hand, and lays it on the slip or gold, which 
slightly adheres to the hairs; whence he places 
it on the moulding, with particular attention 
to straightness of direction. It frequently 



happens that the hairs of the tip will not take 
up the gold; in such case it is usual to rub the. 
hairs between the cheek and the palm of the 
hand, by which their power of taking up the 
gold is increased. When the gold is laid on it 
is blown forcibly, to expel as much of the 
water as possible from beneath it, the dry 
camel hair pencil being used to press down any 
parts which fail to adhere. Another portion is 
then wetted, and another piece laid on, lapping 
about Yq of an inch over the end of the former 
piece. Thus the gilder proceeds, piece after 
piece, until the one lay is carried down the 
whole length of the moulding; he then pro- 
ceeds with another lay joining the former. In 
doing this he has to observe that the water 
must be made to flow a little over the edge of 
the former lay; but not so as to wash it up, or 
break away the edge; the second lay must lap 
a little over the first, and therefore the water 
must likewise extend over the first lay. Thus 
he proceeds with all the lays into which he has 
found it necessary to divide the width of the 
moulding; every piece, lengthwise, lapping 
over the piece previously put on, and every 
lay lapping over the previous lay. The mould- 
ing is then set aside to dry. There is a par- 
ticular state or degree of dryness, known only 
by experience, in which the moulding is in a fit 
state for burnishing. 

The burnishers used by the gilder are either 
of flint or agate, generally the former. The steel 
burnishers employed by the jeweler would not 
do for the gilder. Burnishers of different forms 
and sizes must be employed, in order to adapt 
them to the part of the work which is being 
burnished. They are generally crooked or 
curved near the end. When the burnishing is 
done, those parts which have not been 
burnished are weak sized, that is, they are 
wetted with water in which a very little clear 
piece of size has been melted; this helps to se- 
cure the gold. When dry, the gold is wiped 
carefully with a piece of soft cotton wool, to 
remove rough or ragged edges of gold; and 
there are now visible a number of little breaks, 
holes, and faulty places in the gilding, arising 
from the impossibility of laying on the gold 
quite soundly and perfectly. 

These defective parts are repaired by the 
process of faulting, which consists of cutting 
up a leaf of gold into small pieces and laying 
them on the faulty places, previously wetted 
with a camel hair pencil. If the defective part 
is on the burnish, it is necessary to be careful 
not to wet any part but what is to be covered 
by the gold, as it will stain the burnished gold. 
When the faulting is dry, the gold is again 
carefully wiped, and finally wetted with finish- 
ing size. This is clear size of a certain degree 
of strength, laid on the matt parts with a 
pencil, and completes the process of gilding. 

When a glass frame is to be gilt, the joiner's 
work is generally quite completed before the 
gilder begins, and great care is required in 
whiting such frames, to prevent filling up the 
corners with whiting, and giving them a 
clumsy appearance. For this purpose, model- 
ing tools, such as chisels, gouges, and crooks, 
are used to clear out the corners from time to 
time, and preserve the original sharpness and 
clearness of the several parts. 

Composition for Moulding.— The following is 
used by gilders: Mix 14 lb. of glue, 7 lb. resin, 
J^lb. pitch, 2J^ pt. linseed oil, 5 pt. of water, 
more or less according to the quantity re- 
quired. Boil the whole together, well stirring 
until dissolved, add as much whiting as will 
render it of a hard consistency, then press it 
into mould, which has been previously oiled 
with sweet oil. No more should be mixed than 
can be used before it becomes sensibly hard, as 
it will require steaming before it can be used 
again. 

Another Receipt.— Make a very clear glue 
with 3 parts of Flanders glue and 1 part of 
isinglass, by dissolving the two kinds separ- 



Gilding. 



337 



Glass. 



ately in a large quantity of water, and mix 
them together, after they have been strained 
through a piece of fine linen to separate the 
parts which could not be dissolved. The quan- 
tity of water cannot be fixed, because all kinds 
of glue are not homogeneous, so that some re- 
quire more than others. The proper strength 
may be found by suffering the glue to become 
perfectly cold; it must then barely form a 
jelly. The glue is to be gently heated, then 
mixed with sawdust sifted through a fine 
sieve. The moulds are then to be oiled with 
nut oil, and the glue pressed into the mould, 
covered with weighted board, and then set to 
dry near a stove. When the casting is dry it is 
to be trimmed. 

Burnished Gilt Frames.— When new burnished 
gilding requires varnishing, white hard spirit 
varnish is used or yellow gold lacquer. Old 
burnished work must be cleaned with great 
care. First remove the dust with a badger 
hair brush; afterward clean the gilding by 
passing a clean sponge, dipped in gin and 
water, lightly over the surface, wiping off the 
moisture with a very soft dry sponge or silk 
handkerchief; then apply the varnish, and 
finish. 

Cleaning Gilt Frames.— Gilt frames may be 
cleaned by simply washing them with a small 
sponge, wet with urine, hot spirits of wine, or 
oil of turpentine, not too wet, but sufficiently 
to take off the dirt and fly marks. They should 
not be afterward wiped, but left to dry of 
themselves. 

Begilding Frames.— Take a sponge and some 
clean water and wash the frame well, then let 
it dry, procure some water gold size; make 
some thin size from dry hide or parchment, 
mix enough warm with the gold size to enable 
you to work it on the frame with a camel hair 
brush, give it two coats; when dry, rub it over 
with a piece of fine sand paper; it will then be 
ready for gilding. When the frame is covered, 
rest it on its edge to drain; when perfectly dry 
dip a pencil into water, and wipe the gold over 
with it; it will take the particles of gold off and 
make it appear solid. For any parts not 
covered, take bits of leaf with a dry pencil, and 
lay on as before, then give the whole a coat of 
clear parchment size, brush the back edges 
over with ocher, and the frame is then ready. 

Signs, to Gild.— Use gold and silver leaf. Take 
a little fine isinglass, as much as will lie on a 
five cent piece, and dissolve in a little boiling 
water. Add as much alcohol as there is water, 
and strain through silk. Paint the letters on a 
sheet of paper with Brunswick black; fix the 
paper, with the writing reversed, on the glass. 
Use the isinglass solution as a mordant, laying 
it on with a camel's hair pencil, and then apply 
the gold leaf. Place the glass in a warm room; 
and when the gilding is dry, rub over with a 
piece of cotton wool. Pass a flat camel's hair 
brush, moistened with the isinglass solution, 
lightly over the gold letters; let the solution 
be hot for this operation. A second coating 
of gold leaf will improve the work. Mark in 
the outline on the back with soap, use a size 
composed of gum tragacanth in water, have 
the size as thin as possible. 

Solution for Gilding Silver.— Dissolve equal 
parts, by weight, of bichloride of mercury 
(corrosive sublimate) and chloride of ammo- 
nium (sal ammoniac) in nitric acid; now add 
some grain gold to the mixture, and evaporate 
the liquid to half its bulk; apply while hot to 
the surface of the silver article. 

Size, Oil, for Gilding.— Grind calcined red 
ocher with the best and oldest drying oil, and 
mix with it a little oil of turpentine when 
used. When the work is to be gilded first give 
it a coat of parchment size; then apply the 
above size, where requisite, either in patterns 
or letters, and let it remain, till, by touching 
it with the finger, it feels just sticky; then 
apply the gold leaf and dab it on with a little 
piece of cotton; in about an hour wash off the 



superfluous gold with sponge and water, and 
when dry varnish with copal varnish. 

Size for Bronzing and Gliding.— A combina- 
tion of asphaltum, drying oil and spirits of 
turpentine will be found useful as a size for 
bronzing and pale gilding. A size for cloth, 
silk, etc., may be made by taking a little honey 
mixed with thick glue. This is to be reduced 
to a proper consistency, and it then has the 
effect of giving a fine bright luster. 

Preserving Gilding.— The gilding on frames, 
etc., can, says the Colorist, be rendered much 
more durable without interfering with its lus- 
ter, by giving it a coating with a warm mixture 
of 1 part of linseed oil and 2 of turpentine. To 
clean the gilding of fly specks, a mixture of 
1 part of ammonia to 3 or 4 of water is recom- 
mended. 

To Bepair Luster Gilding. — Make a com- 
pound by melting Venetian turpentine, white 
wax and a little soap, over a moderate fire. 
Apply to the injured places with a brush. 
Let it remain for an hour, then lay on the 
gilding. 

Water Gilding, upon Silver. — Pour strong 
vinegar on copper flakes; add alum and salt in 
equal quantities; set on a fire, and when the 
vinegar has boiled until it becomes J4 part its 
original quantity, throw into the metal you 
design to gild, and it will assume a copper 
color. Continue boiling, and it will change 
into a fine gold color. 

Steel, to Gild.— Polished steel may be beauti- 
fully gilded by means of the ethereal solu- 
tion of gold. Dissolve pure gold in aqua 
regia, evaporate gently to dryness, so as to 
drive off the superfluous acid, redissolve in 
water, and add three times its bulk of sulphuric 
ether. Allow to stand for twenty-four hours 
in a stoppered bottle, and the ethereal solution 
of gold will float at top. Polished steel dipped 
in this is at once beautifully gilded, and by 
tracing patterns on the surface of the metal 
with any kind of varnish, beautiful devices in 
plain metal and gilt will be produced. For 
other metals the electro process is best. 

Gilding, Varnish.— 1. Beeswax, 4 oz. ; verdi- 
gris and sulphate of copper, each 1 oz. Mix. 

2. Beeswax, 4 oz. ; verdigris, red ocher and 
alum, of each 1 oz.; mix. Used to give a red 
gold color to water gilding. 

Ginger Beer. See Beers. 

Ginger Pop.— One oz. tartaric acid ; white 
sugar, 5 lb.; l\i lb. bruised ginger (root); 12 gal. 
of water; whites of 6 eggs beaten to a froth; 
oil of lemon, 2 drm. The ginger root should be 
boiled for one half hour in 2 gals, of water; 
strain carefully and add the oil. After twenty- 
four hours strain and bottle. 

Glaire.— Glaire may be made from the white 
of an egg beaten up with an egg beater. A 
little vinegar should be mixed with it before 
beating, and a drop of ammonia added as an 
antiseptic. 

Glass.— Bending Glass Tubes.— 1. Place the 
part where the curve is required in the flame of 
a spirit lamp or in an ordinary gas flame (the 
whole of the surface must be equally heated); 
when the glass begins to soften, a gentle pres- 
sure by the hands will give the necessary bend. 

2. Fill them with sand; this is necessary in 
three cases: when the tube is very wide, when 
the glass is thin and when the curve is to be of 
a very long radius; in the latter case the tube 
filled with sand is best heated over a large 
furnace with burning- charcoal. 

Boring Glass. See Drilling Glass, below. 

Bottle Glass.-Sp. gr., 2'700 to 2'735. 
a. Composition by analysis: 

1. Silica, 53-55^; lime, 29'22#; mixed alkali, 
5*48^; alumina, 6*01#; oxide of iron, 5 # 74<*. 
Dark green. 

2. Silica, 52£; baryta, 21"6^; soda, 26'1£; oxides 
of iron and manganese, 0'3^. Pale green; very 
superior. 



Glass. 



Glass. 



b. Raw materials used : 

1. Yellow sand, 20$; kelp, 8$; lixiviated wood 
ashes, 30$; fresh wood ashes, 8$; pale clay, 16$; 
cullet (broken glass), 18$. This is the common 
mixture for coarse bottles in Belgium, France 
and Germany. 

2. To the last add of black oxide of manga- 
nese 2}4 to 3$. This has a rich yeDowish color; 
used for Rhenish wine bottles. 

3. Pale sand, 51$; lixiviated wood ashes, 33$; 
pearl ashes (dried), 8$; common salt, 7J^$; white 
arsenic, y^%\ charcoal, q. s. Very pale green. 

4. Siliceous sand (pale), 68^j$; potash (or its 
equivalent), 4$; lime, 23^$; heavy spar, 2^$- 

' peroxide of manganese, V&%. This forms the 
famous flask glass of St. Etienne. 

Glass, Cement for.— See Cements. 

Glass, Chemical. Sp. gr. 2*390 to 2*396. 

a. By analysis: 

1. Silica, 72 - 80$; potassa, 16'80$; lime (with a 
trace of alumina) 9 - 68$; magnesia, 40$; traces 
of oxide of magnesia and iron (and loss), '32$. 
This is the difficultly fusible Bohemian tube 
glass so valuable in chemical manipulations. 

Glass to Clean. — If greasy, wipe with tow, then 
with nitric acid or caustic potash, rinse well. 
See also cleansing. 

Glass Coating on Metals.— The following meth- 
od has been suggested for coating metallic 
surfaces with glass: Take about 125 parts (by 
weight) of ordinary flint glass fragments, 20 of 
soda carbonate and 12 of boracic acid and melt. 
Pour the fused mass out on some cold surface, 
as of stone or metal, and pulverize when cooled 
off. Make a mixture of this powder with soda 
silicate ( waterglass) of 50° B. With this coat 
the metal to be glazed and heat in a muffle or 
other furnace until it has fused. This coating- 
is said to adhere very firmly to steel or iron. 

Glass, Crayons to Write on. See Crayoiis. 

{jriass, Crown. — White window glass. Sp.gr. 
2-486 to 2.488. 

a. By analysis : 

1. Silica, 62 - 8$; potassa, 22*1$; lime, 15*5$; alu- 
mina (with traces of oxide of iron and mang- 
anese), 2'6$. Crown glass of Bohemia according 
to Dumas. Very beautiful. 

2. Silica, 72*5$; soda, 17*75$ : lime, 975$; En- 
glish crown glass; excelleut quality, but not so 
white as the last. • 

~b. Material used : 

1. Finest white siliceous sand, 64$; purified 
potashes (dry), 23$; lime, 12$; white arsenic,%$; 
oxide of manganese, J4$- Said to be used in 
Bohemia. 

2. (Schweigger) pure sand, 57$; dry sulphate 
of soda, 28^2$; quicklime, UJ^$; powdered char- 
coal, 3 or 4$. Corresponds to a 2 above (nearly). 

3. Pure sand, 40$; soda ash, 24$; lime, 5$; white 
cullet (broken glass fine), 31$. Rather superior 
to the last. 

Crystal, Crystal Glass.— The crystal glass of 
England is flint glass of superior quality; that 
of Bohemia is noticed under Table Glass. * 

Cutting Glass Bottles.— This method consists 
in the use of what in German is called spreng- 
kohle, cracking cold. The sprengkohle is made 
of finely ground lime wood charcoal. The coal 
powder is transformed by means of sufficient 
gum tragacanth and water into a dough or 
paste, out of which small cylinders of the size 
of a pencil are made by rolling between two 
small pieces of board. Such a cylinder of 
sprengkohle, ignited at one end, glows slowly. 
Such sprengkohle may be bought at stores for 
chemical and physical necessities. Now as for 
the use of the sprengkohle, it is as follows : 
Put a drop of water on the spot where the 
crack is to begin. Make a short incision with a 
three edged file. Wipe the water away. Touch 
the incision with the glowing sprengkohle, 
blowing on it if required. After a few seconds 
the glass will crack for a length of J4 to 1 in. 
If now you move slowly the sprengkohle, the 
crack follows it wherever you please. 




Cutting Glass.— To cut glass well a fine dia- 
mond should be used and considerable skill is 
required in its use. The file and the red hot 
poker are also efficient means of cutting glass, 
the crack following the hot iron. 

GZoss, to Darken.— The following, if neatly 
done, renders the glass obscure yet diaphanous: 
Rub up, as for oil colors, a sufficient quantity 
of sugar of lead with a little boiled linseed oil, 
and distribute this uniformly over the pane 
from the end of a hog-haired tool by a dabbing, 
jerking motion, until the appearance of ground 
glass is obtained. It may be ornamented, when 
perfectly hard, by delineating the pattern with a 
strong solution of caustic potash, giving it such 
time to act as experience dictates, and then 
expeditiously wiping out the portion it is neces- 
sary to remove. 

Gtass, to Draw on.— Grind lampblack with 
gum water and some common salt ; draw the 
design with a pen or hair pencil; or use a crayon 
made for the purpose. 
Drilling and Boring Glass.— To drill a quarter 
inch hole in a glass 
shade make a hole in a 
piece of wood or metal 
of the size that you de- 
sire to drill in the glass. 
Fasten it with beeswax 
upon the glass for a 
guide. A piece of brass 
or copper tubing, quite 
thin, is supplied with 
emery (No. 100) and 
water and twirled be- 
tween fingers, or with 
a bow string. This will 
cut. a hole in a few 
minutes. You can feed 
the emery and water a 
little at a time through 
the tube. The sketch 
will give an idea as to the principle. 

Glass, to Drill.— 1. Can be done with a hard 
drill and spirits of turpentine— a tedious and 
uncertain process, and only for small holes. 
A diamond drill is much better and cheaper, if 
there are many holes to drill. If large holes 
are wanted, from J4 in . to 1 in. or larger, pre- 
pare a piece of thin tubing of brass or copper, of 
the required size of hole, of 1 or 2 in. in length, 
with small spindle and grooved pulley attached, 
something after the style of the watch maker's 
bow drill. Fasten upon the plate of glass, at 
the point to be drilled, a ring of metal or wood 
for a guide to keep the tubular drill in its place, 
until the cut is started sufficiently to steady the 
cutter. Lay the glass plate horizontally, and 
work the drill perpendicularly with the bow, 
using one hand to steady the upper end of the 
drill stock. Feed emery (about No. 9i)) and water 
into the open end of the tube as fast as re- 
quired. In a very short time you will cut a 
disk out of the plate. 

2. For drilling holes in glass, a common steel 
drill, well made and well tempered, the Glass- 
ware Review claims to be the best tool. The 
steel should be forged at a low temperature, so 
as to be sure not to burn it, and then tempered 
as hard as possible in a bath of salt water that 
has been well boiled. Such a drill will go 
through glass very rapidly if kept well moist- 
ened with turpentine in which some camphor 
has been dissolved. Dilute sulphuric acid is 
equally good, if not better. It is stated that at 
Berlin glass castings for pump barrels, etc., are 
drilled, planed, and bored like iron ones, and in 
the same lathes and machines, by aid of sul- 
phuric acid. A little practice with these dif- 
ferent plans will enable the operator to cut and 
work glass as easily as brass or iron. 

3. The following directions were contributed 
to Design and Work by an optician : First make 
a saturated solution of camphor in spirits of 
turpentine; then make a spear-shaped drill the 
size of hole required; heat the drill to a white 



Glass. 



239 



Glass. 



heat and plunge into mercury, and it will then 
be very hard; sharpen on an oilstone, knock 
drill in a bradawl handle, dip the end of drill in- 
to the above solution, and work it as if you 
were working- it through wood. It is no use 
fixing the drill in a drillstock, because the 
motion all one way will not do. Keep the drill 
well moistened with the solution, and sharpen 
it when blunt. A file dipped into solution will 
file the hole larger, and will not get blunt. See 
also Hardening. 
Embossing Glass. See Gilding (Embossing). 
Etching Glass. See Etching. 
Flint Glass.— The following quantities form a 
very excellent glass 

Fine white sand 300 parts. 

Red lead or litharge 200 parts. 

Refined pearlashes 80 parts. 

Niter 20 parts. 

Arsenic and manganese, a small quantity. 

Glass, Flint, Crystal— Sp. gr. 3-000 to 3-620. 

a. By analysis : 

1. (Berthier.) Silica, 59*19$; oxide of lead, 
•28*68$: potassa, 12*13$; oxides of iron and 
manganese, traces. Finest colorless English 
crystal. 

2. (Brande: Faraday.) Silica, 52$; oxide of 
lead, 34$; potassa, 34$. Crystal. 

3. (Faraday.) Silica, 44*30$; oxide of lead, 
43*05$; potassa, 11*75$; alumina, 0*50$; oxides of 
iron and manganese, 0*12$; (loss 28$). 

Heaviest of three samples of flint glass ex- 
amined. 
. b. Materials used : 

1. Finest Lynn sand (calcined, sifted and 
washed), 0*51$; litharge (purest), 28$ (or red lead, 
29$); refined pearlashes (calcined before being- 
weighed), 16$; niter (purified), 4%$; arsenious 
acid and peroxide of manganese, of each %%. 
Very fine crystal. 

2. (M. Payen.) Fine sand, 46$ : red lead, 31$; 
purified carbonate of potash, 23$. French 
crystal. 

3. (Geddes.) White Lynn sand, 51$; red lead 
or litharge, 33$; refined pearlashes, 13$; niter, 
3$; a very little arsenious acid and peroxide of 
manganese. Ordinary English flint glass. Crys- 
tal cullet may be added at will to the above. 
This glass was originally prepared from pow- 
dered flints, a fact to which it owes its common 
name. 

Glass, Optical.— 1. (Crown glass.) Purest sil- 
icious sand, 55$; carbonate of soda (dry), 12$; 
chalk (dry), 11$; carbonate of baryta, 22$. 

Frosting Glass— \. Rub over with a little bag 
of muslin filled with fine sand, powdered glass, 
or grindstone grit and water. Some sand may 
be placed directly on the glass. 

2. Clean the windows thoroughly and moisten 
with hydrofluoric acid. When frosted enough 
wash thoroughly. 

Glass, to Gild. See Gilding. 

Grinding Glass Tube.— It is very easy to true 
the interior of glass tube by chucking same 
(cemented hot by pitch) into a true hole bored 
by a slide rest in a wooden carver's chuck, at- 
tached to a lathe face plate. Then grind out 
with fine emery the interior by sliding a rod of 
steel one-third less diameter, fixed firmly and 
truly in the slide rest tool holder, so as to just 
bear upon the descending side of the inner 
tube, as the former moves in and out, and is 
constantly supplied with plenty of water and 
fresh emery. Polish by wrapping a few thick- 
nesses of alpaca or linen round the steel, and 
use finely washed rouge. This is the only way 
to get a perfectly true barrel. 

Ground Glass.— The frosted appearance of 
ground glass may be very nearly imitated by 
gently dabbing the glass over with a piece of 
glazier's putty, stuck on the ends of the fingers. 
When applied with a light and even touch, the 
resemblance is considerable. Another method 



is to dab the glass over with thin white paihfc,- 
or flour paste, by means of a brush ; but this is 
much inferior to the former. Used for win- 
dows. 

Imitation Ground Glass.— A very useful kind 
of varnish is made known by Leon Vidal, which 
is excellent for producing imitation of ground 
glass, and will doubtless be found available for 
other purposes. The formula is: Sandarac, 18 
parts; mastic, 4 parts; ether, 200 parts; benzol, 
80 to 100 parts.— Illustrated Scientific News. 

Imitation Ground Glass that Steam will not 
Destroy.— Put a piece of putty in muslin, twist 
the fabric tight and tie it into the shape of a 
pad; well clean the glass first, and then pat 
it over. The putty will exude sufficiently 
through the muslin to render the stain opaque. 
Let it dry hard and then varnish. If a pattern 
is required cut it out in paper as a stencil; place 
it so as not to slip and proceed as above, remov- 
ing the stencil when finished. If there should 
be any objection to the existence of the clear 
spaces, cover with slightly opaque varnish. 

Ground Glass Substitute— Use gutta percha 
dissolved in chloroform. 

Glass, to Cut Large Holes in.—l. Bore a hole 
in the center by means of a hard steel drill 
moistened with turpentine; cut the circle with 
a good glazier's diamond guided by a small 
piece of copper wire centered in the hole just 
bored, and by means of cuts radiating from the 
center to the circumference divide the circle 
into numerous small sectors. Then, with a small 
piece of metal, tap the glass on the posterior 
side gently, following each cut throughout its 
extent. When this has been properly done, 
fasten a piece of putty over the area of the 
circle on the cut side of the glass; and, 
while holding the putty, tap the glass on the 
other side firmly in the center of the circle. 
Too much pressure on the diamond will cause 
it to scratch without cutting the glass. 

2. New Remedies describes the folloAving easy 
method of making a hole in plate glass: Make 
a circle of clay or cement rather larger than 
the intended hole, pour some kerosene into the 
cell thus made, ignite it, place the plate upon a 
moderately hard support, and with a stick 
rather smaller than the hole required, and a 
hammer, strike a rather smart blow. This will 
leave a rough edged hole, which may be smooth- 
ed with a file. Cold water is said to answer 
even better than a blow. See also Drilling and 
Boring Glass above. 

Ornamenting Glass.— J. B. Miller contributes 
to Neuste Erfindung a description of a rapid 
and practical method of printing designs or 
labels on glass. The ink employed consists of 
90 parts of French oil of turpentine, 30 parts of 
Burgundy pitch, 10 parts of pulverized Syrian 
asphalt and 2 parts of pulverized mastic. These 
are boiled together and form a pasty varnish, 
which is spread out on a plate of ground glass, 
from which it is transferred to the rubber type 
by means of a rubber roller. The ink must 
not be put on too thick. The glass is printed 
with this ink, and then dusted over with finely 
pulverized Syrian asphalt and heated in a sheet 
iron muffle until the ink and asphalt unite to 
form a brilliant varnish. If the glass is to be 
deeply etched the dusting with asphalt must 
be repeated. 

If the whole glass is not to be rendered matt, 
the remainder is covered, with the exception 
of a round or oval vignette, with a mixture of 
1 part stearine and 2 or 3 parts tallow. It is 
then put in lye, and the part that is to be etched 
is well washed with water, when the glass is put 
in dilute hydrofluoric acid for five minutes, 
rinsed with water and put in the matt bath, 
where it is left fifteen or twenty minutes. It 
is afterward cleansed with hot lye and pol- 
ished. 

Painting on Glass.— Clear resin, 1 oz.; melt in 
an iron vessel, let cool a little, but not harden, 
then add oil of turpentine .sufficient to keep it 



Glass. 



240 



Glass. 



in a liquid state. When cold, use it with colors 
ground, in oil. 
Glass Paper. See Paper. 

Glass, Photographic, to Remove the Films 
from.— To 8 oz. of water add 10 minims of hy- 
drofluoric acid ; pour the mixed solution in a 
rubber tray, immerse in the solution one nega- 
tive at a time. In about a minute the film will 
loosen at the edges, and with a flat wood stick 
may be rolled up off the plate and removed bod- 
ily. Negative after negative may be thus easily 
cleansed. Keep the fingers from touching the 
solution as much as possible. Another method 
is to soak the plates in a hot dilute sal soda 
solution, which will dissolve out the film. 

Glass for Photographic Use.— If the glass is 
new, clean with nitric acid and tripoli ; if old, 
and there is a film adhering, boil in a solution 
of caustic potash. 

Glass, Plate .— Sp. gr. 2*488 to 2*600. 
a. By analysis : 

1. (Dumas) Silica, 75*9$ ; soda, 17*5$ ; lime, 3*8$; 
alumina, 2*8$. French mirror glass. 

2. (Mitscherlich.) Silica, 60$: potassa, 25$; lime, 
12*5$; loss, 2*5($). Finest Bohemian plate. 

lb. Materials used : 

1. Finest siliceous sand, 45$ ; dried carbonate 
of soda, 25$ ; lime, 5% ; niter (purified), 2% ; plate 
glass cullet, 23$; peroxide of manganese and 
cobalt azure, a very little. Ordinary English 
plate. 

2. Whitish quartz sand, 60$ ; purified carbon- 
ate of soda (dried), 20$ ; lime (slaked by expos- 
ure to the air), 9%; plate glass cullet, 11$ (or 
more). Sometimes as much cullet as sand is 
used ; but in all cases 1% to I£g of its weight in 
carbonate of soda is added with it besides that 
ordered in the formula, to compensate for the 
loss of alkali by remelting. Used at the cele- 
brated plate glass works at Saint-Gobain, 
France. The product possesses an amount of 
excellence which British manufacturers have 
yet failed to equal. 

Glass, to Powder.— Make a piece of glass red 
hot in the fire, and while in this state plunge it 
into cold water ; it will immediately break into 
powder; this must be sifted and dried; it is 
then fit for making glass paper, for filtering 
varnishes, and for other purposes. 

To Prepare Ruby Colored Glass.— We find re- 
ported in the American Journal of Photography 
the following formula given by Mr. Bell before 
a meeting of the Philadelphia Photographic 
Society : 

Dissolve in — 

Water 6 oz. 

Heinrich's gelatine 150 grn. 

Chloride of ammonium 3 grn. 

To the above solution is added the following 
solution : 

Water ^ oz. 

Nitrate of silver 30 grn. 

The new solution thus made is warmed to a 
temperature of 100° F., and flowed on a glass 
plate, previously warmed. One oz. is sufficient 
to cover a 10 by 12 plate. 

After coating, place the glass on a level mar- 
ble slab or glass plate to set and dry. When 
dry expose to sunlight, and the color will 
change to a beautiful orange ruby exactly 
suitable for dark room illumination. 

Rupert's Drops are made by letting drops of 
melted glass fall into cold water ; the drop as- 
sumes by that means an oval form with a tail 
or neck resembling a retort. They possess this 
singular property, that if a small portion of 
the tail is broken off the whole bursts into 
powder with an explosion, and a considerable 
shock is communicated to the hand that 
grasps it. 

Rust, Removal of from Window Glass.— Try a 
mixture of 30 parts of water with 7 of hydro- 
chloric acid and a trace of iodine. Rub the 



plate with a linen rag moistened with the fluid 
and then polish. 

Scratches on Glass, to Remove.— Slight scratches 
may be partially polished out by rubbing the 
part with rouge wet with water upon a piece 
of soft leather. If it is a deep scratch, it will 
have to be ground out with the finest flour 
emery, such as is used by opticians, and the 
spot polished with rouge and water upon a 
piece of soft leather. If you have much of this 
kind of work to do, it will save time to set up 
a buff wheel made of wood and grind out the 
scratches with fine pumice stone and water. 
Then polish with a felt buff and rouge with 
water. 

Glass Staining.— Use colors which come pre- 
pared especially for this purpose, as it hardly 
pays to prepare them, and the results are much 
more uniform. In general the colors are rubbed 
up on glass with spirits of turpentine or lav- 
endar and applied to the glass, which has pre- 
viously been sponged with gum water, to give 
it a slight tooth. Considerable skill .and many 
attempts must be made before satisfactory 
work can be done. When the painting is fin- 
ished each piece is fired in a muffle and is 
laid in a bed of sifted lime. Great skill is re- 
quired in the firing and no general directions 
can be given. It is a much better plan to send the 
pieces to a man who makes a specialty of firing 
glass. 

Glass, to Silver. See Silvering. 

Glass, Soluble.— -Water glass. An impure alka- 
line silicate. — Silica, 1 part; carbonate of potas- 
sium or of sodium 2 parts fused together. 

Carbonate of sodium (dry), 54 parts; carbonate 
of potassium (dry), 70 parts; silicia, 192 parts, 
as last. Soluble in boiling water, yielding a 
fine transparent semi-elastic varnish. Carbon- 
ate of potassium (dry), 10 parts; powdered 
quartz (or sand free from iron and alumina), 15 
parts ; charcoal, 1 part; fused together. Soluble 
in 5 or 6 times its weight of boiling water, and 
the filtered solution evaporated to dryness, 
yields a transparent glass, permanent in the 
air. 

Glasses, to Tune.— (To play on with the palm of 
the hand.) The tones are dependent on the 
glasses and the amount of water used. Moisten 
the palm of the hand with water. Some use a 
little glycerine,, 

Glass, Varnish for. See Varnislies. 

Glass, Window.— Broad, Spread. Sp. gr. 2*642.. 

a. By anlysis: Silica, 69*70$; lime, 13*30^$ ; 
soda, 15*25$; oxide of iron (and loss), 1*75$. 

b. Materials used : 1. White sand, 50$; dried 
sulphate of soda, 22$; charcoal (in powder), 9$; 
cullet (broken glass), 41$; peroxide of man- 
ganese, a little. Pale blue. 2. White sand, 60$; 
potashes (good), 24$ ; common salt, 10$ : niter, 
5$; white arsenic, 1$; peroxide of manganese,, 
a little (iW to T V%) ; pale cullet (broken glass), 
at will (10 to 30$). This is the spread or sheet 
window glass in common use. 

2. Flint Glass.— a. By analysis: Silica, 44*30$ ; 
oxide of lead, 43*05$; potassa, 11*75$. This is 
Guinand's dense optical glass. 

b. Materials used : 1. Purest quartz, 42$; r3d 
lead (finest), 42$; purified potash, 14%$; purified 
niter, 1*4$. These are the proportions used for 
the last. 2. (Korner.) Finest quartz (reduced 
to powder and treated with hydrochloric acid, 
washed and dried), 473^$: red lead, 38^$; cream 
of tartar, 14J^$. The above are used by opti- 
cians in the construction of achromatic object 
glasses. 

Gloss, to Write on.— 1. Ether, 500 grn.; san- 
darac, 30 grn.; mastic, 30 grn. Dissolve, then 
add benzine in small quantities till the varnish, 
spread on a piece of glass, gives it the aspect of 
roughened glass. The varnish is used cold. To 
have a homogeneous layer, pour over that al- 
ready formed, some oil of petroleum, let it 
evaporate a little, then rub in all directions 



Glazes. 



241 



Glaze*. 



-with cambric cloth till all is quite dry. With 
ink or lead pencil, lines can be produced on this 
surface as fine as may be desired Thus a 
drawing 1 may be prepared in a few minutes and 
immediately projected.— Crova. 

2. The glass is to be first gently heated at a 
spirit lamp or gas flame, till steam ceases to be 
deposited on it, up to 112° or 140° F. (44° to 60° 
C.). Then a particular varnish should be 
poured upon it, as is done in photographic 
operations with collodion. This varnish is com- 
posed of 51 dwt. alcohol, 61 grn. mastic in drops, 
and 122 grn. pounce. The resins are dissolved 
by being heated in a hot water bath, the whole 
being in a flask corked and fastened. The 
solution is afterward filtered. * The varnish is 
very hard, and becomes brilliant and com- 
pletely transparent. If it is poux-ed on the cold 
.glass, it becomes opaque and absorbs ink. Draw- 
ings may be executed upon it with common 
or Indian ink. Then a thin layer of gum is put 
upon it by dipping the glass in a very diluted 
solution of gum or any other non-alcoholic 
coating. This process might be advantageously 
employed instead of labels on bottles in labora- 
tories, and for making figures on glass, and 
perhaps for tracing drawings, which might 
thus be reproduced by photography . —Terquem. 

3. A mixture of flour, ammonia hydrate, and 
hydrochloric 'acid, thickened with gum acacia, 
forms an ink by which, with a pen, letters or 
-ornaments may be traced on glass, where they 
will become permanent. 

4. Faber makes pencils for writing upon glass, 
porcelain, metal, etc., as follows: Black — 10 
parts lampblack, 40 white wax, 10 of tallow. 

5. White— 40 white lead, 20 wax, 10 tallow. 
. 6. Blue— 10 Berlin blue, 20 wax, 10 tallow. 

7. Dark blue — 15 Berlin blue, 5 gum arabic, 10 
tallow. 

8. Yellow — 10 chrome yellow, 20 wax, 10 tal- 
low. 

9. A varnish of sugar is recommended. It is 
made by dissolving equal parts of white and 
brown sugar in water to a thin sirup, adding 
alcohol, and apply to hot glass plates. The 
film dries very readily, and furnishes a surface 
on which it is perfectly easy to write with a 
pen or pencil. 

10. Coachmaker's black japan is the article 
used by gilders on glass. Black japan can be 
thinned with turpentine; and as to being too 
transparent, there must be some mistake. 
However, gilders use two or three coats to get 
dense black, and wash off part of one to make 
the shadow fall away when such an appearance 
is required. 

Glazes.— Porcelain Glaze.— Forty parts Cor- 
nish stone, 45 parts red lead, 38 parts borax, 32J4 
parts flint, 22^ parts flint glass, 13 parts crystal 
of soda, 5 parts oxide of tin, 1 part enamel blue. 
The particles are made small and well mixed 
together, then calcined in the coolest part of 
the glazing oven, in seggars thickly lined with 
flint ; care must be observed that the frit is not 
too highly calcined, or brought into a high state 
•of vitrification; if so, it will render it difficult 
to grind, and injure its good qualities in dip- 
ping. The frit likewise if too finely ground 
will cause the glaze to be uneven on the surface 
of the ware ; if any inconvenience of this nature 
arises, by adding a solution of potash in hot 
water, that defect will be instantly obviated. 

Ironstone Glaze.— Thirty-six parts Cornish 
stone, 30 parts borax, 20 parts flint, 15 parts red 
lead, 6 parts crystallized soda, 5 parts oxide of 
tin, % part blue calx. With the above frit is to 
be added 15 parts white lead, 10 parts Cornish 
stone, 10 parts flint; when ground together, 
the composition is ready lor use ; should the 
glaze prove too thin for dipping, add a small 
quantity of muriatic acid. 

Body Frit.— Sixty parts Cornish stone, 40 parts 
flint, 30 parts crystallized soda, 8 parts oxide of 
tin, 10 parts borax. This frit is used in small 
-quantities, in china and ironstone bodies. 



Frit for Glazes.— 1. Forty parts Cornish stone, 
36 parts flint glass, 20 parts red lead, 20 parts 
flint, 15 parts potash, 1U parts white lead, 3 
parts oxide of tin. This frit is intended to be 
used in glazes, in lieu of those which con- 
tain a large proportion of borax; there- 
fore, by substituting it when the price of 
that article is nigh, will, of course, be advanta- 
geous, and the texture of the glaze will still be 
good and admissible. 

2. Thirty-six parts Cornish stone, 30 parts red 
lead, 20 parts flint, 20 parts borax, 15 parts crys- 
tal of soda, 5 parts oxide of tin. These two frits 
may be calcined in the easy part of the glazing 
oven, in seggars lined with flint; particular 
care should be observed that they are clean 
chipped, and free from pieces of seggars, or any 
dirty substance. 

Earthenware, Printed Glaze, Superior.— Ninety 
parts white lead, 35 parts Cornish stone, 20 
parts flint glass, 20 parts flint, 60 parts frit (for 
glazes 2 parts), J4 Part blue calx. 

Common.— Eighty-five parts white lead, 35 
parts Cornish stone, 22 parts flint, 15 parts flint 
glass, 24 parts frit (for glazes 2 parts), £ part blue 
calx. These glazes, when ground, to be sifted 
through a fine lawn ; the former glaze is of the 
finest texture, and will require rather a thinner 
coating when dipped than those of common 
glazes. Fire in seggars, either washed with 
common glaze or a mixture of lime and slip 
without flint. 

Common Printed Glaze.— Ninety parts white 
lead, 45 parts Cornish stone, 22 parts flint, 20 
parts flint glass, 34 part blue calx. To this, 
after being properly ground and sifted, add 1 
lb. Of common salt and y>, lb. of borax, which 
forms a smear or flow, as it is generally termed, 
but must not be put into the glaze until the 
blue stain is perfectly incorporated with it ; the 
ware dipped therein must be placed in seggars 
washed with glaze. 

White Earthenware Glaze.— Thirty-five parts 
Cornish stone, 20 parts borax, 10 parts crystal 
of soda, 20 parts red lead, y 8 part blue calx. 
Calcine and then pulverize coarsely, and grind 
with 20 lb. white lead, 10 lb. Cornish stone, and 
5 lb. flint. 

Blue and Green Edge Glaze. — Seventy-two 
parts litharge, 36 parts Cornish stone, 20 parts 
flint glass, 17 parts flint, 12 parts frit (for glazes, 
2 parts), it part blue calx. The blue and green 
edged ware when dipped in this glaze should be 
perfectly dry previous to being placed in the 
seggars, and the green edge should be seated 
in the coolest part of the glazing oven. 

Cream Color Glaze, Superior.— Eighty-five 
parts white lead, 40 parts Cornish stone, 22 
parts flint, 16 parts flint glass, 8 parts frit (for 
glazes, 2 parts). 

Common.— Seventy-five parts litharge, 40 
parts Cornish stone, 23 parts flint, 10 parts flint 
glass. 

Brown Cottage Glaze.— Sixty parts litharge, 32 
parts flint, 8 parts brown slip. This and the 
two following glazes require using about the 
same consistency as the cream color glaze, and 
will stand the highest temperature of heat in a 
common glazing oven. 

Calcedony Glaze.— Sixty-five parts litharge, 
40 parts Cornish stone, 20 parts flint, 6 parts 
frit (for glazes, 2 parts). 

Drab Glaze. —Seventy parts litharge, 30 parts 
flint, 25 parts Cornish stone, 10 parts drab slip. 
Blue Glaze.— Fifty parts flint, 30 parts borax, 
22 parts red lead, 10 parts Cornish stone, 6 parts 
crystallized soda, 6 parts oxide of tin, 3 parts 
blue calx. In preparing this glaze follow the 
same directions as for porcelain glaze. 

Harmless Glaze.— A harmless glaze for earth- 
enware, destined to replace the lead glazes 
hitherto employed, has lately been devised by 
M. Constantin. One recipe is 100 parts silicate 
of soda, 15 parts powdered quartz and 25 parts 
Meudon chalk. Another is the same with the 
addition of 10 parts of borax. The articles 



Glazing. 



243 



Glues. 



glazed can be colored by copper for green and 
manganese for brown. 

Tobacco Pipes, Glaze for.—l. Make a satu- 
rated solution of sugar of lead (lead acetate) 
in hot water. Dip the pipes in this, or apply it 
with a brush to the outside, then dry and ex- 
pose in an open muffle at a low red heat until 
properly glazed. 

2. Potassium carbonate, 1 part; borax, 5 
parts; melt together in a sand crucible and 
pour out on an iron plate to cool, then powder 
and mix into a paste with a little turpentine 
oil for use. Apply with a brush or clean rag, 
and heat slowly in a muffle or oven to incipient 
redness. 

English for Earthenware— Quartz or glazing 
sand, 28 parts; silver litharge, 40 parts; pipe 
clay, 18 parts; best manganese oxide, 9 parts; 
chalk, 5 parts. Melt into a frit and grind finely. 

Glazing. — In ceramics the term is used to 
denote a covering of the ware with a thin 
coating of natural or artificial glass to protect 
the soft body and to render it impervious to 
liquids. 

Gloves, to Clean. See Cleansing. 

Gloves. — Cosmetic. See Cosmetics. 

Gloves.— Kid, to Prevent Perspiring.— A lit- 
tle dry corn starch or pulverized soapstone put 
on the hands in warm weather will prevent any 
perspiration injuring kid gloves. 

Glove Powder, See Powders." 

Glue, to Bleach. See Bleaching. 

Glue Cements. See Cements. 

Glues. See also Cements, Mucilages 
and Pastes. 

Glue is a cement used for joining pieces of 
wood together, and has for its chief constit- 
uent a substance called gelatine, obtained from 
the cuttings of hides, skins, tendons and 
other refuse parts of animals, as well as from 
cuttings of leather and parchment, which, 
after being well soaked in milk of lime, to dis- 
solve any blood, flesh or fat, are thoroughly 
washed in a stream of water to remove the 
lime. The material is then boiled in water 
until the required adhesive strength is ob- 
tained, when the liquid is run off into a cis- 
tern and clarified with powdered alum, which 
precipitates in the form of sulphate any lime 
that may remain, as well as other impurities. 
Before cooling it is drawn off into moulds, and 
is then in the form of size, which, when cut 
into slices and dried in the air, hardens into 
glue. 

Hints about Glue.— Good glue should be a 
light brown color, semi-transparent, and free 
from waves or cloudy lines. Glue loses much 
of its strength by frequent remelting ; there- 
fore, glue which is newly made is preferable to 
that which has been reboiled. The hotter the 
glue the more force it will exert in keeping 
the joined parts glued together. In all large 
and long joints it should be applied immedi- 
ately after boiling. Apply pressure until it is 
set or hardened. 

The f olio wing, translated from Des Ingenieurs 
Taschenbuch, contains a great deal of valuable 
information which will probably be acceptable 
to many of our readers. 

Common Glue.— The absolute strength of a 
well glued joint is: 

Pounds per square inch. 

Across the grain, With the 
end to end. grain. 

Beech 2,133 1,095 

Elm 1,436 ■ 1,124 

Oak 1,735 568 

White wood 1,493 341 

Maple 1,422 896 

It is customary to use from one-sixth to one- 
tenth of the above values, to calculate the 



resistance which surfaces joined with glue can 
permanently sustain with safety. 

Bank Note or Mouth Glue.— Is made by dis- 
solving 1 lb. of fine glue, or gelatine, in water, 
evaporating it till most of the water is ex- 
pelled, adding J^ pound brown sugar, and 
pouring it into moulds. Some add a little 
lemon juice. It is also made with 2 parts of 
dextrine, 2 of water and 1 of spirit. 

Bookbinders' 1 Glue. — Use best carpenters 1 or 
white glue, to which, after soaking and heat- 
ing, one-twentieth its weight of glycerine is 
added. 

Glue, of Caseine. — 1. (Braconnet.) — Dissolve 
caseine in a strong solution of bicarbonate of 
soda. 2. (Wagner.)— Dissolve caseine in a cold 
saturated solution of borax. Superior to gum, 
and takes the place of glue in many cases. 
May be used for backs of adhesive tickets. 

Glue Cement, See Cements. 

Compound Glue, to Make. — Take very fine flour, 
mix it with white of eggs, isinglass and a little 
yeast; mingle the materials and beat them well 
together; spread them, the batter being made 
thin with gum water, on even tin plates and 
dry them in a stove, then cut them out for use. 
To color them tinge the paste with Brazil or 
vermilion for red; indigo or verditer, etc., for 
blue; saffron, turmeric or gamboge, etc., for 
yellow. 

Cracking, to Prevent Glue from.—l. Glue fre- 
quently cracks because of the dryness of the 
air in rooms warmed by stoves. An Austrian 
contemporary recommends the addition of a 
little chloride of calcium to glue to prevent 
this disagreeable property of cracking. Chlor- 
ide of calcium is such a deliquescent salt that it 
attracts enough moisture to prevent the glue 
from cracking. Glue thus prepared will adhere 
to glass, metal, etc., and can be used for put- 
ting on labels without danger of their dropping 
off. 

2. Add a very small quantity of glycerine to 
the glue. The quantity must be modified ac- 
cording to circumstances. 

Damp Wood, Glue for.—l. Soak pure glue in 
water until it is soft; then dissolve it in the 
smallest possible amount of proof spirit by the 
aid of a gentle heat. In 2 oz. of this mixture 
dissolve 10 gr. of gum ammoniaeum, and while 
still liquid add % drm. of mastic dissolved in 3 
drm. of rectified spirit. Stir well and keep the 
cement liquefied in a covered vessel over a hot 
water bath. It is essentially a solution of glue 
in mastic varnish. 

2. Shellac, 4 oz.; borax, 1 oz.; boil in a little 
water until dissolved and concentrate by heat 
to a paste. 

Elastic Glue which does not spoil is ob- 
tained as follows: Good common glue is dis- 
solved in water, on the water bath, and the 
water evaporated down to a mass of thick con- 
sistence, to which a quantity of glycerine, 
equal in weight with the glue, is added, after 
which the heating is continued until all the 
water has been driven off, when the mass is 
poured out into the moulds or on a marble 
slab. This mixture answers for stamps, 
printer's rolls, galvano-plastic copies, etc. 

Ether Glue.— Dissolve glue in nitric ether. 
The ether will only dissolve a certain amount 
of glue, therefore the solution cannot be made 
very thick; it will be about the consistency of 
molasses, and is much more tenacious than glue 
made with hot water. It is improved by add- 
ing a few bits of India rubber, cut into pieces 
about the size of a buckshot. Let the solution 
stand a few days, stirring frequently. 

Fireproof Glue.— Mix a handful of quicklime 
in 4 oz. of linseed oil, boil to a good thickness; 
then spread on tin plates in the shade, and it 
will become exceedingly hard, but may be 
easily dissolved over the fire and used as or- 
dinary glue. 

Flower Pots, Glue for Cementing Labels on. — 
Use thin paper for label and attach with white 



Glues. 



243 



Glues. 



gelatine in solution, to which has been added one 
per cent, of bichromate of potash. This must 
be done in a dark or obscure room. Then ex- 
pose the labels to sunlight. After writing, var- 
nish with solution of shellac in alcohol. 

Frozen Glue. — The glue while gelatinous is 
sliced, placed on nets and allowed to freeze by 
natural cold. Of course the process can only 
be conducted in cold weather. The product is 
porous and much more bulky than hard glue, 
but is a better article, as it dissolves more 
easily. It sells largely in New England, where 
it is preferred by buyers to the hard glue. 

Glass to Wood, Glue for Joining.— Finely sifted 
wood ashes are added to glue when hot; use im- 
mediately. 

Glue for Repairing Glass.— Dissolve fine glue 
in strong acetic acid to form a thin paste. 

Hardening Glue.— Try a little finely powdered 
brick dust, which will harden quickly in pro- 
portion to the quantity used. 

Insoluble Glue. See Waterproof Glues below. 

Isinglass Glue.— Dissolve isinglass in water 
and strain it through coarse linen. Then add a 
little alcohol and evaporate to such a consist- 
ency that when cold it will be dry and hard. 
This will be found to be more tenacious than 
common glue and therefore preferable in many 
cases. 

Irory and Bone, Glue for.— Isinglass is boiled 
in water until very thick, when enough zinc 
white is added to make the whole the consist- 
ency of molasses. 

Labels, to Glue to Iron. — Make a paste of rye 
flour and glue. Add linseed oil varnish and tur- 
pentine, y% oz. of each to the pound of the 
paste. 

Sticking Labels to Tinned Plate. — From the 
Chemists'' and Druggists' 1 Diary for 1879, p. 188, 
the following seven methods of making a ce- 
ment for affixing paper to tin : 

1. Add to ordinary paste a little honey or 
glycerine. 

2. Add muriatic acid to the gum; this is apt 
to cause the metal to rust under and around 
the label. 

3. Add a litte ammonia, or, 

4. Tartaric acid to the starch paste or mucil- 
age. 

5. Add aluminum sulphate (not alum) to the 
mucilage. 

6. The best plan is said to be to add 20 drops 
of a solution of chloride of antimony to 8 oz. of 
paste of mucilage. 

Leather, to Glue to Iron.— There is a constant 
inquiry as to the best plan for fastening leather 
to iron, and there are many recipes for doing- 
it. But probably the simplest mode, and one 
that will answer in a majority of cases, is the 
following: To glue leather to iron, paint the 
iron with some kind of lead color, say white 
lead and lamp black. When dry, cover with a 
cement made as follows : Take the best glue, 
soak it in cold water till soft, then dissolve it 
in vinegar with a moderate heat, then add % 
of the bulk of white pine turpentine, thor- 
oughly mix, and by means of the vinegar 
make it of the proper consistency to be spread 
with a brush, and apply it while hot; draw the 
leather on quickly, and press it tightly in place. 
If a pulley, draw the leather round tightly, 
lap, and clamp. 

Leather Goods, Glue for.— This glue, though 
rather complex in composition, gives good re- 
sults. Eight oz. of rye whisky are diluted with 8 
oz. of water and the mixture is made into a 
paste with 2 oz. of starch, % of an oz. of good 
glue are dissolved in the same amount of water, 
an equal amount of turpentine is added and 
the mixture and the paste are combined. 

Leather, etc., to Metals.— One part crushed 
nut galls digested six hours with 8 parts dis- 
tilled water and strained. Glue is macerated 
in its own weight of water for twenty-four 
hours, and then dissolved. The warm infusion 
of nut galls is spread on the leather; the glue 
solution upon the roughened surface of the 



warm metal; the moist leather is then pressed 
upon it and dried. 

Liquid Glues.— 1. A liquid glue possessing 
great resisting power, recommended for wood 
and iron, is prepared, according to Hesz, as 
follows: Clear gelatine, 100 parts; cabinet- 
makers 1 glue, 100 parts; alcohol, 25 parts; alum, 
2 parts; the whole mixed with 200 parts of 20^ 
acetic acid, and heated on a water bath for six 
hours. An ordinary liquid glue, also well 
adapted for wood and iron, is made by boiling 
together for several hours 100 parts glue, 260 
parts water, and 16 parts nitic acid. — English 
Mechanic. 

2. An improved liquid glue, according to the 
Journal of Applied Chemistry, may be prepared 
by dissolving 3 parts of glue, broken into small 
pieces, in 12 to 15 parts of saccharate of lime. 
On warming, the glue dissolves rapidly, and 
remains liquid when cold, without losing its 
strength. Any desirable consistency may be 
secured by varying the amount of saccharate 
of lime. 

3. Two oz. gelatine, 4 oz. water; when the 
gelatine has fully swelled, add 2 oz. glacial 
acetic acid. It is capital for mending china, 
glass, etc.— A. Pumphrey. 

4. Liquid Glue without Acid.— An excellent 
liquid glue is made thus : Take of best white 
glue, 16 oz.; white lead, dry, 4 oz.; rain water, 2 
pt.; alcohol, 4 oz. With constant stirring dissolve 
the glue and mix the lead in the water by 
means of a water bath. Add the alcohol, and 
continue the heat for a few minutes. Lastly, 
pour into bottles while it is still hot. 

5. Take a wide mouthed bottle, and dissolve 
in it 8 oz. best glue in y^, pt. water, by setting it 
in a vessel of water, and heating until dis- 
solved. Then add slowly, 2^£ oz. strong aqua- 
fortis (nitric acid), 36° Baume, stirring all the 
while. Effervescence takes place under gene- 
ration of nitrous acid. When all the acid has 
been added, the liquid is allowed to cool. Keep 
it well corked, and it will be ready for use at 
any moment. 

6. Take of best white glue, 16 oz.; white lead, 
dry, 4 oz.; rain water, 2 pt.; alcohol, 4 oz.; with 
constant stirring, dissolve the glue and lead 
in the water by means of a water bath. Add 
the alcohol and continue the heat for a few 
minutes. Lastly pour into bottles while hot. 

7. Take 1 pt. of the common turpentine and 
mix in a quart bottle with 4 fl. oz. 98^ alcohol. 
Agitate weD, and let stand until the two fluids 
separate. Decant the turpentine (which wilJ 
form the lower layer) from the alcohol, and mix 
it with 1 pt. clear water. Agitate thoroughly, 
and let stand until these two fluids separate, 
then from the water decant the turpentine 
(which this time will form the upper layer), and, 
finally, mix with the turpentine about 1 oz. 
powdered starch, and filter through paper. 

8. Lehner publishes the following formula 
for making a liquid paste or glue from starch 
and acid. Place 5 lb. potato starch in 6 lb. 
water, and add *4 lb. pure nitric acid. Keep it 
in a warm place, stirring frequently for forty- 
eight hours. Then boil the mixture until it 
forms a thick and translucent substance. Di- 
lute with water, if necessary, and filter through 
a thick cloth. At the same time another paste 
is made from sugar and gum arabic. Dissolve 
5 lb. gum arabic and 1 lb. sugar in 5 lb. water, 
and add 1 oz. nitric acid and heat to boiling. 
Then mix the above with the starch paste. The 
resultant paste is liquid, does not mould, and 
dries on paper with a gloss. It is useful for 
labels, wrappers, and fine bookbinders'' use. 
Dry pocket glue is made from 12 parts glue 
and 5 parts sugar. The glue is boiled until en- 
tirely dissolved, the sugar dissolved in the hot 
glue, and the mass evaporated until it hardens 
on cooling. The hard substance dissolves rap- 
idly in lukewarm water, and is an excellent glue 
for use on paper.— Polytech. Notiz.; Pha/rm. 
Record. 



Glues. 



244 



Glue*. 



9. Cut 6 parts glue in small pieces. Pour 16 
parts water over it, allow it to stand for a few 
hours. Add V/% part sulphate of zinc, 1 part 
hydrochloric acid gas. Keep the mixture at a 
temperature of 175° to 190° F. for ten or twelve 
hours. This glue may be used for joining all 
articles, even porcelain, glass, mother of pearl, 
etc. It does not congeal. 

10. Take of best white glue, 16 oz.; white lead, 
dried, 4 oz.; rain water, 2 pt.; alcohol, 4 oz. 
Dissolve the glue and lead in the water by means 
of a water bath, stirring constantly. Add the 
alcohol, and continue the heat for a few min- 
utes. Pour into bottles while it is hot. 

11. Very Strong Liquid Glue.— Glue, 4*4 parts; 
water, 12 parts. Let them stand several hours. 
To soften the glue: Add muriatic acid, % parts; 
sulphate of zinc, 13^ part. Heat the mixture to 
185° F. for ten or twelve hours. This glue re- 
mains liquid after cooling. Used for sticking 
wood, crockery, and glass. 

12. Russian Liquid Glue.— Soften 50 parts best 
Russian glue in 50 parts warm water. Add, 
slowly, from 2M to 3 parts aquafortis and 3 
parts powdered sulphate of lead. 

Marine Glue.—l. Although now far from new, 
the extremely valuable marine glue, of Jef- 
frey, does not seem to be as well known in this 
country as it deserves. Prepared by dissolving! 
part India rubber in crude benzine, and mixing 
with 2 parts shellac by the aid of heat. The 
waterproof character of this cement, in con- 
nection with its slight elastic flexibility, the ease 
with which it is applied when warm, and the 
promptness with which it sets on cooling, make 
it a most useful substance in many applications 
to house construction and furniture, as well as 
on board ship, where it was originally intended 
to be chiefly employed. 

2. Caoutchouc, 1 oz.; genuine asphaltum, 2 oz.; 
benzole or naphtha, q. s. The caoutchouc is 
first dissolved by digestion and occasional agi- 
tation, and the asphaltum is gradually added. 
The solution should have about the consistency 
of molasses. 

3. Take of coal naphtha, 1 pt.; pure (not 
vulcanized) rubber, 1 oz.; cut in shreds; and 
macerate for ten or twelve days, and then rub 
smooth with a spatula on a slab ; add at heat 
enough to melt, 2 parts shellac by weight, to 1 
part of this solution. To use it, melt at a tem- 
perature of about 248° F.— E. H. H., of Mass. 

4. Elastic Marine Glue.— Dissolve unvulcan- 
ized rubber in chloroform, benzole or bisul- 
phide of carbon. Ropes or other material ex- 
posed to the action of air and water are coated 
with this glue. Whiting or fine sand may be 
added. 

Glue, Hints in Melting and Using. — The 
hotter the glue, the more force it will exert in 
keeping the two parts glued togother ; there- 
fore, in all large and long joints, the glue 
should be applied immediately after boiling. 
Glue loses much of its strength by frequently 
remelting; that glue, therefore, which is 
newly made is much more preferable to that 
which has been reboiled. 

A Glue to Resist Heat or Moisture. — Mix a 
handful of quicklime in y± lb. of linseed oil; 
boil them to a good thickness and then spread 
it on a slab to cool. 

Moisture Proof Glue.— Moisture proof glue is 
made by dissolving 16 oz. of glue in 3 pt. of 
skim milk. If a still stronger glue be wanted, 
add powdered lime. 

Parchment Glue.— Parchment, 10 parts, is cut 
into small pieces and boiled in 128 parts water 
until the liquid is reduced to 80 parts. The de- 
coction is filtered through linen, and evapo- 
rated over a gentle fire until it presents the re- 
quired consistence. 

Dry Pocket Glue.— Dry pocket glue is made 
from 12 parts of glue and 5 parts of sugar. The 
glue is boiled until entirely dissolved, the sugar 
dissolved in the hot glue, and the mass evapo- 
rated until it hardens on cooling. The hard 



substance dissolves rapidly in lukewarm water, 
and is an excellent glue for use on paper. 

Portable or Mouth Glue.— Fine pale glue 1 lb., 
dissolve over a water bath in sufficient water, 
add brown sugar J4 lb., continue the heat till 
amalgamation is effected; pour on a slab of 
slate or marble, and when cold cut into squares. 

Rice Glue. — The fine Japanese cement is made 
by mixing rice flour with a sufficient quantity 
of cold water, then boiling gently, with con- 
stant stirring. 

Spaidding's Glue.— Soak the glue in cold water, 
using only glass, earthen or porcelain dishes. 
Then by gentle heat dissolve the glue in the 
same water, and pour in a small quantity nitric 
acid, sufficient to give the glue a sour taste like 
vinegar, about 1 oz. to every pound of glue. 

Tablets, Glue for.— For 50 lb. of the best glue 
(dry) take 9 lb. glycerine. Soak the glue for ten 
minutes and heat to solution and add- the gly- 
cerine. If too thick, add water. Color with 
aniline. 

Tungstic Glue.— Tungstic glue has been sug- 
gested as a substitute for hard India rubber, as 
it can be used for all the purposes to which this 
latter is applied. It is thus prepared : Mix. a 
thick solution of g:ue with tungstate of soda 
and hydrochloric acid. A compound of tung*- 
stic acid and glue is precipitated, which, at>a 
temperature of 86 to 104 F., is sufficiently elastic 
to be drawn out into very thin sheets. 

Veneering, Glue, Well Suited for Inlaying.— 
The best glue is readily known by its transpar- 
ency, and being of a rather light brown, free 
from clouds and streaks. Dissolve this in water, 
and to every pint add a Yz gill of the best vine- 
gar and 14, oz. of isinglass. 

Waterproof Glue.—l. Glue may be rendered 
insoluble by tannic acid dissolved in a small 
quantity of soft water. 

2. In order to render glue insoluble in water, 
even hot water, it is only necessary when dis- 
solving the glue for use to add a little potas- 
sium bichromate to the water and to expose 
the glued part to light. The proportion of 
potassium bichromate will vary, with circum- 
stances; but for most purposes about one- 
fiftieth of the amount of glue used will suffice. 
In other words, glue containing potassium bi- 
chromate, when exposed to the light, becomes 
insoluble. 

3. To make an impermeable glue,, soak or- 
dinary glue in water until it softens, and re- 
move it before it has lost its primitive form. 
After this, dissolve it in linseed oil over a slow 
fire until it is brought to the consistence of a 
jelly. This glue may be used for joining any 
kinds of material. In addition to strength and 
hardness, it has the advantage of resisting the 
action of water.— Revue Industrielle. 

4. Fire and Waterproof Glue.— Mix a hand- 
ful of quicklime with 4 oz. of Unseed oil ; thoi*- 
oughly lixiviate the mixture. Boil until quite 
thick, and spread on tin plates. It will become 
very hard, but can be dissolved over a fire like 
common glue. 

5. Cheap Waterproof Glue.— Melt common 
glue with the smallest quantity of water pos- 
sible. Add to this by degrees, linseed oil, ren- 
dered drying by boiling it with litharge. While 
the oil is added the ingredients must be well 
stirred, so as to mix them thoroughly. 

White Glue.— A writer in the Moniteur Scien- 
tifique says that to add oxalic acid and white 
oxide of zinc in the proportion of 1% to glue 
gives a whiter and clearer product than any of 
the measures now in use. The glue should first 
be reduced with water and heated to a thick 
sirup, and the chemicals added while the mass 
is hot. 

Wood, Glue for (Waterproof).— 1. Very thick 
solution of glue, 100 parts; Unseed oil varnish, 
50 parts; and 10 parts of litharge. Boil for ten 
minutes and use while hot. 

2. There is no glue for wood which must be 
kept in contact with water that is better than 



Glycerine. 



245 



Gold. 



bichromated glue. Allow it to harden thor- 
oughly. 

3. Liquid glue tor wood and iron is made, ac- 
cording to Hesz, as follows : Clear gelatine. 100 
parts; cabinetmaker's glue, 100 parts; alcohol, 
25 parts; alum, 2 parts; the whole mixed with 
200 parts of 20$ acetic acid and heated in a water 
bath for six hours. 

4. An ordinary glue for wood and iron is 
made by boiling together for several hours 100 
parts glue, 260 parts water and 16 parts nitric 
acid. 

5. Waterproof glue may be made by boiling 1 
lb. of common glue in 2 qt. of skimmed milk. 
This withstands the action of the weather. 

6. Glue, 12 parts; water, q. s. to dissolve. Add 
yellow resin, 3 parts; and, when melted, tur- 
pentine, 4 parts. Mix thoroughly together in a 
water bath. 

7. Glue which Stands Moisture Without Soft- 
ening.— Dissolve in 8 fl. oz. of strong methylated 
spirit, }4 oz. each of sandarac and mastic; next 
add y% oz. of turpentine. This solution is then 
added to a hot, thick solution of glue, to which 
isinglass has been added, and is next filtered 
while hot through cloth or a sieve. 

Wounds, Glue Dressing for.— Cabinetmakers 
and wood workers generally are familiar with 
the uses of glue in dressing tool cuts and other 
slight wounds incident to their calling. The 
addition of acetic acid to the glue and a little 
otto of roses will cover the odor of the glue 
and the acid. This compound spread on paper 
or muslin makes, he says, a good substitute for 
adhesive plaster for surgical use. It is easily 
and quickly prepared simply by putting into a 
vessel of boiling water a bottle containing 1 
part of glue to 4 parts by measure of the acid, 
and letting the bottle remain in this bath until 
the glue is fully dissolved and mixed with the 
acid. Common glue may be used and officinal 
acetic acid, to be had at any drug store. The 
mixture should be kept in a wide mouthed 
bottle well stoppered by a long cork, which can 
always be removed by heating the neck of the 
bottle. Care should be taken to keep the 
mouth of the bottle clean by wiping it well 
with a cloth dipped in hot water. A bottle of 
this cheap and easily prepared dressing would 
be a good thing to have at home as well as at 
the workshop. 

Glycerine of Cucuniber. 

White castile soap ^ oz. 

Pommade de concombre . . . 1 oz. 

Rose water... 30 fl. oz. 

Glycerine ......... 2 fl. oz. 

Cut up the soap small and dissolve it in about 4 
oz. of the water. Melt the pomade and put it in a 
loot mortar. Gradually add the hot soap so- 
lution, stirring until thoroughly mixed, then 
slowly add the rest of the rose water mixed 
with the glycerine. Keep well stirred until 
cool, then let stand for some hours, stirring 
occasionally. Properly manipulated, a perfect 
emulsion is obtained. When completed it may 
be perfumed as desired. The soap employed 
should be of good quality.— Drug, and Chem. 

Glycerine.— Paste. See Pastes. 

Solvent Powers of Glycerine.— According to 
Klever, 100 parts glycerine will dissolve- 
Parts. 

Acid arsenious *. .... 20*00 

Acid arsenic . ... 20*00 

Acid benzoic. 10 to 20*00 

Acid boracic lO'OO 

Acid oxalic. . . „ 15*00 

Acid tannic 50*00 

Alum 40*00 

Ammonia carbonate 20*00 

Ammonia muriate 20*00 

Antimony tartrate 5*50 

Atropine 3*00 

Atropine sulphate 3300 

Barium chloride 10*00 

Borax 60*00 



Parts. 
Brucine . . i » .... i ........ 4 1 4 4 un. ,,....... . 2*25 

Cinchona ....... .... ... ,. 0*50 

Cinchona sulphate. 6*70 

Copper acetate 10*00 

Copper sulphate 30*00 

Iron lactate 16*00 

Iron sulphate 25*00 

Iodine 1*90 

Lead acetate 2000 

Mercury bichloride. 7*50 

Mercury bicyanide . 27*00 

Mercury arseniate 50*00 

Potash chlorate 3*50 

Potash and iron tartrate — 8*00 

Potassium bromide. ... . ....." 2500 

Potassium cyanide 32*00 

Potassium iodide 40*00 

Morphine 0*45 

Morphine acetate — 20*00 

Morphine muriate....... 20*00 

Soda arseniate 50*00 

Soda bicarbonate. 8*00 

Soda carbonate 98*00 

Phosphorus 0*20 

Sulphur 0*10 

Strychnine 4*00 

Strychnine nitrate 0*25 

Strychnine sulphate 22*40 

Veratrine 1*00 

Zinc chloride. 50*00 

Zinc iodide. 40*00 

Zinc sulphate 35*00 

Glycerine is particularly valuable as a solvent 
for gum arabic, as also in paste. Glue, by con- 
tinued digestion, is soluble in glycerine, gela- 
tinizing on cooling. 

Glycerine, to Test. — Pure glycerine may be 
tested as follows : When treated slowly with 
sulphuric acid if should not turn brown, with 
nitric acid and nitrate of silver it should not 
become cloudy, and when rubbed between the 
fingers it does not emit a fatty smell. 

Gnats, to Prevent the Attack of.— The 
best preventive against gnats, as well as the 
best cure for their stings, is camphor. 

Goatskin, to Clean. See Cleansing. 

Gold. See Alloys. 

Gold. See Gilding. 

Gold, to Clean. See Cleansing. 
Gold Colors : 
Yellow gold, gold, 24 parts. 
Red gold, gold, 18 parts, copper, 6 parts. 

Green gold, gold, 18 pans,- silver, 6 parts. 
Blue gold, gold, 18 parts, iron, 6 parts. 

White gold, gold, 12 parts, silver, 12 parts. 

Gold Iiace, to Remove Mildew from. 
See Cleansing. Mildew. 

Gold and Silver, Printing in. — 1. Roll 
the type with gold size or best pale printer's 
varnish; dust on the impression the required 
color, in powder, let dry, and brush off super- 
fluous powder with a ball of cotton wool, a 
hare's foot, or a soft brush. 

2. If a deep rich gold is wanted use a yellow 
or orange ink instead of varnish, and similarly 
for very fine work in color, grind up the re- 
quired color in varnish, print with that, and 
then dust on some of the same powder. You 
can get almost any shade of metallic powder 
in crimson, green, silver, or deep or light gold. 

Gold, to Test the Purity of.— An as- 
say or analysis is the only good method. Gold 
should dissolve in a mixture of 1 part nitric 
with three parts hydrochloric acid. A residue 
indicates silver. If sulphuric acid is added to 
the solution, a precipitate indicates lead. One 
quick method is to determine its specific grav- 
ity. Silver may be dissolved in nitric acid. It 
should, with excess of ammonia, give a color- 
less, clear solution. Sulphuric acid may be 
used to test for lead. 

Gold, Solution of.— Put 40dwt. of aqua 
regia in a small bottle, to which add 5 dwt. of 



Gold. 



246 



Graining. 



grain gold, the solution will immediately com- 
mence, and may be observed by the efferves- 
cence which arises at the time; when the solu- 
tion is complete, the whole of the gold will be 
dissolved, which will be accomplished in about 
two hours if the acids be genuine, but when 
they are not, it will be requisite to apply heat 
to assist in facilitating the solution. 

Gold Solder. See Soldering. 

Gold, Toughening of.— The most effec- 
tual process yet discovered to toughen brittle 
--gold is by simply passing chlorine through the 
' molten metal. By this method a saving of one 
half in the amount of gold usually set aside as 
unfit lor working has been effected. 

Gonlard 9 s Water. See Waters. 

Government W hitewash. See 
Whitewashes. 

Grafting Compost.— Clay tempered with 
water, to which a little linseed oil is sometimes 
added. Used to cover the joint lormed by the 
scion and stock in grafting. 

Grafting Wax. See Waxes, 

Graining.— This branch of the painter's art 
consists in imitating the grain, knots, etc., of 
different woods. The following is an outline of 
the process: If there are any knots or sappy 
places in the article, they should be covered 
with one or two coats of glue size or parchment 
size, to prevent them showing through. The 
work is then ready for the paint, three differ- 
ent shades being necessary. These are called 
the ground color, the stippling color, and the 
graining or oil color, and they are laid in the 
order named. An infinite number of combi- 
nations of colors is possible, obtained by the 
use of various coloring pigments in the differ- 
ent coats, and no two grainers agree as to the 
precise proportion of the ingredients to be 
used in imitating different woods; the learner 
can vary the proportions to suit his taste, as 
experience dictates, and to suit the work in 
hand. The ground color is used to represent 
the lightest part of the grain of the wood, the 
stippling color the intermediate shades, and the 
graining color the darkest parts; a close study 
of natural woods will, therefore, be necessary 
to determine the color and depth of each. The 
proper ground being selected, apply one or 
more coats— as many as are necessary to thor- 
oughly cover the surface. As soon as the 
ground color is hard the stippling coat may be 
applied. This is prepared by mixing the dry 
pigments without oil, with either very thin gum 
water, stale beer, or vinegar containing a small 
portion of dissolved fish glue. The pigments to 
be used are usually about the same as those 
used for the ground color, but of different 
proportions, to produce a deeper shade. Apply 
the stippling color and before it dries beat it 
softly with the side of the stippler, the long 
elastic hairs of which, disturbing the surface of 
the laid coat, cause the lighter coat beneath to 
become indistinctly visible, and produce *the 
effect of the pores of wood. Next apply the 
graining color; as soon as it is laid,' take the rub- 
ber, and with it wipe out the larger veins to be 
shown, after each stroke wiping the paint from 
the rubber with a cloth, held in the other hand 
for that purpose. Some grainers use a small 
^ponge for veining, and others a small piece of 
/ cloth over the thumb, but the rubber is prob- 
' ably the most convenient. When the veins 
have been put in, to imitate as closely as possi- 
ble the markings of natural wood, the various 
steel combs are brought into use, and the edges 
of the veins, and sometimes other portions of 
the work, combed with them to soften the ab- 
rupt transition from the dark to lighter shades. 
The blender is also now brought into use, and 
wherever the work may require it, the colors 
are still more softened and blended by its soft 
hairs. When too much color has been removed 
in veining, or when a certain figure, such as a 
knot, is required, the work is touched up with a 



fine brush and again softened with the blender. 
When dry, a coat of transparent varnish should 
be applied, having considerable oil to render it 
durable, as grained work is frequently washed. 
Ready made graining colors are recommended 
as best and cheapest. 

Colors.— In ground colors the essential condi- 
tion is to have them light enough; the same 
tint will do lor ash, chestnut, maple, light oak 
and satin wood, but a deeper tone is needed for 
black walnut. The most important point is to 
have the ground smooth and uniform. Grain- 
ing colors should be chosen from the very best 
qualities of umber, sienna and Vandyke brown, 
according to the demands of the work. 

Tools.— The implements employed by the 
grainer comprise, in addition to the ordinary 
painters' tools (a dusting brush and 2 or 3 
flat fitches) for applying the graining colors to 
the groundwork, a badger hair blending brush 
or softener, a set of combs,overgraining brushes 
suited for maple and oak, and a camel's hair 
cutting brush for maple. You may add a large 
cotton rag, a sponge, a lining tool, a veining 
horn, and combing and graining rollers. The 
combs may be of steel or leather. A set of 
steel combs contains three of each size — 1-in. 
wide, 2-in.,3-in. and 4-in., of fine, medium and 
coarse teeth. A cloth put round a steel comb 
is often substituted for a leather comb. 

Styles of Graining.— The various styles of 
graining differ according to the kind of wood 
which it is intended to imitate. These may be 
considered in alphabetic order, premising that 
as oak is the wood most commonly copied, the 
fullest details will be found under that head. 

Ash.— Ash graining differs from light oak al- 
most solely in the absence of the dapples found 
in the commoner wood. The ground color is pre- 
pared in the same way, and the same system of 
combing and wiping is followed. Excellent 
ash graining color can generally be purchased 
to greater advantage than it can be made up. 

Chestnut.— It is difficult to get the ground 
color for chestnut sufficiently yellow; the best 
composition is white lead, yellow ocher and 
orange chrome. The graining color is com- 
posed of burnt umber with small quantities of 
burnt sienna and Vandyke brown. The oper- 
ations followed resemble those with oak, a 
coarse comb being used. 

Mahogany. — This wood demands a bright 
ground color, which may be obtained by using 
deep orange chrome yellow and royal red, or 
vermilion, or orange mineral. Burnt sienna 
with a little Vandyke brown constitute the 
graining color. The style of grain varies. 
Generally in panels crotching is resorted to. 
The cutter is used to take out the lights; and 
the fine lines are put in with the over grainer, 
used almost in its normal condition, without 
being broken up into teeth, the lines running 
in a wavy pattern across the panel, like an 
inverted letter V. On the stiles and rails of the 
door, the blender is drawn over the fresh 
graining color in a series of jerky strokes 3 or 
4 in. long. When the first distemper color is 
dry, a very thin coat of quick rubbing varnish 
is put on; this should be dry in a day or so, 
when a glazing color of the same composition 
as the original graining coat is rubbed in, and 
stippled with the blender. A finishing coat of 
hard drying coach body varnish is flowed on 
with a thick badger brush. 

Maple.— This is imitated in water colors or dis- 
temper on a very smooth ground, using a white 
containing the smallest possible additon of raw 
sienna for the ground color, and raw sienna 
mixed with a little Vandyke brown and burnt 
sienna for the graining color. Fine sandpaper 
is employed for smoothing the ground, and the 
graining color is applied in very small quantity 
to a patch at a time. The best way of taking 
out the lights is by means of the cutter already 
mentioned, drawn lengthwise over the work; 
blending follows in a crosswise direction. The 
overgrain color is applied by a piped tool in 



Graining. 



247 



Graining. 



which the pencils are separated, this being 
drawn longitudinally in an undulating man- 
ner. Putting in the birds' eyes may be done 
by patting the wet work with the finger tips, 
or by a piece of cloth rolled into a point. 

Oak, light.— The best ground color is white 
lead tinted with raw sienna or golden ocher. 
This is preserved in a covered vessel, and 
sufficient only taken out to cover the area 
immediately wanted. This need be but a very 
small quantity; it is thinned before use by add- 
ing oil and turpentine and just enough boiled 
oil to delay the drying, so that the glazing coat 
can be applied on the following day. To hasten 
the drying, a little japan size or drier is added. 
Instead of completing small sections of work, 
it is better to prepare a large surface with 
ground color, so that it may commence to set 
before wiping out. This wiping out must pre- 
cede the combing on veins and sap wood, but 
follow it on dapples. 

The complete mode of precedure for light 
oak graining a panel door is as follows: Apply 
the ground color; when dry, smooth the sur- 
face with fine sandpaper. Rub in the graining 
color uniformly with a medium stiff sash 
brush; and stipple the beads, corners and 
mouldings with a dry brush. Commence 
on the panels, and make opposite ones cor- 
respond; wipe out in streaks lengthwise with 
a cotton cloth, and then go over with combs of 
progressive fineness. Take out the lights to 
show the dapples, either by the veining horn 
or by a cotton cloth wrapped around the 
thumb. Next comb the mouldings plainly. 
The most work is usually put on the rails and 
stiles; begin with the middle stiles, and finish 
them before proceeding to the rails, which may 
be done all together. On the sap wood or 
veined work, use the coarse comb as much as 
possible, and the wiping rag as little, remem- 
bering that here the wiping out precedes the 
combing. Allow the work to dry, rub down 
slightly with fine worn sandpaper, and apply 
the glazing coat. This is best ground up 
in water, the colors being a combination of 
raw and burnt sienna and Vandyke brown, 
mixed very thin, and used in very small quan- 
tity. 

The tone may be varied to correct the ap- 
pearance of the under coat; and as some parts 
of the work will require it thinner than others, 
it is well to have the color on a palette, and 
thin it to requirements by wettiog the brush. 
Rub in the glazing color with a stiff brush, and 
remove any streaks by softening with a blender. 
Deal "with only one panel at a time, or the 
glazing will dry ahead of you. Put in the top 
grain with an overgrainer dipped into thin 
color and then parted into a series of pencils 
by passing the comb through it; draw it length- 
wise with a light hand, and soften down the 
result with a blender. Remember that the 
panels should be the lightest colored portion 
of the door, and the mouldings the darkest, 
while the rails and stiles occupy an interme- 
diate place in this respect. 

To grain light work in distemper, which is not 
often done, proceed as follows : Lay on a coat 
of size and whiting ; then a ground color con- 
sisting of white lead and golden ocher, mixed 
with fine boiled oil ; when this has dried (say in 
two days), add the graining color, consisting of 
raw and burnt sienna and Vandyke brown, 
ground in water and mixed with the same 
quantity of smooth, flour paste; thin this 
down with water, brush it on and comb one 
portion and have*the other stippled by the 
whitewash brush to afford contrast; when 
all is dry, apply a heavy flowing coat of elastic 
varnish. 

Oak, Dark.— This differs from light oak grain- 
ing only in the colors. The ground color may 
be composed of white lead, royal red and golden 
ocher or chrome orange. The graining color 
has the same constituents as for light oak, only 
in other proportions. 



Rosewood.— For rosewood graining, the 
ground is rubbed in with crimson vermilion, 
then smoothed and glazed with a coat of crim- 
son lake or rose pink before putting in the 
grain. This is done wiih best ivory black, 
which can be bought ground in quick-drying 
vehicles and needs letting down with raw lin- 
seed oil. The graining coat is blended with the 
badger hair pencil as fast as it is laid on. When 
quite dry, a very thin glazing coat of black is 
added. 

Satin wood.— This is grained in distemper, 
using the same ground and graining colors as 
for bird's eye maple, taking out the lights with 
a cutter and putting on the overgrain as in 
mahogany. 

Walnut.— The ground color may consist of 
white lead, golden ocher, black and royal red, 
without fear of making it too bright. The 
graining color should be preceded by a coat of 
deep black and Vandyke brown ground in 
water ; and before it has set this is stippled by 
dabbing with a dry bristle brush. On this is 
laid the walnut oil graining color, procurable 
at the shops, previously thinned with turpen- 
tine and boiled oil. When the graining coat 
has partially set, the veins and figures are put 
in preferably with a fine hair pencil, and soft- 
ened with the blender. This last having dried, 
say in a day or two, a glazing coat of deep 
black and Vandyke brown is put on and fin- 
ished as in light oak. 

Hints.— To prevent a graining coat from 
'Jcissing" at a water color overgraining coat, 
that is repelling the water by antagonism of the 
oil, rub the grain with a sponge dipped into a 
thin paste of fuller's earth or whiting, which 
will prepare an absorbent surface for the water 
color. 

The two kinds of graining, distinguished as 
distemper graining and oil graining, differ in 
the following respects. In distemper graining, 
the older branch of the art, the colors are 
thinned with stale beer, size, etc., and the var- 
nishing coat can be added quickly; it is best 
adapted to hard closegrained woods. In oil 
graining, the colors are thinned with raw or 
boiled linseed oil, turpentine, etc., and are 
better suited to the soft, coarse grained woods. 

Marbling— The decoration of painted sur- 
faces so as to imitate natural marbles bears a 
close relation to graining in imitation of woods. 
It varies according to the figure of the marble 
simulated, the principal kinds being as follows: 

Black and Gold. — The ground color is black, 
laid on very smooth, and slightly oiled; the 
marble color will be composed of white, ocher, 
orange chrome, Indian red, and black, in vary- 
ing proportions. The marble color is rubbed 
in in disconnected irregular patches by a large 
pencil, fine irregular lines being added, both 
connecting the patches and crossing the general 
direction. An overgraining of dark and light 
lead color may occupy the spaces between the 
fine lines and a glazing of white touches will 
help to develop the patches. 

Black Bardilla. — Use light lead color as a 
ground, and put in a confused mass of fine 
lines in black by the aid of a feather ; soften 
with a badger blender, and when dry glaze 
with thin white of unequal strength. 

Derbyshire Spar.— Use light gray for a ground 
color, and glaze it with a thin mixture of black 
and Vandyke brown, with a little Indian red at 
intervals. To simulate the fossils use a stick 
with a piece of rag round it, then glaze with 
the same colors, and bring out the fossils by 
solid white and edging with fine black. 

Dove.— The ground color is a bluish red. Put 
in streaks of black and white (ground in oil) 
alternately by dipping a feather into turpen- 
tine and then into the color; soften with a 
blender, add a few white touches, and soften 
again. 

Egyptian Green.— The ground color is black. 
Glaze over this with a very dark green from 
Prussian blue and chrome yellow with a sash 



Granite. 



248 



Grindstones. 



tool ; on this streak with a lighter green on a 
leather, with a little Indian red interspersed, 
all in one direction; cross this with curling 
streaks of thin white, blend well, allow to dry, 
glaze with Italian pink and Antwerp blue, 
bring up the light streaks with touches of 
white, and finally blend again. 

Granites.— The chief varieties are gray and 
red (Aberdeen). Rub in the ground color of 
light gray for the former, or salmon tint for 
the latter. The marbling colors will be thin 
black for the former and black, red and white 
for the latter. These colors are put on in dots 
and splashes, either by stippling with a coarse 
sponge dipped in the color, or by springing the 
color from a short, stiff, broad brush. 

Italian Jasper. — Oil a ground of light green 
drab; rub in subcircular patches of a mixture 
of Victoria lake and Indian red ; between these 
put in, with a feather dipped in turpentine, 
successive tints of olive green (white, raw 
sienna and blue black) and gray (white, Prus- 
sian blue and ivory black), blending well. The 
olive and gray tints are glazed with white, and 
the dark with crimson lake ; and a final touch- 
ing up is given with very thin white on a 
feather. 

Royal Red.— On an oiled ground of bluish 
gray, rub in a mixture of ocher and Indian red. 
Cover part of the work with a rich brown 
made from ivory black and Indian red, and 
scatter patches of black about by a paper pad 
dipped into the color. Repeat the patching 
with light blue and with white ; then wipe out 
a few irregular lines so as to show up the gray 
ground color. Finally, glaze partially with 
black and Indian red. 

St. Ann's. — Resembles black and gold, the 
ground being black, the veins white and the 
spaces lead color ; the colored patches are less 
in size and more numerous. 

Sienna.— The ground color is buff, made with 
ocher. The various marbling tints are made 
from the following ingredients : A mixture of 
Indian red and ivory black for dark veins, with 
a few varying shades by the addition of white ; 
a selection of graduated tints from white, 
Indian red and Prussian blue. The glaze is 
made from raw sienna and ocher, with a trace 
of crimson lake at intervals. First put in the 
buff ground, and on this a pronounced irregu- 
lar vein across the work of the first marbling 
color, applied on a feather dipped in turpen- 
tine ; lead a few veinlets from the main vein, 
and put in others with the second marbling 
color, also on a turpentined feather; soften 
with a badger blender ; on the dry surface rub 
a little linseed oil with a silk rag ; touch up 
with thin white on a feather ; soften as before; 
add the glaze color and touch up the main vein 
with ivory black on a pencil. 

Verd Antique.— Cover an oiled black ground 
with dark green made from chrome yellow and 
Prussian blue; add with a feather patches of 
lighter green, with occasionally a little Indian 
red, interspersed with irregular blotches of 
black and white; on the dry surface put a 
green glazing coat of Italian pink and Ant- 
werp green; again touch up the whites, and 
give them a fine black margin. 

Granite, Gilding on. See Gilding. 

Granulation. — 1. In metals the metal is 
fused and poured into cold water, when the 
metal becomes finely divided, taking on a spher- 
ical shape. Shot is made in this way. 

2. In pharmacy, etc., the process is called 
granulation when the liquid to be converted 
wholly into a solid is concentrated until it is 
of a sirupy consistency, then removed from 
the fire, and stirred until the mass is cooled 
into granules. Sugar is a good example of the 
process. 

Grape Wines, See Wines. 

Grass, to Crystallize.— Dry the leaves, 
steep in a strong solution of alum for a few 
minutes, and dry again. 



Grass« to Kill.— To kill blue grass growing 
between bricks around the lawn, wash the bricks 
with salt water or strong solution of soda. 

Gravity, Specific. -To Convert Degrees 
Baume into Specific Gravity.— 1. For liquids 
heavier than water.— Subtract the degree of 
Baume from 145, and divide into 145. The quo- 
tient is the specific gravity. 

2. For liquids lighter than water.— Add the 
degree of Baume to 130, and divide it into 140. 
The quotient is the specific gravity. 

To Convert Specific Gravity into Degrees 
(Baume).— 1. For liquids heavier than water. — 
Divide the specific gravity into 145, and subtract 
from 145. The remainder is the degree of 
Baume. 

2. For liquids lighter than water.— Divide the 
specific gravity into 140, and subtract 130 from 
the quotient. The remainder will be the degree 
of Baume. 

Comparison of Degrees Twaddell and Specific 
Gravity. —In order to change degrees Twaddell 
into specific gravity, multiply by 5, add 1,000, 
and divide by 1,000. 

Example.— Change 168° Twaddell into specific 
gravity. 

168x5 

840 
1,000 



1,000)1,840 

1*84, specific gravity. 
To change specific gravity into degrees Twad- 
dell, multiply by 1,000, subtract 1,000, and divide 
by 5. 

Example.— Change 1*84 specific gravity to 
degrees Twaddell. 

1-84 x 1,000 

1,840 
1000 

5)840 

168° Tw. 

Graying of Iron and Steel.— By dipping 
or sprinkling with dilute nitric acid alter neat- 
ing until blue. 

Grease, Anti-friction. See I*ufori~ 
cants. 
Grease, to Remove, See Cleansing. 

Greenhouses, Floor and Pipes of. — 

Cover your floor with a thin layer of hydraulic 
Hme or cement. Paint your pipes with a cov- 
ering of asphaltum varnish, made by dissolving 
asphaltum in turpentine by a gentle heat. 

Green Pigments. See Pigments. 

Greek Fire. — The exact composition is un- 
known. It is supposed by some to have been 
naphtha, by others a mixture of niter, asphalt 
and sulphur. 

Grindstones, Artificial. — Artificial 
grindstones have been made at Worms, 
Germany, of grit, soluble glass and petro- 
leum. It is said that they will bear a very 
high speed without becoming soft. Washed 
silicious sand, 3 parts; shellac, 1 part; melt the 
lac and mould in the sand while warm. Emery 
may be substituted for sand. Used for razors 
and fine cutlery. 

Grindstones, to Hang.— It requires a 
pretty fair mechanic to hang a grindstone to 
run true and stay true. It is supposed that 
you have no flanges upon the axle. The hole 
should be at least % or ^ in. larger than the 
axle, and both axle and hole square; then make 
double wedges for each of the four sides of the 
square, all alike and thin enough, so that one 
wedge from each side will reach clear through 
the hole. Drive the wedges from each side. If the 



Grindstones. 



349 



Gums, 



hole through the stone is true the wedges will 
tighten the stone true; if the hole is not at 
right angles to the plane of the stone it must 
be made so, or the wedge corresponding must 
be altered in the taper to meet the irregularity 
in the hole. 

Grindstones, to True.— Drive at a mod- 
erate speed and true up with a rod of Vk in. or 
% in. iron, or better, a piece of tube. To use it, 
keep turning the rod or tube, which should be 
held nearly at right angles, and turns as the 
edge grinds away. By thus turning it round a 
new edge is formed all the time that the stone 
is turned off true. The stone should be dry, 
not wet. Do not attempt to perform such an 
operation close to a lathe or other machine 
without thoroughly covering them up, as the 
dust flies everywhere and will cause serious 
damage. 

Grinding- and Polishing, etc., Speeds 
for.— 

Speed of Ft. per min. 

Large grindstones for polishing — 2,000 

Emery disks 2,500 to 8000 

Polishing large articles 750 

Tool grinders 650 

Circular saws for hot iron 20,000 

Disintegrators 10,000 

Plate-bending rolls 4 

Millstones 17,000 

Sack tackle 50 

Grounds for Etchings. See Etching. 

Ground Glass. See Glass. 

Ground Glass, Varnish for. See Var- 
nishes. 

Grout. — Mortar reduced to a thin paste 
with water, used to fill up the joints of masonry 
and brick work. A finer kind is used to finish 
off the best ceilings. 

Guaiacum.— A resinous exudation of a tree 
of Jamaica, 90$ soluble in absolute alcohol. 

Artificial Guano.— Dry sulphate of soda 
(Glauber salts), 5}4 lb.; wood ashes, 11 lb.; com- 
mon salt, 42 lb.; crude sulphate of ammonia, 56 
lb.; bone dust, 3}& bushels. 

Gum, Chewing.— Take of balsam tolu 
4 oz., white resin 16 oz., sheep suet 13^ oz., more 
or less, and melt together. Of above mixture 
take 2 oz.; white sugar, 1 oz.; oatmeal 3 oz. 
Soften and mix on a water bath. Roll the 
pieces in finely powdered sugar or flour to form 
sticks, etc., as desired. Paraffin with a little 
olive oil and glycerine may be melted together 
for a chewing gum. The exact mixture will 
vary with the season, etc. 

Gum Paste. See Pastes. 

Starch, Gum.— Dissolve 4 oz. of the purest 
gum arabic in 1 qt. hot water, set away in a 
bottle, tightly corked. A splendid preparation 
for starching silks. 

Gums. See also Resins and Balsams.— 

The distinctions between gums, resins and 
balsams may be briefly tabulated as follows : 

Resim are the inspissated or thickened juices 
of plants. They are generally mixed with an 
essential oil, are insoluble in water, but are 
soluble enough in either alcohol or the essential 
oils. Their general characters are inflamma- 
bility ahd fusibility. Their ultimate compo- 
nents are carbon, oxygen and hydrogen. 

Gums are soluble in water, but are insoluble 
in alcohol. 

Balsams or gum resins contain a quantity of 
gum, are partly soluble in water, partly so in 
alcohol, or in other words, they take both alco- 
hol and water to perfectly dissolve them. 

Gum arabic is yielded by several species of 
acacia. It is quite soluble in water, but insol- 
uble in alcohol, ether and oils. It forms an 
acid solution, as permalate of lime is present. 
Several of the metallic oxides combine with it. 
It is very nutritious, so much so that the Arabs 



who gather it nearly live upon it during har- 
vest time. We import it from the Levant, 
Barbary, Senegal, Cape of Good Hope, India, 
Cairo, etc. 

Gum Bassora.— Gum is almost insoluble in 
water. Comes from Bassora. Gum Turkey, 
variety of gum arabic. 

Gum sen&gal, the product of acacia Senegal. 
This is the best kind of Arabian gum. It is 
much more clear than gum arabic, sometimes 
entirely white, in drops as large as a pigeon's 
egg. Its principal use is in the manufacture of 
silks, muslins, crapes, etc., to give them the 
requisite amount of stiffness and glaze. It is. 
also mixed with the colors in calico print- 
ing to give them solidity. 

Gum tragacanth or gum dragon. This is ob- 
tained from Astralagus tragacantha. In ap- 
pearance it resembles twisted ribbons, of a 
brownish white color, opaque and rather duc- 
tile. When pulverized in a mortar it is of a 
white color. The operation of pulverizing is a 
difficult one, and. should be performed in a hot 
mortar, the gum having been previously heated 
to 212° F. This gum has a remarkable power of 
consistence, a small piece swelling up to 
many times its own size. It has not, how- 
ever, such a strong power of adhesiveness 
as gum arabic, but if equal parts of the two 
be mixed together it forms a nice white gum, 
very suitable for fastening plants to paper, 
and other natural history work. The tree is it- 
self a native of Crete. 

Gum Sandarac.— The product of Callitris 
quadrivalvis is a native of Barbary. This gum 
is chiefly used in the manufacture of var- 
nishes, for which it is peculiarly adapted. The 
Turks employ the wood in the construction of 
their mosques, it being very tough and pos- 
sessing great lasting qualities. Importation 
about fifteen tons per anuum. 

Gum Seed.— A soluble gum obtained from the 
quince, flax, etc. 

Barbary Gum. — A very dark looking kind 
produced by the Acacia gummifera. in the 
manufacture of lozenges and confectionery it 
has valuable qualities. It calls for no special 
comment. We import it from the Morocco 
coast. 

Gum Gedda.—An anterior quality of the fore- 
going. Reddish color. 

Canada Balsam.— This is supplied by the 
Abies balsamifera. It is contained in blisters 
in the bark. The blisters are punctured, and 
the balsam is collected as it exudes. This is a 
most useful substance, being in great demand 
in a number of manufactures, etc. It is used 
in cementing lenses together. In microscopy 
comment is needless, but besides being an ex- 
cellent preservative, it gives great transpar- 
ency to the obieci . 

Cherry Tree Gum.— Partially soluble in water. 

Guaiacum.— This resin exudes from the Gua- 
iacum officinale, a native of Jamaica and the 
surrounding islands. A piece of paper treated 
with a tincture of guaiacum takes on a green 
tint under the violet rays, when exposed to the 
prismatic spectrum, through oxidation. Red 
rays destroy the color. Solubility, 90$ in abso- 
lute alcohol. Lignum vitae, the hardest and 
heaviest wood known, and which sinks on 
being placed in water, is the timber of this tree. 

Copal. —This is the product of several legu- 
minous plants in Africa, East Indies, South 
America, and Australia. It is generally seen in 
large angular lumps, often as large as a hen's 
egg, of a bright yellow color, and very trans- 
parent. The African variety is of a darker 
color, and not so transparent; its surface 
appeal's dusty. The Australian is the largest. 
That from the East Indies is the product of 
Hymenaea courbaril. In lumps sometimes 
nearly square and generally covered all over 
with slight indentations. It is known as gum 
anime. Chiefly used for fine varnishes. 

Gum Mastic— The product of Pistacia lentis- 
cus. In small ovoid and round tears about the 



Gums. 250 

size of a pea and rather flattened. The tree is 
a native of Chio and Northern Africa. To ob- 
tain the resin the bark is cut transversely, 
after which the mastic exudes in small drops 
and either hardens on the bark or falls to the 
ground; that which falls to the ground is the 
inferior quality. It has a fragrant smell, and 
is much used by the Turkish ladies in their 
toilet. A fine varnish is made from it. Den- 
tists also use it for stopping hollow teeth. 
About ten or twelve tons are imported annu- 
ally, mostly from the Levant. 

Gum Dam mar.— This is a light colored sub- 
stance which is obtained from the Pinus dam- 
mara, native in India, from whence it is ex- 
ported. It is very useful in making varnishes, 
especially photographic. It is soluble in ben- 
zole, only partly so in alcohol, and is used 
sometimes as a substitute for Canada balsam. 

Gum Gamboge. — A product of Hedradendron 
gambogioides, native on the Malabar coast and 
in Ceylon. It is a gum resin, and is obtained 
by puncturing the bark of the tree when the 
flowers begin to appear. We know it best by 
its appearance in amorphous masses, but it 
also takes the form of hollow rolls and solid 
cylinders. The best hollow rolls come from 
Siam. From this gum the beautiful yellow 
color of gamboge is manufactured. 

Gutta Percha. — The inspissated juice of Iso- 
nandra gutta. — When freshly gathered it is 
rough, dry, slightly soluble and very inflam- 
mable. To render it fit for usp it is immersed 
in boiling water; this softens it and makes it 
capable of being moulded into any shape, 
which it retains when cold. 

The juice is found between the bark and the 
wood. Its uses are too numerous to specify, 
many being well known. 

Caoutchouc. — India rubber is the product of 
many euphorbiaceous plants. We get most 
of it from the Brazils and Central America. 
In Brazil it is obtained from the Siphonia elas- 
tica, which grows to a height of between fifty 
to sixty feet, and in Central America it is ob- 
tained from Castilloa elastica. Most of that 
we now use comes from Central America, 
where the juice is simply collected into cups, 
from incisions made in the bark. To coagulate 
the milky juice and convert it into rubber fit 
for exportation, the juice of a vine called 
achuca is mixed with it, and so powerful is its 
action that five or six minutes is sufficient to 
produce coagulation. The Brazilian method 
slightly differs. The juice is first collected in 
clay bowls, it is then smeared over various 
shaped moulds, made also in clay and taking 
the form of bottles, balls, spindles, etc. Suc- 
cessive coats are laid on, each one having pre- 
viously been allowed to thoroughly dry, either 
in the sun or the smoke of a fire, which black- 
ens it. When a sufficient thickness is obtained, 
the clay is washed out, leaving the India rub- 
ber ready for exportation. The trees yield 
twenty or thirty gallons of juice, and, when 
we consider that each gallon will produce two 
pounds of market India rubber, the harvest is 
not so bad. Other trees producing caoutchouc 
are Siphonia brasiliensis, S. lutea. and S. brevi- 
folia. 

Dextrine, British gum, torrified starch. — To 
produce this gum, starch is heated until vapor 
rises; by this procedure the starch becomes 
soluble both in cold and hot water, and all its 
gelatinous character disappears. It can also 
be made by moistening 1,000 parts of dry starch 
with very dilute nitric acid. It is formed in 
small blocks and dried in the open air, after- 
ward being placed in an oven heated to 152°. 
After this they are pulverized and again dried 
by heat. In color dextrine is pale yellow, in- 
soluble in alcohol, more flexible and not so 
brittle when dry as gum. Dextrine and starch 
have the same chemical composition, C 6 H ]0 O5. 
The gum on the back of postage stamps is dex- 
trine. 



Gun, 



I 



Gum Thus or frankincense, an odoriferous 
product of the Boswellia serrata. — It is of 
slight use except for its odor, which the Roman 
Catholics turn to account in their churches. 
Employed also by the ancient priests of Egypt, 
its odor destroying the foul emanations from 
the sacrifices. It is imported from India and 
sometimes the Levant. 

Asafcetida (Narthex asafoztida).— This flows 
from incisions made in the root of the tree. In 
color it is milky white, but after it has been 
dried it takes on a pinkish tint and is curiously 
mottled. It has a most unpleasant odor. Af- 
ghanistan and Persia is the home of the tree. 
It is used medicinally as an anti-spasmodic in 
cases of asthma. — Science Gossip. 

Anime.—A pale brownish yellow, transparent, 
brittle resin, which exudes from the Hymencea 
courbaril (Linn.), or locust tree, the H. martiana, 
and other species of Hymenaea growing in 
tropical America. It contains about 2% of vo- 
latile oil, which gives it an agreeable odor, 
melts without decomposition, is (nearly) in- 
soluble in alcohol and caoutchoucine, but forms 
a gelatinous mass in a mixture of the two. 

Gum, Yellow.— (Botany Bay resin). This sub- 
stance is produced by an Australian tree named 
Xanthorrhma hastilis. It is not a gum, but a 
gum resin, being insoluble in water, but soluble 
in alcohol. It is found in reddish brown ir- 
regular masses, partially semi-transparent and 
lustrous, and in parts dull and earthy, often 
bearing impressions of the bark of the tree. 
It is used in making varnishes. 

Gum Peru.— The root of a plant of the aspho- 
del tribe, dried, powdered and sifted. It cannot 
be entirely freed from woody matter, and if 
used as a thickener it fouls the rollers rapidly. 

Kino. — A gum resin obtained from Australia 
and India, the former kind being yielded by 
Eucalyptus resinifera and the latter by Ptero- 
carpus erinaceus. Kino is red, in small frag- 
ments, but appears almost black in large 
masses. It dissolves both in water and in alco- 
hol with a red color, but the aqueous solution 
does not remain clear long. 

The subjoined table will be found useful in 
discriminating the various kinds of gums : 



Gums. 


Sulphate 
of iron. 


Tincture 
guaiacum. 


Subacetate 
of lead. 


Gum 

arabic. 


Yellow 
precipitate 


Blue 

color. 


White 

curd. 


Senegal. 


Do. 


Do. 


Do. 


Cherry. 


Do. 


Do. 


Transpar- 
ent jelly. 


Traga- 
canth. 


Do. 


No change. 


Do. 


Dextrine. 


No pre- 
cipitate. 







To Preserve Gum, Arabic Solutions. — A few 
drops of oil of cloves,or of alcohol, or any es- 
sential oil, will preserve a quart of the mucil- 
age of gum arabic or gum tragacanth from 
turning sour. A small quantity of dissolved 
alum will preserve flour paste. 

Artificial or British Gum. — Malt, crushed 
smafl, 1 lb.; warm water, 2 gal. Mix, heat the 
whole to 145° F.; add of potato starch 5 lb.; 
raise the heat to 160° F., and mash for about 
twenty-five minutes, or until the liquid be- 
comes thin and clear; it must then be instantly 
run off, and raised to the boiling point to pre- 
vent the formation of sugar; after boiling for 
three or four minutes,the whole must be fil- 
tered and evaporated to dryness by a steam 
heat. 

Gums, Washes for. See The Teeth. 

Gun Barrels 9 to Brown. See Brown- 
ing' Metals. To Blue. See Bluing. 



Gun. 



251 



Hair. 



Gun Barrels, Varnish, for. See Var- 
nishes. 

Gun Cotton as a Filter.— G-un cotton is 
used as a filter for solutions of strong acids, 
alkalies, etc., as it is scarcely acted on by chem- 
ical agents, at ordinary temperature. 

Gun Cotton. See also Pyroxyline. 

Gun Cotton.— It may be prepared in small 
quantities as follows : Mix 4-^ oz. of pure dry 
nitrate of potash with 30 fl. drm. sulphuric 
acid, specific gravity 1*846, and, after cooling 
thoroughly, stir into this mixture carefully 
120 grn. best carded cotton. As soon as satura- 
tion is complete, in about one minute — if prop- 
er care has been used— throw the cotton into 
a tubful of clean rain water, and change the 
water repeatedly until litmus ceases to show 
the presence of acid, then squeeze it in a cloth, 
and after being well pulled out, dry it cautious- 
ly at a temperature not exceeding 140° F. It is 
now explosive, and too much caution cannot 
be observed in handling it. 

Gun Metal. See Alloys. 

Gun Metal, to Blacken. See Black- 
ing Metals. 

Gunpowder. See Pyrotechny. 

Gunpowder— For gunpowder the materials 
(charcoal, sulphur and saltpeter) are first per- 
fectly dried and separately reduced to impalp- 
able powders. These are then sifted together, 
moistened with water and ground for some 
time between large millstones kept constantly 
moist with water. The wet powder is then col- 
lected into large lumps and carefully dried. 
These lumps are grained by bringing them in 
contact with sharp teeth fixed upon the per- 
iphery of a revolving wheel and agitating in 
suitable sieves to separate from the finer pow- 
der. The powder consists of 76 parts of niter, 
13 parts of charcoal, and 11 parts of sulphur. 

Gun Sights, Composition for. — Gas 

black, ^-arm.; methyl alcohol, 2 fl. drm.; spirit 
Tarnish, 2 fl. drm. 

Gutta Percha. — Gutta Perclia and Caout- 
chouc, Substitute for (Sorel).— 1. Pitch, 18 parts; 
•calcium hydrate, 9 parts; gutta percha, 24 
parts. 

2. Coal tar, 18 parts; calcium hydrate, 9 parts; 
gutta percha, 24 parts. Used for manufactur- 
ing waterproof articles, tubes, machine belts, 
waterproof boots and shoes, etc. If greater 
tenacity is desired, add cotton, wool or hemp. 

Gutta Percha, to Bleach. See Bleaching. 

Gutta Percha, Ceme ntfor. See Cements. 

Gutta Percha, to Clean. See Cleansing. 



Gutta Percha Composition. 
tions. 



See Composi- 



Liquid Gutta Percha.— This useful prepara- 
tion is to be found in the United States Phar- 
macopoeia, and is made thus: Gutta percha in 
thin slices, 1 oz.; chloroform, 8fl. oz.; carbonate 
of lead,in fine powder, 1 oz. Add the gutta per- 
cha to 6 fl. oz. of the chlorof oi*m in a stoppered 
bottle and shake them together frequently un- 
til the solution has been effected. Then add 
the carbonate of lead previously mixed with 
the remainder of the chloroform, and, having 
several times shaken the whole together, set 
the mixture aside and let it remain at rest un- 
til the insoluble matter has subsided. Lastly, 
decant the clear liquid and keep it in a well 
stoppered bottle. One part of this solution in 
10 parts by weight of chloroform produces an 
excellent and convenient preparation for 
painting over cuts or wounds. It readily acts 
as a styptic and protective to the wound and 
causes neither tension nor pain. If pure iodo- 
form be added, about ten per cent., it further 
enhances the value of the styptic and can be 
used in veterinary surgery with marked success 
for applying to cuts and abrasions, as it arrests 



hemorrhage, forms a coating over the wound 
and promotes a healthy cicatrization. 

Gutta Percha, to Melt.— The gutta percha may 
be dissolved by adding bisulphide of carbon ; if 
the liquid thus obtained is poured upon glass, 
after a short time the gutta percha maybe 
lifted in the form of a thin sheet, the bisul- 
phide evaporating very quickly. 

Plastic Gutta Percha.— When gutta percha is 
steeped for a few hours in benzol or naphtha it 
becomes considerably swollen ; if afterward 
soaked in hot water, it is exceeding plastic and 
requires but moderate pressure to obtain most 
perfect copies from even such fragile objects 
as plaster of Paris models. 

Gutta Percha for Cementing Cloth. — Tailors 
use a special preparation of gutta percha for 
this purpose, consisting of a thin tissue, placed 
between layers of the cloth and pressed with a 
hot iron. Used extensively to fasten the bot- 
tom edge of trousers. 

Gutta Percha Varnish. See Varnishes. 

Haemorrhoids.— The Pharm. Era vouches 
for this as an excellent salve f or hemorrhoids: 
Cocaine hydrochloride, 20 gr.; morphine sul- 
phate, 5 gr.; atropine sulphate, 4 gr.; tannin, 20 
gr.; vaseline, 1 oz.; rose water, sufficient. Ap- 
ply after each evacuation of the bowels, con- 
tents of which should of course be kept in 
soluble condition. 

Hair, The.— This subject is very difficult to 
arrange for ready reference. The alphabetical 
arrangement has been adhered to as far as 
possible, but some search may be required be- 
fore the desired receipt is found. 

The Hair.— 1. This should be washed once or 
twice a week in tepid or cold water; it should 
afterward be rubbed dry with a towel. To dry 
the hair before the fire is injurious to its 
vitality. 

2. Once or twice weekly some one of the 
washes i ecommanded for promoting the growth 
of the hair may be used. Combing and brush- 
ing are of great service in promoting the hair's 
nutrition; soft brushes are the best. Never use 
a broken, jagged comb, and then go round com- 
plaining that your hair is coming out by hand- 
fuls. 

3. A little — half to one teaspoonf ul— of scented 
oil may once a week be rubbed well into the 
hair and its roots, and the superfluous oil re- 
moved by the use of a towel. The daily use 
of oil, except in some rare cases of obstinate 
dry hair, is objectionable. 

4. If you want a head of thick hair, keep it 
cut as short as you conveniently can. Never 
should a woman allow her hair to grow to the 
level of her waist, for it will thin the hair and 
weaken the system. Of the moustache, beard 
and whiskers, it is equally necessary to moder- 
ate their length, and that it will be found of 
advantage to occasionally apply a little oil and 
some stimulating lotion. Combing and brush- 
ing will also be of service. Directly hair shows 
any signs of thinning, shave it off or cut away 
as much as possible, according to its situation. 

5. Brush the eyebrows every day in their 
proper artistic line, and occasionally rub in a 
little Olive oil and some preparation. Once 
every month the tips of the eyelashes may, 
with advantage, be cut. 

Bandoline.— -1. Iceland or Irish moss boiled in 
water, strained and perfumed. 

2. Boil in 2 lb. of water until it is reduced 
one-half, 1 teaspoonf ul quince seed, 2 table- 
spoonfuls flaxseed, a pinch white mustard seed. 
Perfume with oil of almonds. 

3. Two tablespoonf uls flaxseed, 3}4 pt. water. 
Boil five minutes. 

4. Heat 3 oz. isinglass in 2 lb. water, until dis- 
solved. Add 4 oz. alcohol. Perfume with oil 
of almonds. 

5. Put 2 parts powdered gum tragacanth in 
60 parts rose water. Digest for three days. 
Strain and perfume with essential oil of rose. 



Hair. 



Hair. 



These mixtures can be colored with cochineal 
if desired. 

6. Quince seed 2 or 3 drm. 

Water 1 pt. 

and otherwise proceed as before. 

7. Gum arabic (clean, white) 2 oz. 

Rose water 6 oz. 

dissolve and add of— 

Tincture of cochineal, or ) + , 

Essence of roses (red) j- q. s. to color, 

together with a little spirit, if the product be 
intended to be kept long in hot weather. 

8. Gum arabic 314 to 4 oz. 

Water 3^pt.; 

dissolve, etc., as before, and gradually drop 
Eau de cologne or lavender water 

into the clear strained liquid, until the cloudi- 
ness, at first occasioned, ceases to be removed 
by agitation. The next day decant the clear 
portion for use. 

Bandoline is used by ladies and by hair- 
dressers to stiffen and fix the hair in curl or 
place. It is applied either by moistening the 
fingers and passing the hair through them or 
by means of a small piece of sponge. 

9. Rose Bandoline.— Gum tragacanth, 6 oz.; 
rose water, 1 gal.; otto of roses, % oz. Steep 
the gum in the water for a day or so. As it 
swells and forms a thick gelatinous mass it 
must from time to time be well agitated. 
Squeeze through a coarse linen cloth and allow 
it to stand for a few days; pass through the 
cloth a second time, then thoroughly incor- 
porate the otto of roses. 

Bay Rum.—l. Bay oil, 1 oz.; oil pimento, 34 
oz.; alcohol, 2 gal.; water, 4 pt. 

2. Bay oil, 10 drm.; pimento oil, 1 drm.; acetic 
ether, 2 oz.; alcohol, 3 gal.; water 23^ gal.; mix, 
and after two weeks' rest filter. 

3. A cheap bay rum can be prepared by sat- 
urating a 34 lb. block of magnesium carbonate 
with oil of bay; pulverize the magnesia, place it 
in a filter and pour water through it until the 
desired quantity is obtained, then add alcohol. 
The quantity of water and of alcohol depends 
on the desired strength and quantity of bay 
rum. 

4. Bay rum is made by digesting the leaves of 
the bay plant, an aromatic plant grown in the 
West Indies, in rum, and subsequent dis- 
tillation. An imitation is made as follows: 
3*4 fluid drm. oil of bay, % fluid drm. oil of 
pimento, 1 fluid oz. acetic ether, 1 gal. alcohol, 
3 qt. water. Mix, and after two weeks' repose 
filter. 

Bears' 1 Grease. See Pomades and Hair 
Oils. 

To Bleach Hair.— Gaseous chlorine and hydro- 
gen peroxide are effectual agents in bleaching 
hair. The hair should be thoroughly cleaned, 
with a warm solution of soda, then washed with 
water. While moist it is put into a jar and 
chlorine gas introduced, until the air in the jar 
looks greenish. Allow it to stand for twenty- 
four hours, and if necessary repeat. 

Brilliantine.— Oil bitter almonds, 1 or 2 parts; 
alcohol, 12 parts; oil, q. s. 

Brilliantine, Inseparable.— Oil vicini, 1 part; 
absolute alcohol, 12 parts; oil and oil of neroli, 
q. s. 

Cosmetiques.— Hard pomatum, either colored 
or uncoiored, under the form of flattened 
sticks. They are used to color the eyebrows, 
whiskers, moustache and beard, as well as to 
keep the hair in its place. The application 
must be renewed daily, or of tener, as the cos- 
metique is removed by the friction to which it 
is incidentally exposed, and perfectly so by 
soap and water. The habitual and extensive 
use of colored cosmetiques is dirty and discred- 
itable. 

Cosmetique Blanc— Lard, good hard, 5 parts; 
white wax, pure, 2 parts. Melt them together. 



Cosmetique Brum— The preceding, colored 
with any harmless brown pigment, as with 
levigated umber, raw and burnt, for plain 
brown, and levigated terra di sienna or Spanish 
brown for auburn and chestnut. A golden 
brown, for very light hair, may be given by 
strongly impregnating the melted fat with an- 
natto, and then adding a little burnt terra di 
sienna. 

Cosmetique Noir. — Hard pomatum (cos- 
metique blanc) colored with one-fourth or 
one-fifth of its weight of the best levigated 
ivory black. The way to insure a perfect mix- 
ture of the pigments is to triturate them with 
a little of the melted fat in a warm marble 
mortar, before adding them to the rest. 

Cosmetique, Transparent.— Transparent cos- 
metique is nothing more than a transparent 
soap, made with alcohol. Take a good suet or 
tallow soap, which is cut into very thin rib- 
bons and exposed to the air and sun until it is 
thoroughly dried. It is then pulverized in a 
marble mortar and passed through a fine sieve. 
The powder thus obtained is directly dissolved 
in strong boiling alcohol. While the soap is 
liquid, the colors and perfumes are incorpor- 
ated with it; S}4 gal. of alcohol of 0*849 sp. gr. 
are generally used with 50 lb. of soap. A still 
heated by steam or hot water is used for this 
operation, as a considerable quantity of alcohol 
would be lost in a common heating pan, and the 
direct application of fire would destroy the 
transparency of the soap. 

Curling Fluid— 1. Mucilage of gum arabic, 
3 oz.; salts of tartar, 1% oz.; rose water, 234 pt.; 
orange flower oil (from flowers), 6 oz. Color 
with liquid carmine. 

2. Hair (False) to Preserve the Curl of .—To pre- 
vent the curl of false hair coming out by per- 
spiration or weather, use flax seed water. 

3. Use the liquid obtained by boiling for ten 
minutes, 1 drm. quince seeds in 3^pt. water and 
straining, or steep 6 oz. gum tragacanth for 
thirty hours in 1 gal. rose water, stirring fre- 
quently; strain through a cloth and let stand 
for a few days; then strain again and work in- 
to it 4 drm. oil of rose. 

4. Take borax, 2 oz.; gum arabic, 1 drm.; add 
hot water (not boiling), 1 qt.; stir, and as soon 
as the ingredients are dissolved add 3 table- 
spoonfuls of strong spirits of camphor. On re- 
tiring wet the hair with the above liquid. 

Deficient Hair. —When the hair has been 
scanty from birth the apparently bald places 
should be examined by a powerful lens, for the 
presence of down. The following treatment 
will probably develop the young hairs which 
compose the down. Brush the parts with a 
baby's hair brush for five minutes three times- 
daily. Then gently rub in the following prep- 
aration: Tincture of cantharidis, 1 oz.; recti- 
fied spirit, 40 oz.; sublimed sulphur, 1 oz.; gly- 
cerine, 8 oz. The application should not be 
wiped off. The part should also be gently 
bathed with warm water before the application 
and dried with a soft towel, but not rubbed. 
When the young hair is seen to be developing 
the lotion may be changed for the following: 
Dilute liquid ammonia, Y^ oz.; rectified spirit, 
10 oz.; sublimed sulphur, 34 oz.; tincture can- 
tharadis, y% oz.; glycerine, 2 oz.; phosphate of 
lime, 34 oz.; tincture cinchona, )4 oz. This is to 
be applied ir the same manner as the other. 
Should any irritation of the skin follow, its 
bulk of glycerine and water, equal parts, may 
be added. 

Depilatories. — Depilatories should be used 
only with great caution, if used at all. Number 
2 is probably the best. 

1. Chemical.— Sulphuret of calcium (recent) 
and quicklime, equal parts. Reduce them sep- 
arately to fine powder, mix, and keep the mix- 
ture in a well stopped bottle. Very effective 
and as safe as any. 

2. A strong solution of sulphuret of barium, 
made into a paste as wanted with powdered 



Hair. 



253 



Hair. 



starch and at once applied. Prof. Redwood 
says this is the best and safest depilatory. 

3. Boudet's Depilatory : 

Hydrosulphuret of sodium (crys- 
tallized) 3 parts. 

Quicklime 10 parts. 

Staroh 11 parts. 

Mix. etc., as No. 1. Very effective. It is or- 
dered not to be applied for longer than two to 
four minutes. 

4. Cazenave's Pommade Epilatoire : 

Quicklime 1 part. 

Carbonate of soda 2 parts. 

Lard 8 parts. 

Rub them together so as to form an ointment. 

5. Chinese Depilatory : 

Sulphuret of potassium 1 part. 

Pearlash (dry) 1 part. 

Quicklime 8 parts. 

Mix. Effective and safe if properly used. 

6. Colley's Depilatory : 

Niter 1 part. 

Sulphur 1 part. 

Orpiment 3 parts. 

Quicklime 8 parts. 

Soap lye (strong) 32 parts. 

Boil them together in an iron vessel to the con- 
sistence of cream and keep it in a stoppered 
green glass bottle. 

7. Delcroix's Poudre Subtile : 

Orpiment 1 oz. 

Quicklime ...10oz. 

Starch 13 oz. 

Mix, etc., as No. 1. 

8. Pate Epilatoire : To No. 6 add— 
Powdered orris root. . „ 3 parts. 

Or enough to form it into a paste. 

9. Depilatory paste : 

Fresh slaked lime 2 parts. 

Water , 3 parts. 

Mix, pass a stream of sulphureted hydrogen 
into the paste as long as it continues to absorb 
the gas, and then at once put it into stoppered 
bottles. It is said to be so powerful that a 
layer a line in thickness will denude any por- 
tion of the scalp or beard in less than three 
minutes. Its use, therefore, requires the ut- 
most care. 

10. Plenck's Pasta Epilatoria : 

Orpiment 1 part. 

Quicklime .12 parts. 

Starch ,.12parts. 

Mix, etc., as No. 1. 

11. Rayer's Depilatory: 

Charcoal ; . . . i par t. 

Quicklime ... 8 parts. 

Salt of tartar (dry) 16 parts. 

Mix, etc., as No. 1. 

12. Depilatory.— -A mixture of quicklime, 8 
parts; sulphid of potassium, 1 part; dry pearlash, 
1 part; kept in a closed bottle and made with 
warm water into a paste at the moment of use, 
is the best depilatory. In order to use it with 
safety, it must be applied to a smaU portion 
ot the skin and allowed to remain only five or 
ten minutes. The safest of all depilatories is a 
strong solution of sulphide of barium made 
into a paste with powdered starch and used im- 
mediately after being mixed. N. B.— Barium 
compounds are poisonous when taken into the 
stomach. 

13. Buehligen's Depilatory.— A mixture of 2 or 
8 parts sulphide of arsenic with 15 parts pulver- 
ized quicklime. 

Dry, Stiff or Obstinate Hair.— Men should use 
yz teaspoonful, women 1 teaspoonfu] olive oil, 
every morning. The hair should be washed 
daily in glycerine 5 parts; water 50 parts. It 



should be parted if possible in that direction in 
which it most easily falls. The brush should be 
used freely. 

Hair Dyes.— Where, from some personal idio- 
syncrasy, the color of the hair has disappeared 
and cannot be restored, a dye may be consid- 
ered necessary, the following will be of service; 
but the nitrate of silver dyes should be avoided 
and the use of any dye for prolonged time is 
detrimental to the hair. 

1. Brown : 

Walnut skins beaten to a pulp 4 oz. 

Rectified spirit 16 oz. 

The above is perfectly innocent in its char- 
acter. 
The following is original, and non-injurious: 

2. Black: 

Sulphate of iron 10 grn. 

Glycerine 1 oz. 

Water 1 pt. 

The hair must be thoroughly washed with 
this, dried and brushed once daily for three 
days; then the following should be applied on a 
small tooth comb, but it should not be allowed 
to touch the skin if the other preparation 
has done so, as a temporary stain would result. 

3. Gallic acid 4 grn. 

Tannic acid. 4 grn. 

Water V/% oz. 

After the first application of Formula 2. the 
hair should be allowed to dry and then be 
brushed. Subsequently, both formulas may be 
used once daily at an interval of an hour or so, 
until a black color is produced. 

All preparations of lead and mercury are in- 
jurious if used for any length of time; they may, 
however, be legitimately used where some 
small portion of hair has t from personal idiosyn- 
crasy, lost its color, which cannot be restored. 

4. Brown : 

Litharge 1 part. 

Slaked lime 2 parts. 

Starch 2 parts. 

Milk sufficient to make a paste. 

Black, as above, but in place of milk use 
water. 

The head must be covered after using these 
to prevent evaporation. 

5. Black— Slaked lime, 2 parts; carbonate of 
lead, 1 part; mixed with water and applied as 
the last. 

6. Black.— Silver nitrate, 11 drm.; nitric acid, 

1 drm.; water, 1 pt.; sap green, 3 drm.; gum 
arabic, V& drm. 

7. Black.— Nitrate of silver, 1 drm.; distilled 
water, just so much as will dissolve it. Bottle 
and keep in the dark. In another bottle place 

2 drm. of gallic acid in a^ pt. of hot water. 
After washing the hair use the gallic acid, and 
when it is nearly dry the silver solution. The 
dye may be lightened in color by adding more 
water to the silver solution. 

8. Prof. Redwood : 

Litharge . 2 oz. 

Fresh slaked lime 1 oz. 

Powdered starch 1 oz. 

mix. For use, add of— 

Liquor of potassa 2 fl. drm. 

Water, to form a thick cream. . q. s. 
and stir the whole briskly for some time. The 
proportions here are excellent; but, owing to 
the caustic nature of the liquor of potassa, it is 
advisable to wet the paste up about an hour 
before applying it, and to stir it frequently 
during the whole time. 

9. Lime, slaked by exposure to 

damp air 2 parts. 

Carbonate of lead, pure white 

lead 1 part. 

mix thoroughly, pass the mixture through a 
gauze sieve, and at once bottle it and preserve 
it from the air. Used as the preceding, but 
acts in one-third or one- fourth the time. The 



Hair. 



254 



Hair. 






shade depends chiefly on the length of its appli- 
cation. Not recommended. 
10. Chevallier : 

Fresh slaked lime 5 drm. 

Water 1}4 oz. 

mix, strain through gauze, and pour the milk 
into a 4 oz. bottle. Next take of— 

Sugar of lead 5 drm. 

Water 3 oz. 

dissolve; add to this solution- 
Dry slaked lime 1 drm. 

and agitate them well together for a few min- 
utes. Wash the resulting precipitate with a 
little distilled or soft water, drain it and add it 
to the milk of lime in the 4 oz. bottle. Lastly, 
shake the whole well together, and again be- 
fore use, if it be not at once applied. It must 
be kept well corked. As the last, but acts 
much more quickly. 

11. Silver Dyes.— The old f orms of these were 
the two following : 

Nitrate of silver, cryst 1 drm. 

Distilled water 1 oz. 

dissolve. Used undiluted, as noticed below; it 
dyes the hair black; diluted with an equal bulk 
of pure water, deep brown and chestnut; and 
with twice its bulk of water, light brown and 
auburn; all of which may be modified by the 
mode of using it. The color it produces also 
depends on that of the hair to which it is 
applied, 

12. Nitrate of silver, cryst. . . 1 to 1)4 drm. 
Distilled water 2 oz. 

dissolve. For browns of different shades, di- 
luted, as before, according to the result de- 
sired. Hair moistened with either of the pre- 
ceding gradually changes its color by exposure 
to the light, and almost immediately on ex- 
posure to sunshine. 

13. Nitrate of silver, 30 grm.; sulphate of cop- 
copper, 2*5 grm. Dissolve the two salts in 250 
cubic centimeters of water, and add sufficient 
ammonia to dissolve the precipitate formed, 
and make it up to one liter. 

An instantaneous dye may be made by steep- 
ing the hair in a solution of pyrogallic acid in 
acetic acid, and then in the argenti-cupric solu- 
tion dissolved above. The hair should be al- 
lowed to dry partially after the application of 
the pyrogallic solution. By varying the pro- 
portion of the pyrogallic acid from 1 grm. to 
50 grm. per liter, any tint may be obtained 
from light brown to black. — Moniteur Scien- 
tifique. 

14. Pyrogallic Hair Dye (Pyrogallic Stain) : 

Pyrogallic acid 34 oz. 

Distilled water, hot .... 134 oz. 

dissolve, and when the solution has cooled, 
gradually add of — 

Kectifled spirit 34 fl. oz. 

It may be made a little stronger or weaker, at 
will. 

The pyrogallic stain of the shops is com- 
monly made by the dry distillation of Aleppo 
galls, coarsely powdered, in a retort with a 
short wide neck, dissolving the solid acid, which 
sublimes in a little hot water, and after mixing 
this solution with the acid liquor which also 
passes over, adding a little rectified spirit. The 
oil floating on the surface is then skimmed off, 
or otherwise separated, and the liquid either 
decanted or filtered. 

15. The hulls of green walnuts are pounded 
up, and the juice expressed by squeezing in a 
tincture press. The juice is then rubbed up 
with olive oil. 

16. The juice as expressed is used mixed with 
a little rectified spirits and perfumed with oil 
of cloves, the latter acting as a preservative. 
The whole is allowed to stand for a week or 
two with occasional agitation, and the clear so- 
lution is eventually decanted. Sometimes salt 



is used to preserve it. These dyes stain the 
skin very strongly. 

17. The simplest form is the expressed juice 
of the bark or shell of green walnuts. To pre- 
serve the juice, a little alcohol is commonly 
added to it with a few bruised cloves, and the 
whole digested together, with occasional agita- 
tion, for a week or fortnight, when the clear 
portion is decanted, and, if necessary, filtered 
Sometimes a little common salt is added with 
the same intention. It should be kept in a 
cool place. . The most convenient way of ap- 
plication is by means of a sponge. 

18. Hair Dye, Yellow.— Moisten the hair, pre- 
viously washed and dried, with a solution of 
acetate or nitrate of lead, and follow with a 
mordant of yellow chromate of potash. 

19. Hair Dye, Blonde or Flaxen.— Mix 5 oz. 
distilled water, 34 oz. acetate of iron, 34 oz. 
nitrate of silver, and 1 oz. nitrate of bismuth; 
moisten the hair with this mixture, and after 
an hour, touch it with a mixture of equal parts 
of sulphide of potassium and distilled water. 

Lustral Fluid.— Take 1 oz. of wax to 1 lb. of 
oil; otto of bergamot, 1 oz.; otto of lemon, 34 
oz.; otto of lavender, 2 drm.; otto of cloves, 1 
drm. 

Philocome, Friend to the Hair. — White 
wax, 10 oz.; fresh rose oil, 1 lb.; acacia oil, 34 
lb.; jasmine oil, 34 lb.; fleur d'orange oil, 1 lb.; 
tuberose oil, 1 lb. Melt the wax in the oils by 
a water bath at the lowest possible tempera- 
ture. Stir the mixture as it cools; do not pour 
out until it is nearly cool enough to set. Let 
the jars be slightly warmed. 

Philocome (second quality).— White wax, 5 
oz.; almond oil, 2 lb.; otto bergamot, 1 oz.; otto 
of lemon, 34 oz.; otto of lavender, 2 drm.; otto 
of cloves, 1 drm. 

Sea Foam for Barbers.— Dissolve in 8 oz. al- 
cohol 2 oz. castor oil, 1 oz. ammonia. Add this 
mixture to 1 qt. water. 

Hair Oils.— Camphorated Oil.— Olive oil in 
which 5 or <6% camphor (crushed) has been dis- 
solved, by means of a gentle heat. A popular 
application in weak and failing hair. To in- 
crease its action, a little oil of thyme, rosemary, 
or nutmeg, should be added to it. 
Cocoanut Hair Oil : 

Cocoanut oil 34 pt. 

Castor oil J4 pt. 

Alcohol *..6'pt. 

Slippery elm bark 1 oz. 

Water 4 oz. 

Oil of bergamot 1 oz. 

Oil of lemon 34 oz. 

Oil of pimento 34 oz. 

Oil of almonds. 1 drm. 

The cocoanut oil is mixed with the castor oil* 
and the alcohol mixed slowly with them at a 
slight heat. The elm bark in coarse powder is 
dissolved in the water and strained, and mixed 
by agitation with the rest. Lastly it is filtered, 
perfumed, and colored with a little tincture of 
gamboge. 

Hair Oil.— Castor oil, 34 pt.; 95# alcohol, 34 pt.; 
tincture cantharides, 34 oz.; oil of bergamot, 2 
drm. Color a pale pink with alkanet root. 

Macassar Oil.— 

Oil of ben or almonds (reddened) 1 pt. 

Oil of rosemary 1 drm. 

Oil of origanum „ . . 1 drm. 

Oil of nutmeg .-. 15 drops. 

Otto of roses 15 drops. 

Neroli ". 6 drops. 

Essence of musk 3 or 4 drops. 

Mix, as before. 
Huile de Macassar (Macassar Oil), of Naquet.— 

1. Oil of ben 8 qt. 

Oil of noisette — 4 qt. 

Alcohol lqt. 

Essence bergamot .3 oz. 

Spirit of musk... 3oz. 

Spirit of Portugal 2 oz. 

Essence of roses 2 drm. 



Hair. 



255 



Hair. 



Mix and keep the whole over a water bath for 
an nour in a well closed vessel. Digest then in 
the same vessel for a week, stirring several 
times daily. Color with alkanet. 
Huile de Macassar (Macassar Oil).— 

2. Oil of ben 8 qt. 

Oil of noisette .4 qt. 

Alcohol .1 qt. 

Essence bergamot 3 oz. 

Essence rose . .2 drm. 

Spirit of musk 3 oz. 

Spirit of Portugal .2 oz. 

Mix and digest precisely in the same manner 
and for the same length of time as for the pre- 
ceding. This oil, however, is preferable to 
Naquet's, from its property of keeping much 
longer. Color with alkanet. 

To Make the Hair Curl.— 

Olive* oil ...1 lb. 

Oil of origanum 1 drm. 

Oil of rosemary .134 drm. 

Oil of Roses.— 

Olive oil 1 pt. 

Otto of roses . . 16Idrops. 

Common Oil.— 

Rectified spirit 1 pt. 

Sweet oil 3 pt. 

Stimulating Pomatum.— 

Almond oil 34 lb. 

White wax 3djOz. 

Clarified lard 3 oz. 

Liquid ammonia 34 oz. 

Oil of lavender 1 drm. 

Oil of cloves 1 drm. 

Marrow Oil. — 

Clarified beef narrow 13*6 oz. 

Oil of almonds 34 pt. 

Melt them together, and scent the mixture at 
will. Held in high repute as a hair oil by 
many. That of the shops has seldom any mar- 
row in it, but lard instead. The appropriate 
scents are the same as for bears 1 grease. It is 
generally tinged slightly yellow by means of a 
little palm oil or annatto. 

Huile du Phenix, or Baume Nerval.— 

Beef marrow, purified 4 oz. 

Lard, purified 2 oz. 

Concrete oil mace 4 oz. 

Oil of cloves, lavender, mint, rose- 
mary, sage and thyme, each. . . 2 drm. 

Balsam of tolu 4 drm. 

Camphor 1 drm. 

Alcohol 36° Baume 1 oz. 

Place the alcohol in a glass matrass, and, by 
the heat of a water bath, dissolve therein the 
balsam tolu. This done, add the camphor and 
essential oils. On the other hand, melt to- 
gether the marrow, lard, oil of mace, and, as it 
congeals, add the alcoholic solution first made, 
and stir the whole well until it is entirely 
cooled. 

Bear's Grease.— Take washed hog's lard (dry) 
134 lb., melt it by the heat of a water bath, add 
balsam of Peru, 2 drm.; flowers of benzoin and 
palm oil (blight), 1 drm. of each. Stir vigor- 
ously for a few minutes. Then remove the 
pan and after repose for a short time, pour off 
the clear portion from the sediment and stir 
the liquid mass until it begins to cool. 
Bear's Oil. Huile de Graisse d'Ours.— 

Bear's grease body. 8 oz. 

Beef tallow body ... 2 oz. 

Oil of alder 1 drm. 

Oil of sage 1 drm. 

Benzoin 4 drm. 

Musk 3^j drm. 

Prepare this as directed for the preceding 
oils. 

Mixed Essential Oils; Mixed Scents.— 

1. Oil of bergamot 1 oz. 

Oil of lemon 1 oz. 



Oil of lavender (English) 3^ oz. 

Oil of pimento y% oz. 

Mix. 

2. To the last add of— 

Oil of orange peel ; . . 2 drm. 

Oil of cloves 1 drm. 

3. Oil of bergamot ... 3 drm. 

Oil of lemon .3 drm. 

Oil of orange peel 3 drm. 

Essence de petit grain 2 drm. 

Oil of cloves 134 drm. 

Oil of cassia 1 drm. 

Mix. 

The above are used as extemporaneous scent 
for smelling bottles, hair oil, pommades, es- 
prits, sal volatile drops, etc; for which purpose 
one or other of them is commonly kept at 
hand by the druggists. 1 oz. of any one of 
them, added to a pt. of rectified spirit, pro- 
duces an agreeable esprit or perfume for per- 
sonal use. 
Huile Royale, Oil of Ambergris and Musk.— 

Ambergris 2 drm. 

Grain musk , . 3^ drm. 

Oil of lavender (English) 20 drops. 

Oil of cassia 10 drops. 

Oil of cloves 10 drops. 

Oil of nutmeg. 10 drops. 

Neroli ...10 drops. 

and proceed by infusion. Very fine. The in- 
gredients are worked over a second time, as 
with oil of musk. 

Hair Oil Perfume. — The quantities are for 1 
qt. of hair oil. 

1. Heliotropin 8 grn. 

Coumarin 1 grn. 

Oil of orris 1 gtt. 

Oil of rose 16 m. 

Oil of bergamot 32 m. 

2. Coumarin. . . . — 1 grn. 

Oil of lemon — 16 m. 

Oil of bergamot 48 m. 

3. Coumarin 1 grn. 

Oil of bitter almond 2 gtt. 

Oil of cassia 2gtt. 

Oil of lavender flower 32 m. 

Oil of lemon 48 m. 

Oil of bergamot 80 m. 

4. Coumarin 2 grn. 

Oil of wintergreen 2 gtt. 

Oil of clove 4 gtt. 

Oil of cassia 4 gtt. 

Oil of lavender flower 16 m. 

Oil of lemon 48 m. 

Oil of bergamot 72 m. 

Oil of Vanilla; Huile a la Vanille.— 

Vanilla (finest in powder) 234 oz. 

Oil of bergamot 1 fl. drm. 

Otto of roses 15 drops. 

Ambergris 3 grn. 

Oil (almond or olive) 134 Pt- 

by infusion. Very fragrant. For the simple 
oil, the bergamot, otto and ambergris, are 
omitted. 
Hair Powder. See Powders, 
Shampoo Liquid, American Shampoo Liquid.— 

1. Sesquicarbonate of ammonia 2 drm. 

Carbonate of potash 2 drm. 

Soft water 34 pt. 

dissolve and add the solution to a mixture of— 

Tincture of cantharides.. 13^ A- oz% 

Rectified spirit 34 P*- 

Good rum 134 pt. 

and agitate the whole well together, adding a 
little scent, or not, at will. This preparation, 
too, has been highly puffed for removing dand- 
ruff, preventing the hair falling off, etc. In 
using it, the hair is wetted with it, well rubbed so 
as to form a lather, and then either washed with 
cold or lukewarm water, or rubbed dry with 



Hair. 



256 



Hair. 



a towel and at once arranged with the brush and 
-comb. A commoner kind, in which the recti- 
fied spirit and one-third of the rum is replaced 
by water, forms the shampoo liquid often used 
by the hairdressers after cutting the hair. 

2. This very fashionable liquid, now in such 
prevalent use for removing the dandruff from 
the hair, is made by mixing together — 

New England rum 3 qt. 

Bay rum 1 qt. 

Water. 1 pt. 

Glycerine 2 oz. 

Tinct. cantharides ^ oz. 

Carb. ammonia , J^ oz. 

Borax 1 oz. 

Dissolve the last two in the water and add 
i;he solution to the other materials mixed to- 
gether and then shake up well. The hair 
is moistened with this liquid and the slight 
lather occasioned by rubbing with the hands 
must be washed out with water. By doubling 
the quantity of borax the lather is more soapy, 
but the addition is injurious to the hair. 

3. Cream of tartar, 1 oz.; alcohol, 8 oz.; water, 
1 oz.; perfume, if desired. 

4. Ammonia, 1 oz.; saltpeter, % oz.; best 
caustic soda, finely shaved, 12 oz.; perfume to 
suit. 

5. Ammonia, 3 oz.; cream of tartar, J4 oz.; al- 
cohol, 2 oz.; water, 1 pt.; perfume, if desired. 

Shampoo Creams.— 

1. New England rum 1 pt. 

Bay rum % pt. 

Glycerine 2 oz. 

Carbonate of ammonia 1 oz. 

Borax 2 oz. 

2. Carbonate of potash 2 oz. 

Bay rum 2 oz. 

Rose water 1 pt. 

Water 1 pt. 

3. Carbonate of ammonia J*£ oz. 

Carbonate of soda V£oz. 

Rum y> pt. 

Water 1 ~ pt. 

Hair Washes, Tonics, Tnvigorators and Mis- 
cellaneous.— To graduaUy darken the hair : 

Sulphate of iron (green, 

crushed) 1 drm. 

Rectified spirit 1 fl. oz. 

Oil of rosemary 10 or 12 drops. 

Pure soft water ^ pt. 

Agitate them together until solution and mix- 
ture are complete. Many persons substitute 
the strongest old ale for the water ordered 
above. 
Infusion of Cantharides : 

Cantharides (powdered, re- 
cent) 2 to 3 drm. 

Boiling water 1 pt. 

Infuse, with frequent agitation, in a covered 
vessel, for two hours. When cold pour off the 
liquor, press the residuum and filter. A little 
spirit of rosemary or thyme may be added. 
Used as a shampoo liquid, also as a wash in 
baldness. 
Lotion of Quinine, Quinine Hair Wash : 

Disulphate of quinine 1 drm. 

Rose water 8 oz. 

Dilute sulphuric acid (sp. gr. 
1103) 15 drops. 

Rectified spirit 2 oz. 

Mix, then add of— 

Glycerine J4oz. 

Essence royale 5 or 6 drops. 

And agitate until solution is complete. The 
next day decant or filter. A fashionable tonic 
wash in weak hair, the skin of the head being 
moistened with it once or twice daily. 
Saponaceous Lotion, Vegetable Hair Wash : 

White soft soap 1 oz. 

Soft water 18 fl. oz. 



Dissolve by heat. When cold, strain the solu- 
tion, if necessary, and add of — 

Liquor of potassa 2 fl. drm. 

Rectified spirit 2 fl. oz. 

Essence royale (or ess. of — 
musk) 10 drops. 

And agitate the whole well together. Used 
chiefly to clean the partings of the hair, being 
afterward rinsed off with water. 

Golden Hair. - The most harmless and effect- 
ive of all preparations for producing this 
color is peroxide of hydrogen; it is sold under 
various high sounding names and sometimes at 
an exorbitant price. 

Hair Invigorator.— A correspondent of the 
Lancet states that he has found the following 
preparation most useful in cases of falling off 
of the hair : 

Tincture of jaborandi % oz. 

Lanoline 3 drm. 

Glycerine 2 oz. 

Mix (by the aid of a little soft soap). A little 
to be rubbed in every night. 

Quinine Hair Tonic : 

Quinine sulphate 20 grn. 

Tincture of cantharides 2 fl. drm. 

Eld. ext. of jaborandi 2 fl. drm. 

Alcohol 2 fl. oz. 

Glycerine 2 fl. oz. 

Bay rum 6 fl. oz. 

Rose water— enough to make 15 fl. oz. 

The quinine is dissolved in the alcoholic 
liquids by warming slightly, then the other 
ingredients are added. 

Stimulating Hair Lotion : 

Tinct. of cantharides 3 fl. drm. 

Tincture of capsicum 1 fl. drm. 

Ammonia 2 fl. drm. 

Glycerine 2 fl. drm. 

Cologne water — enough to 

make 16 fl. drm. 

Astringent Hair Tonic : 

Tannin 1 drm. 

Tincture of myrrh. 1 fl. oz. 

Glycerine 5 fl. oz. 

Salicylic Hair Tonic : 

Salicylic acid 50 grn. 

Borax ' 2% drm. 

Tincture of cantharides 1)4 fl.'oz. 

Bay rum 6 fl. oz. 

Rose water 6 fl. oz. 

Boiling water — enough to 
make 18 fl. oz. 

Athenian Water.— Rose water, 1 gal.; alcohol, 
1 pt. ; sassafras wood, J4 lb. ; pearlash, 1 oz. 
Boil the wood in the rose water in a glass ves- 
sel ; when cold, add the pearlash and spirit. 

Wash for Falling Hair.— Try the following: 
Iodine (crushed small), % drm.; olive oil (luke- 
warm), 34 pt.; agitate them together in a small 
phial until solution is complete. It may be 
scented with a little essential oil of almonds or 
lemons; but it is better without it. Most of 
the other oils cause the gradual decomposition 
of the hair. It has been very highly recom- 
mended as a hair oil for daily use in partial 
loss of hair and baldness, also to rub indurated 
glands, etc., with. 

Hair Preservative.— A decoction of the bur- 
dock root (bardanus) is -the safest wash for the 
scalp to promote the growth of the hair and 
strengthen the skin so as to prevent the falling 
out of the hair. 

Harmless Hair Restorative.— The same au- 
thority remarks : The basis of all the best lo- 
tions for restoring hair is cantharides or am- 
monia. A solution of borax in camphor water 
is useful. It cleanses the roots of the hair, and 
acts very slightly as a stimulant ; and thereby 
it will serve to promote the growth of the hair. 



Hair. 



257 



Hair. 



But one of the best stimulants we know of that 
has not hitherto been published, is this : 

Vinegar of cantharides 1 fl. oz. 

Glycerine ZfL.oz. 

Rose water 6 fl. oz. 

Mix well. Let the mixture stand for twenty- 
four hours, and filter. 

Hair, to Prevent from Falling Out.— Glyce- 
rine and tincture capsicum, each 2 oz.; oil of ber- 
gamot, 1 drm. ; mix and perfume- to suit. This 
is to be the only dressing for the hair. Wash 
the head occasionally with soft water and fine 
soap. 

Beard Promoter.— Croton oil 12 drops, sweet 
oil of almonds ^ oz. troy. Mix and rub on skin 
gently twice a day. If too irritating, double 
the amount of sweet almond oil. It is poison- 
ous. 

Glycerine Hair Wash.— Glycerine, 2 fl. oz. ; 
water, 6 fl. oz. ; oil of rosemary, 6 drops. Mix 
together. This is an excellent remedy against 
dandruff. 

Hair Tonic— One oz. of sage and steep it in 
boiling water for ten minutes ; strain and add 
2 oz. glycerine, J4 oz. powdered borax, J4 oz " l&c 
sulphur, 34 oz. tincture of cantharides, berga- 
mot sufficient to perfume. Apply twice a week 
with the hand, and rub thoroughly in. It will 
remove dandruff and strengthen the growth. 
It will also, it is said, prevent gray hairs. 

Scurf or Dandruff .— The scientific name of this 
is pityriasis ; it is characterized by the produc- 
tion of a white, brittle scarf skin, which sheds 
itself in small scales. The affection is not con- 
fined to the scalp, although it generally attacks 
parts covered by hair. 

The treatment consists in daily washing of 
the head or other parts affected with — 

Warm water 1 pt. 

Glycerine J^ oz. 

This should be thoroughly rubbed over the 
skin; the dilute citrine ointment (sold by all 
chemists) may be used at night. A good pre- 
ventive, and in mild cases, a curative wash is— 

Water 1 pt. 

Borax 1 oz. 

As a preventive, it should be used once weekly; 
as a curative, twice daily. 

It sometimes happens that the disease at- 
tacks parts uncovered by hair, and it has, in 
error, been termed scorbutus, or the scorbutic 
complaint. Dandriff, or pityriasis simplex, is 
totally distinct from scorbutus, or scurvy. The 
latter is brought about by abstinence from 
vegetable food, and nearly always removed 
when the latter is supplied ; and, moreover, it 
is a disease characterized by rottenness of the 
gums, foul ulcers, and wasting of the body. 

AVhen dandruff occurs on uncovered skin, the 
part must be constantly moistened with glyce- 
rine, and dilute citrine ointment should be used 
at night. Every night, each square inch of the 
affected skin is to have rubbed in a piece of the 
f ollowing ointment, the size and thickness of a 
quarter dollar. 

Chrysophanic acid ldrm. 

Lard 1 oz. 

Once every day the following is to be freely 
applied : 

Carbonate of bismuth I oz. 

Glycerine 1 oz. 

Milk 2 oz. 

Rectified spirit 1 oz. 

This is to remain on for half an hour, and to be 
washed off with- ■ 

Water 1 pt. 

Glycerine 1 oz. 

Baldness, to Prevent.— It is recommended for 
the prevention of baldness that the hair be kept 
pretty closely cropped, and that the head be 
bathed frequently in salt water and lubricated 
occasionally with a very small quantity of 
vaseline. Two teaspoonf uls of salt to a pint of 



water will make a tonic of the proper strength, 
and with this the head should be bathed three 
times a week.— Med. Bee. 

World's Hair Restorer contains, says Witt- 
stein, 5*6 grn. sulphur, 8 grm. sugar of lead, 100 
grm. glycerine and 200 grm. aromatic perfumed 
water. 

Lanolin Hair Cream : 

1. Creme d'Amand 1 drm. 

Glycerine 1 drm. 

2. 01. amygd 6 drm. 

Lanolin y^ oz. 

Otto de rose 8 gtt. 

3. Tinct. canthar 2 drm. 

Aquae ad 4 oz. 

Mix in separate mortars the first two lots; 
gradually add No. 2 to No. 1, then stir No. 3 
gradually in. 

Drying Washes for Moist, Lax Hair : 

Essential oil of almonds 1 fl. drm. 

Oil of cassia y% fl. drm. 

Essence of musk ^£ fl. drm. 

Rectified spirit 2j£ fl. oz. 

mix, and add gradually, with brisk agitation — 

Distilled water 10 oz. 

in which has been dissolved— 

Gum arabic (finest) — 1 oz. 

The hair and scalp is slightly moistened with 
the liquid, and the hair at once arranged (with- 
out wiping), while still moist. 

Hair, Damp.— If the hair is persistently damp 
a wash may be made with : Water, 1 pt.; table 
salt, 1 teaspoonf ul. This may be used once or 
twice daily, and the hair thoroughly combed 
and brushed after its application. Its long con- 
tinuance tends to lighten the hair. 

Hair, False, to Restore.— To bleach or restore 
a switch of white hair which has turned yellow, 
clean thoroughly and expose it moist to the 
vapor of burning sulphur in a box. 

Glycerine Hair Tonic— Glycerine, 2 fl. oz.; al- 
cohol deodorized, 12 fl. oz.; castor oil, 2 fl. oz.; 
oil of rosemary, 20 drops, or any other perfume. 
Dissolve the castor oil and oil of rosemary in 
the alcohol and add gradually the glycerine. 

Hair Washes (Eaux pour les Cheveux).— To 
strengthen and improve the growth of the 
hair: 

1. Rosemary tops 2 oz. 

Boiling water 1 pt. 

Infuse in a teapot or covered jug until cold, 
then express the liquor and add to it of — 

Rectified spirit 1 fl. oz. 

or— 

Good Jamaica rum 2^ fl. oz. 

and shake them well together. 

2. Box leaves a small handful. 

Boiling water 1 pt. 

Infuse as before and add to the expressed 
liquor or not, at will, of — 

Jamaica rum 2% A« oz. 

3. As the last, but substituting good black 
tea, 1 oz. for the box leaves. These are all pop- 
ular favorites. 

4. Erasmus Wilson. — 

Eau de Cologne (strongest).. 8 fl. oz. 

Tincture of cantharides 1 fl. oz. 

Oil of lavender (English) J^ fl. drm. 

Oil of rosemary y% fl. drm. 

Mix. More energetic than the preceding. It 
is improved by the addition of y% fl. drm. of oil 
of origanum, or by its substitution for the oil 
of lavender, but the omission of the latter ren- 
ders it less odorous. 

A Safe Hair Dressing.— The following is from 
the Year Book of Pharmacy for 1872 : 

Oil of cocoanut 12 oz. 

Castor oil 3 lb. 

Melt the cocoanut oil and add then the castor 
oil; agitate until they are thoroughly mixed 
and add strong alcohol, 4 pt. 



Hair. 



258 



Hardening, 



Tricopherous.— Castor oil, % pt.; alcohol 95$, 
% pt.; tincture cantharides, % oz.; oil of berga- 
niot, 3 drm. Color a pale pink with alkanet 
root. 

White Batons or Cosmetics.— Suet, 1 lb.; wax 
or paraffine, Yi lb.; otto of bergamot, 1 oz.; otto 
of cassia, 1 dr.; otto of thyme, J^dr. 

Hair Washes— Stimulating : 

Rose water Yz pt. 

Rectified spirit Yz pt. 

Tincture of arnica Yi oz. 

Dilute liduid ammonia 2 drm. 

Bandoline for Hair. 

Quince seeds 1 part. 

Hot water 4 parts. 

Eau de Cologne. 

Alcohol 2 qt. 

Oil of neroli of orange 3 drm. 

Oil of rosomary lYz drm. 

Oil of orange zest 1 oz. 

Oil of bergamot 3 drm. 

Hungary Water. 

Rectified spirit 1 gal. 

Oil of neroli of lemon V/% oz. 

Oil of petch grain — ^ oz. 

Oil of orange Yz oz. 

Oil of rosemary ^ oz. 

Oil of citron zest J4 oz. 

Oil of neroli of orange J oz. 

Eau de Bouquet. 

Rectified spirit 1 pt. 

Spirit of rosemary ^oz. 

Essence of violets Y oz. 

Essence of bergamot Y* drm. 

Essence of jasmine Y drm. 

Oil of verbena M drm. 

Oil of lavender M drm. 

Rose water 24 pt. 

Orange flower water J^oz. 

Eau sans Pareille. 

Bergamot essence Y drm. 

Essence of lemon 1 drm. 

Essence of citron Yz drm. 

Hungary water 2 oz. 

Rectified spirit 1Y pt. 

Washes for Failing Hair and Baldness.— Those 
of the shops mostly contain tincture of can- 
tharides as their active ingredient. The fol- 
lowing is a good formula : 

1. Tincture of cantharides.. .. 2Y A. oz. 
Jamaica rum, strong, good . . 2Y A- oz. 

Glycerine (Price's) 1 oz. 

Sesqui carbonate of ammonia, 

crushed 2 drm. 

Oil of origanum 15 drops. 

Oil of rosemary 15 drops. 

mix, add of— 

Distilled water 9 oz., 

and agitate the whole well together. The 
skin of the head to be moistened and,, rub- 
bed with it twice daily. It will keep the hair 
soft and moist like oil. Liquor of ammonia 
may be substituted for the sesquicarbonate. It 
may be diversified by omitting the ammonia 
altogether, or by substituting £& drm. of oil of 
nutmeg for the rosemary and origanum. 

The following are in less frequent use, but 
have been highly extofled for their efficacy by 
certain writers: 

2. Iodide of potassium 2 drm. 

Rosemary water 1 pt. 

dissolve, and add a little eau de Cologne or 
lavender to scent it. 

3. To the last add of— 

Tincture of iodine *4 A. oz. 

4. Phosphureted oil 1 oz. 

Mucilage, thick 1 oz. 

Glycerine (Price's) Y oz. 

Distilled water Y pt. 



Form them into an emulsion, adding a few 
drops of essence of roses and of musk, to 
scent it. 

Hall Marks.— Hall mark, the official stamp 
of the British Goldsmiths' Company and other 
authorized assay offices on gold and silver arti- 
cles to guarantee their purity.— The standard 
silver of England is an alloy, containing, in 
1,000 parts, 925 parts silver and 75 copper. 
Originally the Goldsmiths' Company had a 
monopoly of gold and silver work in England. 
The company is still authorized to search the 
shops of silversmiths and seize articles which 
do not bear the hall mark of the company. A 
charge of Is. 6d an oz. is made for assaying and 
stamping, the larger portion of the revenue so 
derived being paid over to the government. 

Halogens.— Chlorine, bromine, iodine and 
fluorine are called the halogens, because they 
form a peculiar series of salts called the haloid 
salts. Thus cadmium bromide and potassium 
iodide are haloid salts. 

Hams, Curing.— 1. Few persons under- 
stand the proper ingredients and exact propor- 
tions to make a suitable pickle for curing hams. 
This information will doubtless prove of 
value. The desideratum is to cure the meat so 
that it will keep in hot weather, with the use 
of as little salt as possible. Pickle made in the 
following manner, it is believed, will accom- 
plish this: 

1M lb. salt— coarse or alum salt is best. 
^| oz. saltpeter. 

1 pt. molasses or 1 lb. brown sugar. 
1 teaspoonf ul saleratus. 

Let these be added to 1 gal. of water, and the 
amount increased in the same proportions to 
make the quantity required. Bring the liquor 
to a boil, taking care to skim just before it be- 
gins to boil. Let the pickle cool, and pour it 
over the meat until entirely covered. The 
meat should be packed in clean, tight casks, 
and should remain in the pickle six or seven 
weeks, when it will be fit to smoke. Green 
hickory wood is the best article for this pur- 
pose. Shoulders prepared in the same way are 
nearly as good as hams. This pickle is just the 
thing to make nice corned beef, or corned beef 
tongues, or any lean meat for drying.— Valley 
Farmer. 

2. To 1 gal. water, take lYi lb, salt, Y lb. 
sugar, Yi oz. saltpeter, Yz oz. potash. 

In this ratio the pickle can be increased to 
any quantity desired. Let these be boiled to- 
gether until all the dirt from the sugar rises to 
the top, and is skimmed off. Then throw it 
into a tub to cool, and when cold, pour it over 
your beef or pork, to remain the usual time- 
say four or five weeks. The meat must be well 
covered with pickle, and should not be put 
down for at least two days after the killing, 
during which time it should be slightly sprin- 
kled with powdered saltpeter, which removes 
all the surface blood, etc., leaving the meat 
fresh and clean. Some omit boiling the pickle, 
and find it to answer well, though the opera- 
tion of boiling purifies the pickle by throwing 
off the dirt always to be found in salt and 
sugar. 

3. Take a large cask (if possible one between 
100 and 120 gal.), and after covering the bottom 
with salt, lay in a ham with the skin side to the 
bottom, then sprinkle another layer of salt, 
put in another ham, etc., till the cask is full. 
A fluid is then made of the proportions of 3 
gals, water, iY lb. salt, 2 lb. brown sugar, \Yz 
oz. sal peter, 1 oz. saleratus. When this is 
skimmed, scalded, and has gotten cold, it is 
poured over the hams until it covers them en- 
tirely. They should remain in this pickle for 
from thirteen to fourteen weeks. 

Hands (The). See the Skin. See also 
(The) Nails and Skin. 

Hardening. See also Tempering and 
Casehardening. 



Hardening. 



259 



Hardening. 



Hardening Fluid.— Rosin, 25 lb.; train oil, 12 
lb.; lard, 51b.; asafetida, lJ41b. 

Zinc, to Harden.— From 1V£ to 3)4 oz. of sal 
ammoniac are added to the molten metal. 
This yields a metal which can be easily worked 
with tools. 

Cast Iron, to Harden.— One lb. of strong con- 
centrated sulphuric acid and 1 oz. nitric acid 
are added to 1 to 1)4 gal. of water, and the iron 
heated to a fine cherry red is plunged in this. 

Hardening Compound for Thin Steel.— 1. Beef 
suet, 3 lb.; train oil, 1)4 gal.; wax, 6% oz.; add 
1)4 lb. rosin. 

2. Spermaceti oil, 11)4 parts; melted tallow, 5 
parts; neat's foot oil, 2J4 parts; pitch, J4 part; 
rosin, % part. 

Hardening Cutlery.— -1. Sal ammoniac, 6 lb.; 
refined borax, 3 lb.; water, 43^ qt.; red wine, 6 
oz. 

2. Water, 6 gal.; potash, l^lb.; sal ammoni- 
ac, 1)4 lb.; red wine or wine vinegar, 2*4 pt.; 
tartaric acid, 1)4 lb. 

Hardening of Small Work. — Put soap on the 
pieces before heating. Use muriatic acid, 1 
part; water, 2 parts; for cleaning the pieces 
when made black by hardening. 

Expansion of Wrought Iron and Cast Steel. — 
It is important in workshop manipulation to 
remember that if a piece of cast steel be made 
red hot, and quenched in cold water, it will be- 
come longer, but if the same operation be per- 
formed upon a piece of wrought iron it will 
become shorter. 

Copper, to Harden.— Mix thoroughly when in 
a molten condition with from 3% to 5% of man- 
ganese oxide. 

Hardening Steel Cutters.— For cutters 3 in. 
and upward in diameter, the hardening pro- 
cess is a hazardous one and causes some anxi- 
ety. In the first place, the lowest temperature 
at which the steel will harden should be ascer- 
tained. If at a blood-red heat so much the 
better. The cutter when roughed out to near 
the size before the finishing cut is taken off 
should be well annealed. This precaution is 
too often neglected. Whether for large taps, 
lathe mandrels, or cutters, it will be found 
after the annealing, that a degree of warpage 
has taken place, showing that the steel, though 
soft, was, nevertheless, in a state of tension, 
and this preliminary annealing greatly lessens 
the tendency to crack in the hardening, For a 
cutter of 3 in. in diameter, a large clear fire of 
cinders should be used, great care being taken 
to heat the work uniformly. The cutter should 
be smeared over with a paste of soap and leather 
charcoal. This causes the finished cutting 
edges to come out bright and quite hard, after 
the quenching. Before hardening taps and 
drills, it is my custom to rub a piece of soap 
over them before heating, as no scale is then 
formed, and they come out clean after quench- 
ing. For large cutters, etc., in order to lessen 
the risk of cracking during the quenching, I 
should pour oil over the water to the thickness 
of a card. 

Hardening Drills. — Drills used for riveting 
glass and china are made of fragments of dia- 
mond, and these, of course, require no harden- 
ing. For steel drills harden them as jewelers 
do their small tools— viz., heat to a cherry red 
and plunge into sealing wax, quickly withdraw 
and insert in a fresh place, and repeat this op- 
eration until too cold to enter the wax. In 
using a steel drill for glass it is advantageous to 
keep it moistened with turps, or better still, a 
solution of camphor in turpentine. 

To Harden Steel Drills and Other Instruments. 

Any piece of steel wire can be made into a 
drill of such hardness that it will easily pene- 
trate glass, or into an engraving tool, with 
which to graduate bottles, etc. In the first 
place, shape the wire as desired by filing, then 
mix 4 parts powdered resin and 2 parts fish oil 
with one part tallow heated to the melting 
point. Heat the wire or other object to be 
hardened to dull redness, dip it into the mix- 



ture and leave there until perfectly cold. 
After that it is heated again and dipped into 
cold water until the desired degree of hardness 
is obtained. 

Watch Drills.— A simple way of hardening 
small watch drills : Heat the tools in the flame 
of a candle and then plunge suddenly in the 
candle grease. This is done on account of the 
drills being so small that they will not retain 
their heat sufficiently long to enable the ope- 
rator to remove them from the source of heat 
to a vessel containing water used for hard- 
ening. 

Sealing Wax, Hardening in.— Heat the steel 
article to a white heat and plunge into the 
sealing wax. After an instant withdraw and 
insert in a new part of the wax. " Repeat the 
operation until the steel becomes so cold that 
it refuses to enter the sealing wax. 

Hardening Drills and Cutting Tools for Use 
on Hard Steel, Chilled Iron, Glass arid Other 
Hard Substances. — Dissolve zinc in muriatic 
acid to saturation. Reduce the solution by 
adding an equal volume of water. 

For the tool use new steel or steel that has 
never been heated to a cherry red. Heat the 
tool after it has been sharpened, taking care not 
to heat it above a dull cherry red. Plunge it 
in the zinc chloride solution above described 
and hold it still until cool. Use without further 
sharpening. 

When the tool becomes dull, grind it as little 
as possible to sharpen. If it does not stand 
well after grinding-, reharden. 

Use the usual lubricants for drills and cut- 
ters; oil, or soap water for tempered steel; 
turpentine for glass, very hard steel and chilled 
iron. This receipt is very highly recommended. 

Cast Iron, to Harden.— One lb. of strong sul- 
phuric acid is mixed with 1)4 gal. water and 1 
oz. of nitric acid. Heat the iron in a clean fire 
to a cherry red and plunge into the mixture. 

Steel, to Harden on the Outside.— The following 
is said to keep the inside soft while the outside 
remains hard. Borax and potassium nitrate, 3 
parts of each; yellow prussiate of potash, 10 
parts ; lead acetate, 1 part. Grind the materials 
up fine and mix them thoroughly. When the 
steel is heated to red heat sprinkle over some 
of the powder, return to the fire until the 
proper color is reached, then cool in rain water. 

Mill Picks. — The only peculiarity in hardening 
mill picks is to leave the edge thick, say tfe in. 
Harden at the lowest heat that the particular 
kind of steel will take, in clean water at about 
60°. Draw temper as little as possible, which 
may be ascertained by trial at a straw color to 
begin with. Do not draw temper with the 
same heat used for hardening. The pick after 
hardening should be tried with an old fine file, 
which by a little experience will tell you if the 
hardening is even. Then grind and heat from 
the center for color drawing. If you use low 
grade steel of first rate quality, the color 
temper may be dispensed with. The greatest 
difficulty is caused by burning the corners in 
forging or in heating to harden. Therefore 
use a dull charcoal fire if possible with light 
blast. Blast often ruins the finest steel. 

Small Screws, to Harden.— 1 know of no liquid 
for the purpose. Get some charcoal and re- 
duce it very fine ; now take 1 part of prussiate 
of potash and 2 parts common table salt, pow- 
der these and dissolve them in hot water, just 
enough to keep them in solution; wet the 
charcoal into a paste with it, and imbed your 
articles in it in a sheet iron pan; place in a 
slow fire and subject them to a nice red heat, 
and if very small you will not want the harden- 
ing to penetrate too deep. Five minutes will 
do, but the longer they are subjected to the pro- 
cess the harder they will be and the deeper. 
Plunge them into cold water, box and all. By 
this means you will have them clean and hard 
and will not lose any in the fire.— Correspondent 
in English Mechanic. 



Harness. 



260 



Harps. 



Steel, to Harden.— To 1 lb. prussiate potash 
add 3 lb. common salt, 2 oz. borax and 2 oz. 
cyanide potash. Place the same in a crucible 
and place the same over a fire ; when hot put 
the steel in the mixture and there let it remain 
until hot, after which immediately plunge it in 
water until cool. This prevents the steel from 
cracking- or warping, and will give perfect 
satisfaction. 

Schaefer's Fluid for Hardening Steel. — This 
fluid is composed of resins, linseed oil, glycer- 
ine and powdered wood charcoal. Heat and 
mix thoroughly. Heat the steel to a fine, 
bright cherry red and drop in the fluid and let 
it remain until cold. Burnt cast steel regains 
its properties when hardened in this fluid. 

Taps and Dies, to Harden.— A writer in the 
Chicago Journal of Commerce gives his experi- 
ence in tempering as follows : 

The great difficulty in hardening tools is prin- 
cipally their liability to twist or get out of 
true; second, cracking (especially if large) 
after hardening; thirdly, getting the right 
temper. In our factory we use a great nunber 
of small taps and rimers; some of the rimers 
are 9 in. long and quarter of an inch in diame- 
ter; these we harden very successfully, not 
more than one out of a dozen being out of 
true. Our plan is as follows: First, carefully 
select your steel; let it be of the best cast, 
with a medium grain (a fine grained steel will 
break when much less force is applied than a 
coarser grained, and, although it will take a 
keener edge, it will not resist the strain re- 
quired by a tap or rimer). Next center it, and 
turn off the scale and soften. The object of 
softening after the scale is removed is to make 
the grain of the steel equal throughout; if it 
be softened with the scale on, it will generally 
cast. To soften, inclose the articles in a piece 
of gas tube, filling up with wrought iron turn- 
ings and plugging the ends with clay, making 
the whole red hot and allowing it to cool very 
slowly— i. e., leaving it in hot ashes all night. 
This method makes the steel very soft, and 
equalizes the grain. After softening turn up 
the work, taking care not to bend it or 
straighten it, should it have cast, as it probably 
will in the process of softening. The reason 
for this is that, if the steel be bent or ham- 
mered, the grain will be closer in one place 
than another, and heat has a great tendency to 
bring it back to its original position. The next 
thing after finishing your tool is to harden it; 
first slightly heat it over a gas or other flame, 
and rub it all over with a mixture of Castile 
soap and lampblack. This is to prevent the 
edges from being burnt. The next is to get 
a thick iron pipe (the size we use is 2 in. diame- 
ter and three-fourths bore). This is well filled 
up with taps or rimers and charcoal dust, the 
ends being closed with clay as before. This is 
placed in the furnace and occasionally turned, 
until it is one uniform heat of cherry red, or 
on the outside a trifle hotter. It is then care- 
fully removed from the fire, one end of the 
clay'knocked off, and the contents allowed to 
drop perpendicularly into a solution of water, 
chloride of sodium and nitrate of iron; this is 
kept at a temperature of 60°. The articles 
hardened should remain at least a quarter of 
an hour before being removed. This method 
of hardening may be summed up thus: Make 
the steel of one grain throughout, prevent it 
from oxidizing while being heated, allow every 
part to heat at the same time, avoid bending 
while hot, and lastly restore, if possible, by 
adding to the loss of carbon caused by heat- 
ing. 

Harness. — Harness Blackings, Polishes and 
Waterproof Compositions. See Klackings. 

Harness Dressing. — The government harness 
dressing is as follows : One gal. neatsfoot 
oil, 2 lb. Bayberry tallow, 2 lb. beeswax, 
2 lb. beef tallow. Put the above in a pan 
over a moderate fire. When thoroughly dis- 



solved add 2 qt. castor oil ; then, while on the 
fire, stir in 1 oz. lampblack. Mix well and 
strain through a fine cloth to remove sediment, 
let cool, and you ha^ r e as fine a dressing for 
harness or leather of any kind as can be had. 

Harness Crrease.-Take ammonia soap, 4 parts; 
palm oil, 1 part; ordinary hard soap, 3 parts; so- 
lution of tannin (9 to 16 of tannin in 4 of water) 
1% parts ; melt the oil and soap together, then 
add the ammonia soap and the tannin solution 
and thoroughly mix. No more of this grease 
is to be used than the leather will absorb, and 
it should be kept in a stone bottle well corked. 
The ammonia soap is previously made by heat- 
ing olive oil to boiling point, and adding sesqui- 
carbonate of ammonium until the odor of the 
ammonia no longer disappears. 

Harness Oil.— 1. A good oil for farm and 
team harness is made by melting 3 lb. of beef 
tallow, but do not let it boil, then pour in 
gradually 1 lb. of neatsfoot oil and stir till cold. 
If properly prepared the grease will be per- 
fectly smooth and soft; if not it will be more or 
less granulated. A little lampblack may be 
used to color. 

2. Melt together 2 oz. asphaltum and 3 oz. 
beeswax, remove from the fire and add y% oz. 
fine lampblack and 3^ drm of Prussian blue in 
fine powder; then reduce to a thin paste witlx 
neatsfoot oil. 

Harness, Lacquer for. See I^acquers. 

Polish for Harness.— 4 oz. glue, 1\& pt. vinegar, 
2 oz. gum arabic, ^ pt. black ink, 2 drm. isin- 
glass. Break the glue in pieces, put it in a. 
basin and pour over it about a pint of the vine- 
gar; let it stand until it becomes perfectly soft. 
Put the gum in another vessel, with the ink, 
till it is perfectly dissolved; melt the isinglass 
in as much water as will cover it, which may 
be easily done by placing the cup containing it 
near the fire about an hour before you want to 
use it. To mix them, pour the remaining vine- 
gar with the softened glue into a sand pan 
upon a gentle fire, stirring it until it is per- 
fectly dissolved, that it may not burn the bot- 
tom, being careful not to let it reach the boil- 
ing point— about 180° F. is the best heat. Next 
add the gum, let it arrive at about the same 
heat again ; add the isinglass. Take from the 
fire and pour it off for use. To use it, put as 
much as is requited in a saucer; heat it suffi- 
ciently to make it fluid, and apply, a thin coat 
with a piece of dry sponge; if the article is 
dried quickly, either in the sun or by fire, it 
will have the better polish. 

Harness, Stains or Dyes for. See l>yeing 
{Leather). 

Harness, Varnish for. See Varnishes. 

Harps, iEolian.— iEolian harps should be 
made to fit into a window so as to adjust the 
sash to cause a strong breeze across the strings 
of the instrument. Make the box of thin dry 
pine, the top piece or sounding board of extra 
clear stuff about three-sixteenths of an inch 
thick. Sides and bottom can be one-quarter of 
an inch, length two inches shorter than the 
width of your window, width ten inches, 
depth two and a half inches. The ends should 
be of hard wood, and thick enough at one end 




to hold the eyes or studs for fastening the 
wires or catgut strings. At the other end the 
wood should be thick enough to hold a set of 
violin keys, if you use catgut; or iron piano 
pins, if you use wire, which should be steel. 
Two bridges of hard wood glued diagonally 
across each end, for the strings to rest upon. 



Hats. 



261 



Hehtograph. 



I f steel wire is used, a round wire should be 
iuserted upon each bridge, so that the sounding 
wires will not cut the wood. The rest you may 
g-atber from the sketch. The tuning- should 
be harmonic, or say thirds, filths and octaves. 
Make about four holes in sound board, one inch 
diameter, under the strings. 

Hats, to Bleach. See Bleaching. 

Hats, to Clean. See Cleansing. 

Hats, to Dye. See Dyeing. 

Hats. 

To Restore Gloss to a Silk Hat.— When a silk hat 
becomes wet, or from other causes has lost its 
smoothness and gloss, cleanse it carefully from 
all dust, then with a silk handkerchief apply 
petroiatum evenly, and smooth down with the 
same handkerchief until it is dry, smooth and 
glossy. This will make a silk hat look as good 
as new. 

Proofing for Felt Hats— It is made of shellac 
dissolved in water by the aid of ammonia. 

Hats, Stiffening for— Mix 18 lb. of shellac 
with \% lb. salt of tartar (carbonate of potash) 
and 53^ gal. of water. Put in a kettle and boil 
gradually until the shellac is dissolved, when 
the liquid will be as clear as water. When cold 
dip the hats, and when nearly dry dip in a 
weak solution of acetic or sulphuric acid in 
order to neutralize the potash and cause the 
shellac to set. 
Hats, Varnish for. See Varnishes. 
Hats, to Waterproof. See Water- 
proofing. 

Hay.— Two hundred and seventy cubic feet 
-of new meadow hay and 216 to 243 feet from 
large or red stacks will weigh a ton; 297 to 324 
cubic feet of dry clover will weigh a ton. 

Haystacks, Covering for.— Take any 
coarse fabric, steep it for a few hours in a 
strong aqueous solution of alum, dry, and coat 
the upper surface with a thin covering of tar. 

Headache, Remedies for.— The follow- 
ing recipes and suggestions for the treatment 
of different forms of headache are collected 
from a variety of trustworthy sources. 

1. Two grn. citrate of caffeine, in capsule, 
taken every half hour, is a very effectual 
remedy in nervous and sick headache. One or 
two doses are often sufficient to give complete 
relief. The only objection to its use is sleep- 
lessness, which sometimes results if it is taken 
in the evening. It is preferable tc guarana, as 
being hardly ever rejected by the stomach. 

The following, according to Dr. W. W. Car- 
penter, is very effectual in most forms of head- 
ache : 

2. Muriate of ammonia, 3 drm.; acetate of mor- 
phia, 1 grn.; citrate of caffeine, 30 grn.; aromatic 
spirits of ammonia, 1 drm.; elixir of guarana, 4 
oz.; rose water, 4 oz. Mix. Dessertspoonful 
every ten or twelve minutes. 

3. In nervous headaches, Dr. W. A. Hammond 
states the value of various drugs as follows : 

Oxide of zinc is of great value. Ordinary 
dose, 2 grn. three times a day, after meals; 
maximum dose, 5 grn. It is best given in form 
of pills. 

4. Nux vomica is preferable to strychnia. 
The dose is J4 g rn - after meals. If the patient 
be chl orotic, it is well to combine a grain of 
reduced iron and M>, grn. sulphate of quinine. 

5. Bismuth, in the form of subcarbonate, will 
often take the place of oxide of zinc. Dose, 2 
grn. after each meal. Bismuth probably aids 
digestion more than any mineral tonic, and is 
of use when there is gastric disturbance. 

6. The bromines are serviceable when the 
nervous system has been irritated; when it is 
exhausted, they do harm. 

7. Phosphorus is very useful in most forms of 
nervous headache. The best results are ob- 
tained from dilute phosphoric acid, in doses of 
30 drops, largely diluted, three times a day, after 



eating, or phosphide of zinc, 010 grn., in pill, 
three times a day. 

8. Arsenic, as a nerve tonic, stands next in 
value to zinc. Dose, 5 drops Fowler's solution 
three times a day, after meals. 

9. Galvanism is sometimes valuable, but by 
no means a specific. The constant current 
should always be used, being careful to avoid 
too great intensity, lest amaurosis be pro- 
duced. 

10. Dr. T. Lauder Brunton, editor of the Lon- 
don Practitioner, says : The administration of a 
brisk purgative, or small doses of Epsom salts, 
three times a day, is a most effectual remedy 
for frontal headache when associated with con- 
stipation; but if the bowels be regular, the 
morbid processes on which it depends seem to 
be checked, and the headache removed even 
more effectually by nitro-muriatic acid diluted, 
10 drops, in a wine glass of water, or bicarb, 
soda, 10 grn., in water, before meals. If the 
headache be immediately above the eyebrows, 
the acid is best; but if it be a little higher up, 
j ust where the hair begins, the soda appears to be 
the most effectual. At the same time the head- 
ache is removed, the feeling of sleepiness and 
weariness, which frequently leads the patients 
to complain that they rise up more tired than 
they lie down, generally disappears." 

11. A writer to the London Lancet remarks: 
"At the Middlesex Hospital female patients 
who have suffered many years from sick head-, 
ache, evidently of a hereditary character, have 
been greatly benefited, if not cured, by the 
administration of 10 minim doses of tincture of 
Indian hemp, three times daily before the at- 
tacks. This is well worthy of trial in those cases 
of ever-living, never-dying martyrdom-like 
suffering. 1 '— Hospital Gazette. 

Headache, Essences for. See Essences. 
Headache, Nervous.— Dr. A. L. Hodgdon, of 
Virginia, recommends the following : 

Alcohol dilut 4 oz. 

Olei cinnamon 4 min. 

Potas. bromid 5 drm. 

Extr. hyoscyam. fl V/z drm. 

Fiat lotio. 

S. One to two teaspoonfuls, if required. 

It is not disagreeable to take and has no bad 
effects. 

Headache Liquor.— Ammonia, 4 oz.; camphor, 
2 oz.; oil of anise, 1 oz.; alcohol, 1 lb. Dissolve 
the camphor and oil of anise in the alcohol and 
then add the ammonia. Rub on the head. 

Heevenoid,- A rubber composition com- 
posed of caoutchouc and camphor equal parts, 
to which a small proportion of lime and sul- 
phur are added, or glycerine may be substi- 
tuted for the lime. It was patented by H. Ger- 
ner, of New York. 

Hektograph.— 1. The hektograph, or 
copying- pad, is very useful in copying writing 
or drawing's when only a limited number of 
copies is required. A practical hektograph 
may be prepared according to the following 
directions: 

Soak an ounce of Cooper's gelatine overnight 
in enough cold water to cover it well, taking 
care that all the gelatine is swelled. Prepare a 
salt water bath by dissolving 2 oz. of common 
salt in 1 pt. of water. Heat 6 or 7 oz. of pure 
glycerine over the salt water bath to a temper- 
ature of 200° Fah. Pour off from the gelatine 
all the water remaining unabsorbed and add 
the gelatine to the hot glycerine. Continue the 
heating for an hour, carefully stirring the mix- 
ture occasionally, avoiding as much as possible 
the formation of bubbles or froth. Finally 
add 20 drops of oil of cloves to prevent decom- 
position. The composition is now ready for 
pouring Into the vessel designed to hold it 
while in use. This vessel may be made espe- 
cially for the purpose, or a shallow cake tin 
may be used. After the tin is filled with the 
composition it must be placed in a level posi- 



IIek.togra.pli. 



363 



Honey. 




HEKTOGKAPH. 

tion, in a cool place, free from dust, and al- 
lowed to remain for at least five hours. 

To prepare the pad for use it is necessary to 
pass a wet sponge lightly over the face of the 
gelatine and allow it to nearly dry before tak- 
ing the first copy. If this precaution is neg- 
lected the face of the pad will be ruined by the 
first transfer. 

The writing or drawing to be copied must be 
made with hektograph ink, using a new steel 
pen. (For ink, see Inks, Hektograph.) After 
the writing becomes dry it is placed face down 
on the pad and rubbed gently on the back to 
insure the perfect contact of every part. After 
remaining on the pad for about a minute re- 
move the original and proceed to take the 
copies by placing the paper on the pad and re- 
moving it therefrom, always beginning at the 
corner, as shown in the engraving. 

After taking the desired number of copies or 
when the impression is exhausted, the pad is to 
be washed lightly with a sponge wet in cold 
water. The pad is then allowed to dry before 
being used again. The washing is unnecessary 
when the pad is left unused for two or three 
days, as the ink will be absorbed so as not to 
interfere with making a new transfer. » 

The pad unavoidably wastes away in use. If 
its surface should become uneven or should it 
be injured in any way, it can be restored 
by reheating it over the salt water bath and 
allowing it to cool as before described. 

Failure in making the hektograph results 
from either of the following causes: Inatten- 
tion to the instructions; insufficient heating 
of the composition; the use of too much 
glycerine, which prevents gelatinization. The 
obvious remedy for the last difficulty is to use 
less glycerine or more gelatine. 

No. 3 (kaolin formula) is recommended, as the 
composition gelatinizes quickly. 

3. The following is a composition by Le- 
bacque : 

Gelatine. . 100 parts. 

Water. 375 parts. 

Glycerine 375 parts. 

Kaolin CO parts. 



3. Also one by W. Warfcha : 

Gelatine 100 parts. 

Dextrine 100 parts. 

Glycerine 1,000 *>arts. 

Barium sulphate q. s. 

4. Good ordinary 
glue 100 parts. 

Glycerine 50 

Barium sulphate 
(finely pow- 
dered.) 35 parts. 

Water 375 parts. 

5. French Ministry of Public 
Works : 

Glue 100 parts 

Glycerine. 50»t 

Finely powdered 
kaolin or baric 
sulphate.. . . . . 3? parts 

Water 375 , arts 

For ink a concentrated so- 
lution of Paris violet is re- 
commended. 

To remove old copy from 
pad, a little muriatic acid is 
added to the water. 

6. For a tin dish 7 X 11 ■ i.: 

Glue • ;j >z 

Glycerine 15 oz. 

Kaolin M oz. 

Water . . 11 y 4 . oz. 

3u oz. 
7. Hektograph Sheets.— 
Soak 4 parts of best white 
glue in a mixture of 5 parts 
of water and 3 parts of solution of ammo- 
nia, until the glue is soft. Warm the mix- 
ture until the glue is dissolved and add 
3 parts of granulated sugar and 8 parts of 
glycerine, stirring well and letting come to 
the boiling point. While hot, paint it upon 
white blotting paper with a broad copying 
brush, until the paper is thoroughly soaked 
and a thin coating remains on the surface. 
Allow it to dry for two or three days, and it is 
then ready for use. An aniline ink should be 
used for writing, and before transferring to 
the blotting paper, wet the latter with a 
damped sponge and allow it to stand one or 
two minutes. Then proceed to make copies in 
the ordinary way. If the sheets are laid aside 
for two days, the old writing sinks in and does 
not require to be washed off . — Cheni. and Drug. 

8. Hektograph, Composition for. — Soak 3 
parts best glue or gelatine in cold water over- 
night. Pour off the excess of water. Warm 
the glue in a water bath and add 30 to 34 parts 
of glycerine, 8 to 13 parts finely ground heavy 
spar or barytes, 3 parts dextrine. Mix thor- 
oughly, stirring constantly. Pour the melted 
mixture in a shallow pan and allow it to cool. 
Less glycerine should be used in warm weather. 

Hektograph Ink. See Inks. 

Heterogeneous Metal. See Alloys. 

Hides.— Buffalo Hides, to Soften.— Apply cod 
oil or dubbing, either of which can be obtained 
at a currier's shop. See also Tanning. 

Hides, Carbolic Acid used to Preserve- An im- 
mersion of hides for twenty-four hours in a 
two per cent, solution of Carbolic acid, and sub- 
sequently drying them, has been successfully 
substituted for process of salting. 

Depilating Hides, Process for.— Make a dilute 
solution of ammonia and sulphurous acid and 
place the hides in it. Coat wooly hides on the 
flesh side with a paste made of potter's clay 
and the above solution. The salts of ammonia 
may be used. 

Honey, Artificial.— 1. Five lb. white sugar, 
3 lb. water; gradually bring to a boil and 
skim well. When cool add 1 lb. bees' honey 
and 4 drops peppermint. To make of better 
quality add less water and more real honey. 



Honey. 



363 



Horseradish. 



2. Soft water, 6 lb.; pure best honey, 3 lb.; 
white moist sugar, 20 lb.; cream of tartar, 80 
grn.; essence of roses, 24 drops. Mix the above 
in a I rass kettle, boil over a charcoal fire five 
mil es, take it off, add the whites of two eggs 
well beaten; when almost cold, add 2 lb. more 
honey. A decoction of slippery elm will im- 
prc s the honey if it be added while cooling, 
but ; t will ferment in warm weather and rise to 
the nivf ace. 

a ^ake 15 lb. Havana sugar, 61b. water, 60 
grn cream tartar, 15 drops essence of pepper- 
mint, 4j^ lb. honey; dissolve the sugar in the 
water over a moderate fire, take off the scum; 
dissolve tne cream tartar in a little warm water, 
add, stirring; then add the honey heated to the 
boiling point, then the essence of peppermint. 
Stir a few minutes, let it cool. 

Honey, Clarified.-Refined Honey, Strain- 
ed Honey.— Clarified honey is less agreeable 
than raw honey, but it is less liable to ferment. 
On the large scale one or other of the following 
plans is adopted : 

1. The honey is mixed with an equal weight 
of water and allowed to boil up five or six 
times without skimming; it is then removed 
from the fire, and after been cooled, brought 
on several strong linen strainers stretched hor- 
izontally and covered with a layer of clean and 
well washed sand, an inch in depth; the sand is 
rinsed with a little cold water and the mixed 
liquor is finally evaporated to the thickness of 
sirup. 

2. Dissolve the honey in water as last, clarify 
with white of egg and evaporate to a proper 
consistence. 

3. Dissolve in water, add V/% lb. of animal 
• charcoal to every J4 cwt. of honey, gently sim- 
mer for fifteen minutes, add a little chalk to 
saturate excess of acid, if required, strain or 
clarify and evaporate. 

4. Honey, 1 cwt.; water, 9 gal.; fresh burned 
animal charcoal, 71b.; simmer for 15 minutes, 
add a little chalk to saturate free acid (if re- 
quired), strain or clarify, and evaporate as be- 
fore. 

5. To every 14 lb. of honey add % lb. animal 
charcoal; simmer gently for fifteen minutes, 
add a little chalk to saturate excess of acid. 
Strain and evaporate. 

Hooey, Method of Purifying (Vogel).— 
Beat 5 lb. of honey with the white of one egg 
till it froths, add water until the mixture is of 
the consistency of sirup. Next boil until the 
white of egg can be skimmed off. Pour into a 
vessel which has a faucet near the bottom; let 
it settle for some weeks, then draw off the pure 
honey. 

Honeys. See Cosmetics. 
Honey Water. See Waters. 
Hop Beer. See Beers. 

Hops and Hop Stalks.— In Sweden a 
strong cloth is manufactured from hop stalks. 
The stalks are gathered in autumn and soaked 
in water during the whole winter. The ma- 
terial is then dried in an oven and woven as 
flax. The buds of hops can be used as an es- 
culent, and when boiled will do as a substitute 
for asparagus. The tendrils, when young, may 
be used in the same way.— American Artisa/n, 
1875. 

Hops, Tincture of.— Tincture of hops is 
made by taking 5 troy oz. hops in powder, and 
a sufficient quantity of diluted alcohol. Moisten 
the powder with 2 oz. of the alcohol, pack in a 
cylindrical percolator, and pour diluted alco- 
hol on till 2 pints tincture are obtained. 

Horn, to Dye. See Dyeing. 

Horns, to Polish. See Polishing. 

Horn, to Stain. See Staining. 

Horn.— Welding Horn. —Pieces of horn may 
be joined by heating the edges until they are 



quite soft, and pressing them together until 
they are cold. 

Softening Horn.— The bony core of the horn is 
first" removed, the next process is to cut off with 
a saw the tip of the horn— that is, the whole of 
its solid part, which is used by the cutlers for 
knife handles and sundry other purposes. The 
remainder of the horn is left entire, or is sawn 
across into lengths, according to the use to 
which it is destined. Next it is immersed in 
boiling water for half an hour, by which it is 
softened, and while hot is held in the 
flame of a coal or wood fire; taking care 
to bring the inside as well as the outside 
of the horn, if from an old animal, in contact 
with the blaze. It is kept here till it acquires 
the temperature of molten lead or there- 
about, and in consequence becomes very 
soft. In this state it is slit lengthwise by a 
strong pointed knife like a pruning knife, and 
by means of two pairs of pincers, applied one to 
each edge of the slit, the cylinder is opened 
nearly flat. The degree of compression is regu- 
lated by the use to which the horn is afterward 
to be put. When it is intended for leaves of 
lanterns, the pressure is to be sufficiently strong 
(in the language of the workmen) to break the 
grain, by which is meant separating in a 
slight degree the lamina? of which it is com- 
posed, so as to allow the round pointed knife 
to be introduced between them, in order to 
effect a complete separation. For combs the 
plates of horn should be pressed as little as pos- 
sible, so that the teeth may not split at the 
points. They are shaped chiefly by means of 
rasps and scrapers of various forms, after hav- 
ing been roughed out by a hatchet or saw ; the 
teeth are cut by a double saw fixed in a back, 
the two plates being set to different depths, so 
that the first cuts the teeth only half way 
down, and is f oUowed by the other, which cuts 
the whole length; the teeth are then finished 
and pointed by triangular rasps. Horn for 
knife handles is sawn into blanks, slit, pared, 
and partially shaped ; then heated in water and 
pressed between dies. It is af terward scraped, 
buffed, and polished. 

Horns, Buffalo.— To Color the Brown 
Streaks Black on Buffalo Horns, after they have 
been Polished. — Apply a dilute solution of 
nitrate of silver with a brush or rag several 
times, until the desired intensity is obtained. 
Allow it after each application to dry in the 
sun perfectly before applying the next coat. 
Polish when sufficiently black. 

Horse Power, very Rough Way of 
Estimating.— The power of a steam engine 
is calculated by multiplying together the area 
of the piston in inches, the mean steam pres- 
sure in lb. per square inch, the length of stroke 
in feet, and the number of strokes per minute, 
and dividing the product by 33,000. 

Horse Power of Steam Engines.— 
Multiply the square of the diameter of the 
cylinder in inches by 0*7854, and this product by 
the mean engine pressure, and the last product 
by the piston travel in feet per minute. Divide 
the last product by 33,000 for the indicated horse 
power. In the absence of logarithmic formu- 
las or expansion table, multiply the boiler pies- 
sure for % cut off by 0*91— for ]4 cut off by 0*85, 
% cut off by 0'75, 3-10 cut off by 0*68. This will 
give the mean engine pressure per square inch 
near enough for ordinary practice, for steam 
pi-essures between 60 and 100 lb., always re- 
membering that the piston travel is twice the 
stroke multiplied by the number of revolu- 
tions per minute. 

Horseradish, to Bottle.— Six table- 
spoonfuls scraped or grated horseradish, 1 
tablespoon!' ul white sugar, 1 qt. vinegar. Scald 
the vinegar; pour boiling hot over the horse- 
radish. Steep a week, strain, and bottle. Ex- 
posure to the air will discolor. 

Hosteller's Bitters. See Bitter?. 



Huile. 



264 



Ice Cream, 



Huile Jjiguereuse, etc. See Liquors, 
Hungary Water. See Waters. 
Hunyadi Water. See Waters. 

Hydraulic Cement. See Cements. 

Hydrochinon ^Developer. See Pho- 
tography. 

Hydrogen.— By treatment of iron or zinc 
scrap with dilute sulphuric acid. This is the 
usual way on a small scale. On the larger scale 
it may be made by passing steam over red hot 
iron scrap. 

Hydrographic Paper. See Paper. 

Hydroxides. — Many oxides, both basic and 
acid, are acted upon by water, frequently pro- 
ducing much heat, uniting with great energy. 
These compounds are called hydroxides, and 
contain hydrogen and oxygen, the elements 
without existing as water, as KOH. 

Hydroxylamine Developer. See Pho- 
tography. 

Hypo, Test for. See Photography. 

Hypophosphites, Fellows' Sirup of 
the. 

Soluble phosphate or pyrophos- 
phate of iron (U. S. P.) 15 grn. 

Hypophosphite of sodium 45 grn. 

Sulphate of quinine 5 grn. 

Strychnine, previously dissolved. J^ grn. 

Hypophosphite or sulphate of 
manganese 15 grn. 

Thick sirup , 16 oz. 

Dissolve the salts by gentle heat, but without 
acid. 

Ice, Camphor. See Camphor Ice. 

Ice Cream.— Almond or Orgeat Ice Cream.— 
One qt. cream, 8 oz. sweet almonds, 2 oz. bitter 
almonds, 12 oz. sugar, 2 oz. orange flower water; 
blanch the almonds and pound quite fine in a 
mortar, using the orange flower water to pre- 
vent their oiling; rub through a sieve and 
pound again the portion which has not passed 
through until fine enough; mix with the cream 
and make into a custard with 7 yelks of eggs; 
strain, and when cold freeze. 

Apple Water Ice.— Pare and core some fine 
apples, cut in pieces into a preserving pan with 
sufficient water for them to float, boil until re- 
duced to a marmalade, strain; to 1 pt. apple 
water add J^pt. sirup, juice of a lemon and a lit- 
tle water; when cold freeze. 

Apricot (Fresh Fruit).— 1. 24 fine ripe apricots, 
1 qt. cream, 12 oz. sugar, the juice of 2 lemons, 
with a few of the kernels blanched; mash the 
apricots, rub through a sieve, mix and freeze. 

2. From Jam.— 12 oz. jam, 1 qt. cream, the 
juice of 2 lemons, 8 oz. sugar, a few kernels or 
bitter almonds blanched and pounded fine; rub 
the whole through a sieve and freeze. 

Apricot Water Ice.— 18 or 20 fine ripe apricots, 
yj pt. sirup, Y pt. water, juice of 2 lemons; mash 
the apricots, pass through a sieve, mix the pulp 
with the sirup, water and lemon juice, break 
the stones, blanch the kernels, pound fine with 
a little water, pass through a sieve, add to the 
mixture and freeze. 

Barberry. — Same proportions as currants. 
Soften fresh barberries by boiling in the sirup 
you intend to use, or put in a stewpan and stir 
over the fire until tender; pass through a sieve, 
mix and freeze as raspberry. Barberries re- 
quire no lemon juice. 

Biscuit Cream.— Crumble some Savoy biscuits 
and a few ratafias, add the rind of two lemons 
rubbed on sugar, and mix with the cream when 
frozen. 

Brown Bread Ice. — Make I qt. custard for ice, 
crumble a piece of brown bread quite fine, put 
on a tin and dry just inside the mouth of the 
oven or in a very hot stove; freeze the cream; 
and when the bread is cold, work or stir it in. 

Burnt Almond Ice Cream.— As filbert (2). 



Burnt Ice Cream.— To 1 qt. custard for ice put 
into a stewpan 4 oz. powdered sugar; place by 
the side of the stove, or over the lire t3 melt 
and burn fine brown, stirring constan!;ly,when 
the proper color, mix the custard quicklv with 
it; when cold, freeze. 

Cherry Ice Cream.— 2 lb. cherries, 1 qt. cream, 
12 oz. sugar or sirup; pound the cherries, with 
the stones, in a mortar, adding a few ripe goose- 
berries or currants, pass the pulp through a 
sieve, add the cream and sugar, juice of two 
lemons and a little cochineal; mix and f reeze. 
From preserved fruit it is made the samr 
adding a little noyau, or a few bitter aln 
pounded for the flavor of the kernel. 

Cherry Water Ice.— 2 lb. cherries, 4 oz. ripe 
gooseberries, 1 pt. sirup, Y pt. water, food 
color and without any lumps in it. Those 
taining too much sirup cannot be frozen to the 
degree required, and those with toolittlefi 
hard, and feel short and crisp likecompj. 
or frozen snow, which arises from havnu 
many watery particles, by the excess of v 
or milk. It may be ascertained when f re 
commences, by the first coat which is for 
round the sides. It should then be altered by 
either adding more cream or water, with juice 
or pulp of fruit, or other flavoring matter, in 
proportion, as the case may be, if too rich, 
and vice versa, by the addition of more 
sirup, etc., when poor; but at all times the 
necessity of altering should be avoided, as 
the component parts cannot be so peri 
blended without considerable extra labor, 
as if they were properly mixed at the com- 
mencement. During the freezing, or after 
the creams are moulded and set up, if there is 
too much water in the pail, the frigorific power 
is lessened; a little increases it, as at first it is 
only a solution of the salt; but as the ice dis- 
solves and mixes with it, it decreases; there- 
fore, when it comes to the top, drain the water 
off and fill up with fresh salt and ice. When 
the ices are properly frozen take out the pots, 
drain off the water, empty the pail; again re- 
place and fill with fresh salt and ice as before, 
spread the creams over the sides of the pot, 
when they are ready for use, if intended to be 
served in a shop or by glassf uls. For moulds 
line the bottom with a piece of paper before 
you put it on; if there is no impi'ession or 
figure on the top, you may cover that also with 
paper; in filling press well in, so .as to fill 
every part; leave a little projecting above the 
surface to form the ton, which you put on; 
pack the moulds in a pail, and fill the vacancies 
with pounded ice well mixed with plenty of 
salt; strew a handful also on the top. Ices 
should be moulded 3^ to 1 hour before they are 
served. To turn them out, wash the mould 
well in cold water, that no salt may remain on; 
take off the bottom and top and the ice will 
come out freely. 

Custard for Ices.—l qt. cream, 6 eggs, 12 oz. 
powdered loaf sugar, break the eggs into a 
stewpan and whisk together; add the cream 
and sugar; when well mixed, place on the fire 
and continue stirring from the bottom with 
the whisk, to prevent burning, until it gets 
thick; take from the fire, continue to stir for 
a few minutes and pass through a sieve. If the 
custard be suffered to boil it will curdle. 

Custard Ices. — These resemble cream ices, 
with the addition of 6 eggs to each qt. of cream, 
or 8 if part milk is used. All kinds of nuts, 
liqueurs, essences, infusions or biscuits are 
principally mixed with it. 

Orange Water Ice.— One pt. China orange 
juice, 1 pt. sirup, Y pt. water, juice of 4 large 
lemons. Rub the yellow rind of 4 oranges and 
2 lemons on sugar, scrape off, and mix with the 
strained juice, sirup and water. 

Peach.— As apricot. 

Peach Water Ice.— One lb. pulp of ripe peaches, 
Y pt. sirup, Y% Pt- water, juice of 2 lemons. 
Mix as apricot. If the fruit is not ripe enough 
to pulD. open and take out the stones, put in a 



Ice Cream. 



265 



Ice Cream. 



stewpan with the sirup and water, boil until 
tender, and pass through a sieve; mix in the 
pounded kernels; when cold, freeze. 

Pear Water Ice.— As apple. 

Pineapple.— 1. Fresh fruit— 1 lb. fresh pine- 
apple. % pt. sirup in which a pine has been pre- 
served, 2 or 3 slices pineapple cut in small dice, 
juice of 3 lemons; pound or grate the pineap- 
ple, pa.S9»through a sieve, mix with 1 qt. cream, 
and freeze. 

2, "reserved fruit— 8 oz. preserved pineap- 
ple, i qt. cream, juice of 3 lemons, sufficient 
pint sirup to sweeten it; pound the preserved 
pine, mix lemons with the creani, and freeze. 

Pinmpple Water Ice.— I. Half pt. pine sirup, 
1 pt. water, juice of 2 lemons, 3 or 4 slices pre- 
served pine cut into small dice; mix and 
freeze. 

2. Fresh— 1 lb. pineapple, 1 pt. sirup, Yz pt. 
water, juice of 2 lemons. Cut the pine in 
pieces, put into a stewpan with the sirup and 
water, and boil until tender; pass through a 
sieve, add the lemon juice with 2 or 3 slices of 
the pine cut in small dice; mix, and when cold, 
freeze. 

Pistachio Ice Cream.— One qt. cream, 8 oz. 
pistachios, 12 oz. sugar; blanch and pound the 
pistachios with a little of the cream; mix and 
finish as orgeat, flavoring with essence of 
cedrat, or the rind of a fresh citron rubbed en 
sugar; or the custard may be flavored by boil- 
ing in it a little cinnamon and mace and the 
rind ot a lemon; color with spinach. 

Punch Water Ice.— Make a good lemon ice, or 
use some orange juice with the lemons, in the 
proportion of 1 orange to 2 lemons; either rub 
oft the yellow rind of the lemons on sugar or 
pare it very thin, and soak it in the spirit for 
a few hours; When the ice is beginning to set, 
work in the whites of 3 eggs to each qt.. beaten 
to a strong froth, and mixed with sugar as for 
meringue, or add the whites without whisking. 
When nearly frozen, take the pot from the ice, 
and mix well with it some rum and brandy 
(the prevailing flavor distinguishes it as rum 
punch or brandy punch ice); after the spirit is 
well mixed, replace the pot and finish freezing. 
Champagne, arrack, or tea may be added. 

Raspberry.— 1. Fresh fruit— lqt. raspberries, 
1 qt. cream, % to 1 lb. sugar; a few ripe cur- 
rants and gooseberries or cherries may be 
added, instead of all raspberries, and the juice 
of two lemons; mash the fruit, pass through 
a sieve to take out skins and seeds, mix with 
the other articles, add a little prepared cochi- 
neal to heighten the color, put it in the pot, 
and freeze. All ices made with red fruit re- 
quire this addition of cochineal. 

2. Jam— 1 lb. jam, 1 qt. cream, about 6 oz. 
sugar or sirup, and the juice of 2 lemons. Mix 
as before. 

Raspberry Water Ice.— One qt. ripe raspber- 
ries, 4 oz. ripe cherries and currants, Y, pt. 
sirup, Y pt. water, juice of 2 lemons. Mash 
the fruit, pass the juice through a sieve, mix 
the sirup, water and lemon with it, and freeze. 

Ratafia Cream.— One qt. cream, as for brown 
bread. 6 or 8 oz. ratafia cakes crumbled quite 
fine, mix with the cream when frozen. 

Roman Punch Ice.— Make 1 qt. lemon ice, and 
flavor with rum, brandy, champagne, and Ma- 
raschino; when frozen, to each quart take the 
whites of 3 eggs, and whip to a very strong 
froth; boil Y, lb. sugar to the ball, and rub it 
with a spoon or spatula against the sides to 
grain it; when it turns white, mix quickly 
with the white of egg, stir lightly together, 
when cold add to the ice; mix well together, 
and serve in glasses; less sugar must be used 
in the ice, so as to allow for that which is used 
in making the meringue. 

Damson lce.—l. 1 qt. damsons,l pt. sirup, Y> pt. 
water. Mix as peach ice. Magnum bonums, 
Orleans, greengages, or any other plum may be 
done in the same way. 

Filbert Ice Cream.— 1 qt. cream, 1 lb. nuts, 
12 oz. sugar or 1 pt. sirup; break the nuts, roast 



the kernels in the oven; pound with a little 
cream, make a custard, and finish as almond 
ice. 2. Burnt. Same proportions; put the 
kernels into the sirup, boil until they crack; 
stir the sugar with a spatula, that it may grain 
and adhere to the nuts; when cold, pound with 
the sugar quite fine; make a custard and mix 
them with it, allowing for the sugar that is 
used for the nuts; mix and freeze as the others. 

Ginger.— Six oz. preserved ginger, 1 qt. cream, 
Y pt. of the sirup from the ginger, sufficient 
sugar to sweeten with, juice of 2 lemons; pound 
the ginger in a mortar, add the cream and 
freeze. 

Gooseberry Water Ice.— Two lb. ripe gooseber- 
ries (red hairy sort), 1 lb. cherries, 1 pt. sirup, 1 
pt. water, juice of 2 lemons; mash the fruit, pass 
through a sieve, mix with the sirup and 
water, and freeze. 

Lemon Ice Cream.— Six large lemons, 1 qt. 
cream, and 12 oz. sugar, or Y pt. sirup; grate 
the peels of 3 lemons into a basin, squeeze the 
juice to it, let stand for 2 or 3 hours, strain, 
add the cream and sirup, and freeze or mix as 
orange. 

Lemon Water Ice.— Half pt. lemon juice,^ pt. 
water, 1 pt. sirup, peels of 4 lemons rubbed on 
sugar (or the yellow rind pared or grated off, 
and the juice squeezed to it in a basin), let re- 
main for an hour or two, strain, mix, and 
freeze; whip the whites of 3 eggs to a strong 
froth, with a little sugar, as for meringues; 
when the ice is beginning to set, work well in; 
freeze to required consistence; if to be served 
in glasses, the meringue niay be added after it 
has been frozen. 

Liqueur Cream Ice.—l. As noyau, flavor 
with the different liqueurs from which each is 
named. 2. Put 1 qt. cream into the ice pot 
with 6 oz. sugar, which place in the ice; work 
well about the sides with a wmisk for about 5 
minutes; add a glassful of liqueur, work to- 
gether; whisk the whites of 2 eggs to a strong 
froth, add 2 oz. sugar, mix well with the cream 
and freeze to the required consistence. 

Liqueur Water fee.— Lemon ice, using less 
water, and making up the deficiency with 
liqueur; if thetaste of the lemon prevails too 
much, add more water and sirup to correct. 

Mitte Fruit Ice Cream. — Flavor a lemon 
cream ice with elder flowers, mix in some pre- 
served dried fruits and peels cut in small pieces. 
Before it is moulded, sprinkle with prepared 
cochineal, and mix a little, that it may appear 
marbled. 

Mille Fruit Water Ice.— Make a good lemon 
ice, with 1 pt. sirup, Yz pt. water, and as much 
strained lemon juice as will give the desired 
flavor, with some elder flowers infused in 
sirup; when frozen, add some preserved green 
fruits and peels cut into small dice; sprinkle 
with prepared cochineal, and mix in a little to 
give a veined appearance. 

Noyau Cream Ice.— Custard cream, and 
flavor with noyau; finish as almond ice. 

Orange Ice Cream.— I. Six Seville oranges, 3 
lemons, 1 qt. cream, 12 oz. sugar or sirup; rub 
the yellow rind of 2 or 3 of the oranges on part 
of the sugar, scrape off with a knife, squeeze 
out the juice of the oranges and lemons, and 
strain; mix with the cream and the sugar on 
which the rind was rubbed, add the other part 
of the sugar, dissolve, and freeze. 2. 8 China 
oranges, 2 lemons, 1 qt. cream, 12 oz. sugar; rub 
the rind of 4 or 5 of the oranges and 1 lemon on 
sugar, squeeze, strain the juice; add the cream, 
mix, and freeze.— W. R. 

Vanilla Ice Cream.— Cream, 2 qts.; sugar, \y 2 
lb.; yelks of 1 dozen eggs; the whites of 2 eggs; 
vanilla bean, or stick, a sufficient quantity, say 
Vz of a bean grated very fine; lemon peel, a 
small piece. The liquid flavoring may be used, 
but the product is not as fine as the Delmonico 
made by using the bean. 

Strawberry. —As raspberry. 

Strawberry Water Ice.— Two bottles best scar- 
let pines, 1 pt. sirup, Ya pt. water, juice of 2 



i! 



Ice, to Store. 



266 



Incrustation. 



lemons. Mix as currant. All red fruits require 
a little prepared cochineal to heighten the 
color. 

Swiss Pudding.— Take 1% pt. cream and % pt. 
milk and make into a custard with 7 yelks of 
eggs; flavor with curacoa, Maraschino, or rum; 
freeze the custard and add about %_ lb. dried 
cherries, orange, lemon and citron peel and 
currants; mix in the iced custard. The curacoa 
or rum may be poured over the fruit when you 
commence freezing or before. Prepare the 
mould, which is melon shaped, opening in the 
center with a hinge. Stre>v over the inside 
with clean currants, fill and close ; immerse in 
some fresh ice mixed with salt. Before turning- 
out, prepare a dish as follows: Make a little 
custard and flavor with brandy ; dissolve some 
isinglass in water or milk, and when nearly 
cold add sufficient to the custard to set it ; pour 
into the dish you intend to serve on. As soon 
as set, turn the pudding on it and serve. 

Tea Ice.— 1 qt. cream, 2 oz. best green tea, 12 
oz. sugar; put the tea into a cup, pour on a 
little cold river water in which has been dis- 
solved a portion of carbonate of soda (about as 
much as may be placed on a ten cent piece), 
let remain for an hour or two, add boiling- 
water sufficient to make a very strong infusion ; 
or cold water in proportion, letting it soak 
longer, when a superior infusion will be ob- 
tained ; strain and add to the cream and eggs. 
Finish as the others. 

Vanilla Ice.— One qt. cream, % oz. vanilla, 12 
oz. sugar ; cut the vanilla into small pieces and 
pound with the sugar until quite fine ; add to 
cream and eggs, make into a custard, strain and 
when cold freeze. 

Ice, to Store.— 1. Build a round brick well, 
with a small grating for drain at bottom for the 
escape of water from melted ice. Cover the 
bottom with a thick layer of good wheat straw. 
Pack the ice in layers of ice and straw. Fix a 
wooden cover to the well. 

2. Fire-brick, from its feeble conducting 
power, is the best material to line an ice house 
with. The house is generally made circular 
and larger at the top than the bottom, where a 
drain should be provided to run off any water 
that may accumulate. As small a surface of 
ice as possible should be exposed to the atmos- 
phere ; tneref ore each piece of ice should be 
dipped in water before stowing away, which, by 
the subsequent freezing of the pieces into one 
mass, will remain unmelted for a long time. 

3. A very cheap way of storing ice has been 
described by Pearson of Kinlet. The ice stack 
is made on sloping ground close to the pond 
whence the ice is derived. The ice is beaten 
small, well rammed, and gradually worked up 
into a cone or mound 15 ft. high, with a base of 
27 ft., and protected by a compact covering of 
fern 3 ft. thick. A dry situation and sloping- 
surface are essential with this plan and a small 
ditch should surround the heap, to carry rap- 
idly away any water that may come from 
melted ice or other sources. 

4. Put the ice on a dish and cover it with a nap- 
kin, then set the dish upon a feather bed or 
pillow, and place another bed or pillow on the 
top of it. In this way a few lbs. of ice may be 
kept for a week or more. Wrap the ice in a 
piece of old flannel, and if not required imme- 
diately bury it in the ground. 

Ice, Strength of.— 
Ice 2 in, thick will bear infantry. 
Ice 4 in. thick will bear cavalry or light guns 
Ice 6 in. thick will bear heavy field guns. 
Ice 8 in. thick will bear 24-pounder guns on 
sledges; weight not over 1000 lb. to a square 
foot. 

Iceland Moss.— A lichen that grows in ex- 
posed places in Iceland. Its use in the arts is 
limited. 

Iceland Moss, Saccharated — Iceland Moss, 1 
lb.; refined sugar, lib.; macerate the moss in 
water to extract the bitterness, express, boil in 



water for an hour, strain, let settle, decant, 
add the sugar, evaporate to dryness with a 
gentle heat, constantly stirring, and finally re- 
duce to powder. 

Imperial.— Syn. Imperial Di jak.— 1. Cream 
of tartar, % oz.; fresh orange Ox lemon peel, 3 
oz.; lump sugar, 4 oz.; boiling water, 3 pts.; 
digest in a close vessei until cold, then pour off 
the clear. 

2. (Collier). To the last add cream of tartar, 
\i oz., and sweeten to palate. Refrigerant ; a 
common drink in fevers and in hot weather. 

Impressions, Metal, lor Taking. See 
Alloys. 

Impression.— A verg good impression of 
any article of metal having a flat ornamented 
surface may be taken by wetting some note 
paper with the tongue, and smokiag it over a 
gas flame. The article is then press 3d upon the 
smoked part, when, if the operation be care- 
fully conducted, a clear impression will appear. 
This can be made permanent by drawing the 
paper through milk, and afterward drying it. 

Incense. See Pastils. 

Incense Powders. See Pastils. 

Incineration.— The reduction of organic 
substances to ashes. An example of this is the 
manufacture of charcoal, ivory black, etc. 

Incrustation of Boilers.— Remedies for. 
Remedies that have been adopted with more 
or less success for boiler incrustation : 

1. Potatoes, ■£$ weight of water, prevent ad- 
herence of scale. 

2. Twelve parts salt. 2,% caustic soda, % ex- 
tract of oak bark, y Q of potash, 

3. Pieces of oak wood suspended in boiler 
and renewed monthly, prevent deposit. 

4. Two oz. muriate of ammonia in boiler 
twice a week prevents incrustation and decom- 
poses scale. 

5. Coating of 3 parts black lead, 18 tallow, ap- 
plied hot to the inside of a boiler every few 
weeks, prevents scale. 

6. Thirteen lb. molasses fed occasionally into 
an 8-horse boiler prevented incrustation for 
six months. 

7. Mahogany or oak sawdust in limited quan- 
tities. The tannic acid attacks the iron, and 
should therefore be used with caution. 

8. Slippery elm bark has been used with some 
success. 

9. Carbonate of soda. 

10. Chloride of tin. 

11. Spent tanners' bark. 

12. Frequent blowing off. 

13. Paraffin oil has been used with excellent 
results in locomotive boilers. 

14. Marine boilers are sometimes protected 
from corrosion by a very thin wash of Port- 
land cement inside.— Mechanics' 1 Magazine. 

Anti-Incrustators.—M. E. Asselin, of Paris, 
recommends the use of glycerine to prevent 
incrustation in steam boilers. It increases the 
solubility of combinations of lime, and espe- 
cially of the sulphate. It forms with these 
combinations soluble compounds. When the 
quantity of lime becomes so great that it can 
no longer be dissolved, nor from soluble com- 
binations, it is deposited in a gelatinous sub- 
stance, which never adheres to the surface of 
the iron plates. The gelatinous substances 
thus formed are not carried with the steam 
into the cylinder of the engine. M. Asselin ad- 
vises the employment of 1 lb. of glycerine for 
every 300 or 400 lb. of coal burnt. 

Boiler Incrustation, to Prevent. — 1. For a 
5-horse power boiler, fed with water, which 
contains calcic sulphate, take : Catechu, 2 lb.; 
dextrine, 1 lb.; crystallized soda, 2 lb.; potash, 
H lb.; cane sugar, Yz lb.; alum, y& lb.; gum 
arabic, J^ lb. 

2. For a boiler of the same size, fed with water 
which contains lime : Turmeric, 2 lb.: dextrine, 
1 lb.; sodium bicarbonate, 2 lb.; potash, y% lb.; 
molasses, y% lb.; alum, J/£ lb. 



Indelible. 



367 



Indicator. 



3. For a boiler of the same size, fed with 
water which contains iron: Gamboge, 3 lb.; 
soda, 3 lb.; dextrine, lib.; potash, % lb.; sugar, 
J^lb.; f lum, Yz lb.; gum arabic, y% lb. 

4. Fo a boiler of the same size fed with sea 
water : Catechu, 3 lb.; Glauber's salt, 3 lb.; 
dextrix i. 2 lb.; alum, ]4 lb.; gum arabic, % lb. 

Whei hese preparations are used add 1 qt. 
of wai ; and in ordinary cases charge the 
boiler i rery month, but if the incrustation is 
very bad, charge every two weeks. 

5. Incrustations, to Prevent. — For 
boilers of 100 horse power fed with river water, 
use the following, which should be renewed 
whenever the boiler is emptied: Crystallized 
soda, 18 lb.; dextrine, 181b.; alum,- 6 lb.; sugar, 
61b.; potash, 31b. 

6. For the same sized boiler, fed with sea 
water: Soda, 34 lb.; dextrine, 34 lb.; sugar, 13 
lb.; alum, 3 lb., potash, 3 lb. 

Indelible Ink. See Inks. 

Indelible Pencils. See Pencils, In- 
delible. 

Index of a Lathe, to Obtain.— How to 
Obtain the Index of an Engine Lathe.— If you 
will note what thread the lathe will cut when 
two given gears are in place, you can easily 
construct a table that will show you just what 
thread any two gears will cause the lathe to 
cut. Suppose that two sixty-threes cause 13 
threads to the inch. Then place 13 in the space 
A in the diagram below. 

STUD. 





t 
















_ 


~. — » 






28 


33 


35 


42 


49 


56 


63 


70 


77 


84 


91 


98 


105 


113 


f 


38 
33 
35 
43 
49 










b 




















s 


56 












a 


C 
















c 


63 












R 


A 


T) 














K "> 


70 














Fl 


c 














E 


77 


















6 












W 


84 

91 

98 

105 






























I 


113 































N ° W, 63 i 70 I! A i E } Direct Proportion. 
A1S °' 70 ! 63 \ 1 I D } Averse proportion. 

The spaces may all be filled except a, b, c, d, 
etc., which it is useless to fill, as only your 63 
gear is duplicated. A half day's time will be 
sufficient for a good mathmatician to fill out 
the table. 

Indexing, a Method of. — A writer says: 
Having had to index twenty-nine thousand 
words, I think I have a right to speak about it. 
In the first place, I got hold of a somewhat 
stiffish paper (old ledger paper is excellent); 
then I cut it into slips of different size (one 
inch by two inches will be about right). I put 
down on each slip a word or sentence (depend- 
ing on the kind of index), with page and other 
reference if such is necessary. When every 
word or sentence which I wanted in the index 
was noted down, I got hold of twenty-six cigar 
boxes, which I lettered from a to z. I now dis- 
tributed those slips into the boxes. This done, 
I put the contents of each box in a separate 
paper bag, put the now empty boxes again be- 
fore me, got hold of a and distributed all slips 
bearing words beginning with a between these 
boxes, thus, aa, ab, ac, ad, etc , to the end of 
the chapter. This done, I got hold of aa and 
successively ab, ac, etc., and distributed those 
slips further. When arranged alphabetically I 
pasted those slips belonging to a in proper 



order on brown wrapping paper. Having 
treated a in this way, I took hold of b, and so 
on to the end of the alphabet. It took me a 
fortnight (six hours a day) to get through with 
the distribution, and after that the copying 
took me several months. 

India Ink. See Inks. 

India Paper. See Paper. 

India Rubber, Cement for and India 
Rubber Cements. See Cements. 

India Rubber, to Preserve.— 1. In the 

opinion of Hempel, the hardening of vulcan- 
ized India rubber is caused by the gradual 
evaporation of the solvent liquids contained in 
the India rubber, and introduced during the 
process of vulcanization. Guided by this no- 
tion, he has made experiments for a number 
of years in order to find a method for preserv- 
ing the India rubber. He now finds that keep- 
ing in an atmosphere saturated with the vapora 
of the solvents answers the purpose. India 
rubber stoppers, tubing, etc., which still possess 
the elasticity, are to be kept in vessels contain- 
ing a dish filled with common petroleum. 
Keeping in wooden boxes is objectionable, 
while keeping in airtight glass vessels alone is 
sufficient to preserve India rubber for a long 
time. Exposure to light should be avoided as 
much as possible. Old hard India rubber may 
be softened again by letting the vapor of car- 
bon bisulphide act upon it. As soon as it has be- 
come soft, it must be removed from the carbon 
bisulphide atmosphere and kept in the above 
way. Hard stoppers are easily made fit for use 
again in this manner, but the elastic proper- 
tie s of tubing cannot well be -restored.— Ber. 
Chem. Ges. 3. In order to prevent India rubber 
materials from hardening and cracking, they 
are steeped in a bath of melted paraffin for a 
few seconds, or several minutes, in accordance 
with the size of the articles, and then dried ir 
a room heated to about 312° F. See Rubber. 

India Rubber Varnish. See Var- 
nishes. 

Infusions. — In preparing infusions, as in 
every other process, in which the object is to 
dissolve out the active principles, the subject 
acted upon should first be brought to such a 
condition by bruising, grinding, etc., as to en- 
able the solvent medium to act upon it most 
readily. If an infusion is desired of dried 
leaves or flowers, they should be moistened 
with a little boiling water, and time allowed 
for them to swell and soften before adding the 
rest of the water. Infusions are generally 
prepared by pouring boiling water on the sub- 
stance and setting aside in a closed vessel until 
it cools; but either hot or cold water may be 
used according to the nature of the substance 
and the objects to be accomplished. The solu- 
ble principles are usually more rapidly and 
thoroughly extracted by hot than cold water, 
and when desirable the temperature may be 
prolonged by placing the vessel near the fire. 
When the principle to be extracted is highly 
volatile, or would be injured by heat, cold 
water should be used, but the process will 
require longer time for completion. 

Indicator Diagrams, Steam Engine^ 

— A steam engine indicator is an instrument 
possessing a barrel which may be revolved by 
the stroke of the engine, a coiled spring making 
the return stroke. A suitable stylus or pencil i£ 
actuated by the piston within a closed cylin- 
der, open to the cylinder of the engine to be 
tested. A gauged spring is so arranged as to 
act by its tension against the said piston, and 
thereby render the movement of it proportion- 
ate to the pressure. Two dimensions are, there- 
fore, attainable, one (Fig 1), A b, corresponding 
to steam pressure, and the other, b c, corres- 
ponding to the stroke. The perpendicular 
ordinates a h c, parallel to A B, are constructed 
after the diagram is taken, and represent p 1 ' 



Inhalant. 



268 



Inks. 



quot parts of the stroke. The line a b is 
measured off by a scale, corresponding to the 




Fig. 1- 



spring before referred to, and the steam pres- 
sure in lb. per sq. in. may then be read off by 
horizontal lines, def. 

The line x y is called the atmospheric line, or 
line of no pressure (zero on the scale), and in 
non-condensing engines the whole of the dia- 
gram is above the line, but with condensing 
engines the vacuum or exhaust is shown below 
the line, and must be calculated from the base 
line. Having taken a diagram (see the figure), 
the length of the ordinates ab c must be taken 
from the base to where the described curve 
cuts them, and read off in terms of the scale. 

M = mean pressure. 

AB -60-0 

a = 52"5 

b = 45*0 

c = 32*5 

CD =12-0 



Total 202-0 

M = ^ = 40*5 lb. per sq. in. 

Inhalant. See also Vapors. 

Compound tincture iodine.. 180 minims. 

Carbolic acid No. 1 48 minims. 

Glycerine 1 fl. oz. 

Water 5fl. oz. 

Mix and expose to the sunlight until the mix- 
ture is entirely colorless. The proportion of 
carbolic acid and tincture of iodine may be 
largely increased without a corresponding ad- 
dition of glycerine. 
Injecting Fluids. See Microscopy. 

Inks. — The following collection of ink 
recipes is very large, and only those have been 
selected which were believed to be trustworthy. 
Ink recipes are noted for their unreliability, 
but the following were selected principally 
from periodical literature, and many are trans- 
lated for the first time. The manufacture of 
writing ink is one of the most promising of 
The small industries. 

Writing Ink.— There are few chemical prepa- 
rations the use of which has become so general 
as that of writing ink. And yet ifc is rare* to 
find an ink that fulfills all the conditions re- 
quired of it. This is explainable upon the ground 
that ink recipes are not constructed according 
to any chemical formula, but that we are com- 
pelled to rely upon empirical experiments and 
make use of the results gathered by practical 
experience. A good black ink must flow easily 
from the pen, and must yield either immediately 
or in a short time a deep black writing. It 
must not corrode metallic pens nor destroy the 
paper. Further than this, a good ink should 
contain no considerable sediment when kept 
in airtight bottles. In ordinary ink bottles a 
sediment will always form, and the more it is 
exposed to the atmosphere the faster it will 
form. An ink that is to be used for important 
documents must not be washed out with water 
or absolute alcohol so as to be permanently il- 
legible. 

Ink may consist of either a clear solution of 
any dyestuff or, as in the case of common black 



ink, a finely divided, insoluble precipitate sus- 
pended in water. The chief materials used for 
making this ink are gallnuts, green vitriol, and 
gum, which are employed in the moat varied 
proportions. The gallnuts are crushed to a 
coarse powder and boiled in water, oi, better, 
digested for several hours at a temperature 
near the boiling point, and the gum and green 
vitriol added to the filtered decoction in solu- 
tion. ■ 

The so-called alizarine inks flow easily from 
the pen, but they mostly suffer from the fact 
that the writing appears at first only of a faint 
greenish, bluish, or reddish color, although it 
gets darker afterward. 

The most permanent writing is done with 
India ink, because the black coloring matter of 
this ink consists of finely divided carbon, 
which is unaffected by chemical reagents. Its 
high price seldom premits of its use. 

For ordinary use only such ink is recom- 
mended as consists either of pure galls and iron, 
or of some mixture in which these are the chief 
ingredients. 

The inks for other purposes, as printing inks, 
are fully treated, and all are arranged alpha- 
betically. 

To Age or Develop the Color of Ink.— It has 
been the custom to keep ink for two or three 
months to develop its color; but it is ?' ted 
that this may be accomplished in a few hours 
by forcing fine streams of air through it. This 
is done by having a coil of perforated pipe in 
the bottom of a tank containing the ink., and 
forcing the air through it by a pump, blower, 
or otherwise. 

Aniline Inks.— Alcoholic Solutions.— 1. Gene- 
ral formula.— Dissolve 15 parts of aniline color 
in 150 parts of strong alcohol in a vessel of glass 
or enameled iron for three hours, thei Id 
1,000 parts distilled water; heat gently foi 
hours, in fact, till the color of the alcohol has 
quite disappeared; then add a solution consist- 
ing of 60 parts of powdered gum arabic in 250 
parts of water. 

2. Special Formula for Violet.— Digest y z oz. 
aniline violet in 1 oz. alcohol in a suitable ves- 
sel as above for three hours; then add 1 qt. of 
distilled water and heat gently till odor of 
spirit is dissipated. Then add 2 drm. gum arabic 
dissolved in }& pt. water and allow the w' 
settle. This will bear dilution, if desired, with 
an additional quantity of distilled water. 

3. Special Formula for Blue.— Dissolve 15 gr. 
aniline blue in 1 oz. alcohol, and add 6 oz. in 
distilled water. Boil in proper vessel as above, 
until odor of alcohol has disappeared. 

add 3 drm. powdered gum arabic dissolved in 4 
oz distilled water. Finally filter. You will 
perceive that there is some considerable differ- 
ence in the above special formula, but there 
can be no harm in making it too strong, as H 
no difficult matter to dilute with distilled water 
to taste. 

4. Aqueous Solutions.— Magenta.— 1 oz. to tae 
gallon of boiling distilled water. 

5. Violet.— 1 /£ oz. to 1 gal. of boiling disuiiled 

6. Bhie — 1 oz. to 10 pt. of boiling distilled 
water. „ , .,. ,. ,_, , 

7. Green.— 1 oz. to 5 pt. of boiling distilled 
water. The addition of a small quantity of 
vinegar will considerably improve the color of 
blue aniline fluid. These aqueous solutions 
are very enduring, though not exactly per- 
manent, as they give way to long continued 
exposure to sunlight. They are very limpid, 
dry quickly and never clog. They should or 
course be filtered. 

Autographic Ink — 

1. White soap..... lOOparts. 

White wax. .. lOOparts. 

Mutton suet 30parts. 

Shellac .... 50 parts. 

Mastic • 50 parts. 

Lampblack 30 or 35 parts. 



Inks. 



369 



Inks. 



2. Use a saturated solution of alum, with col- 
oring 1 matter in it, as indigo. 

Black Inks.—1. Aniline Black Ink.— Concen- 
trated solution of borax, 1 part; shellac, 4 parts; 
boil; add aniline black.— English Mechwnc. 

2. Arnold's Writing Fluid.— This writing- fluid 
is a mixture of sulphate of indigo and ordinary 
ink. It flows freely from the pen and at last 
becomes very black. 

3. Asiatic Black Ink.— Logwood shavings and 
powdered galls, of each 2 lb.; green vitriol, lib.; 
gum, 3^ lb.; pomegranate bark, 34 lb.: water, 1 
gal.; infuse 14 days with frequent agitation or 
boil. 

4. Brand's Aleppo gallnuts (pulverized), 10 
parts; water, 125 parts; crystallized sulphate of 
iron, 5 parts; gum arabic, 634 parts. 

5. (Eisner) galls (powdered), 42 oz.; gum Sene- 
gal (powdered), 15 oz.; distilled or rainwater, 
18 qt.; sulphate of iron (free from copper), 18 
oz.; liquor of ammonia, 3 drm.; spirit of wine, 
24 oz.; mix these ingredients in an open vessel, 
stirring frequently until the ink attains the de- 
sired blackness. This formula is said to give a 
deep black neutral ink that does not corrode 
steel pens. 

6. Geisoler's.— Powder coarsely 2 lb. gallnuts, 
13^ lb. iron sulphate, 7 oz. gum arabic. Add 
2 qt. vinegar, 3y 2 gal. water. Stir the mixture 
frequently. Let it stand from eight to ten 
days, theii pour off the ink. 

7. Jahn's.— Bablah, 75 parts; ground logwood, 
123^ paris; water, 750 parts. Boil down to half 
its volume. Strain through linen, add 634 parts 
sugar, 634 parts gun arabic; sulphate of iron 
(finely pulverized), 18% parts. To prevent 
moulding add a small quantity of a solution of 
.chloride of mercury. 

8. Peltz in Pharm. Zeitschr. f. Russl., recom- 
mends the following for making a good ink : 

Parts. 

Extract of logwood . . 100 

Lime water 800 

Carbolic acid 3 

Common hydrochloric acid 25 

Distilled water 600 

Gum arabic 30 

Bichromate of potassium 3 

Distilled water enough to make 1,800 

Dissolve the extract in the lime water, in a por- 
celain or well enameled iron vessel, over a 
steam bath, with frequent stirring. Add the 
carbolic acid and hydrochloric acids, which 
change the solution from a red to a brownish 
yellow color. After half an hour's heating 
over the steam bath set the mixture aside until 
cold, then strain or filter. Now add the bichro- 
mate of potassium and the gum, each separately 
dissolved in a considerable.quantity of distilled 
water, and finally add enough water to make 
1,800 parts. This ink is a fine red color, which 
quickly turns black. It does not corrode steel 
pens, and, if it dries, needs only the addition of 
water. 

9. Shellac, 4 oz.; borax, 2 oz.; water, lqt.; boil 
til] dissolved, and add 2 oz. gum arabic dissolved 
in a little hot water; boil and add enough of a 
well triturated mixture of equal parts of indigo 
and lampblack to produce the proper color; 
after standing several hours draw off and 
bottle. 

10. An exceedingly fine ink is said to be pro- 
duced by the following recipe : 11 parts galls, 
2 parts green vitriol, |th part indigo solution 
and 33 parts of water. Here the relatively larger 
quantity makes the gum unnecessary, while 
the indigo solution makes the brilliant black 
seem still deeper. Writing executed with this 
ink may, it is true, be removed by means of 
dilute acids, but it may be rendered visible 
again by chemical means. 

11. Bruised Aleppo nutgalls, 2 lb.; water, 1 
gal.; boil in a copper vessel for an hour, adding 
water to make up for that lost by evaporation; 
strain and again boil the galls with a gallon of 
"Water and strain; mix the liquors and add im- 



mediately 10 oz. of copperas in coarse powder 
and 8 oz. of gum arabic; agitate until solution 
of these latter is effected, add a few drops of a 
solution of potassium permanganate, strain 
through a piece of hair cloth, and at per- 
mitting it to settle bottle. The addition of a. 
little extract of logwood will render the ink 
blacker when first written with. Half an oz. 
of sugar to the gal. will render it a good copy- 
ing ink. 

12. The Industrie Blatter recommends the fol- 
lowing formula as furnishing a good and cheap 
writing ink: French extract of Campeachy 
wood, 100 parts ; lime water, 800 parts; phenol 
(carbolic acid), 3 parts; hydrochloric acid, 25 
parts; gum arabic, 30 parts; red chromate of 
potash, 3 parts. The extract is first dissolved 
in the lime water on a steam bath with frequent 
stirring or shaking, after which the carbolic 
and hydrochloric acids are added, and change 
the red color to a brownish yellow. It is then 
heated half an hour on steam bath and set aside 
to cool. It is next filtered, and the gum and 
bichromate dissolved in water, are added. 
Enough water is then added to make up the 
solution to 1,800 parts'. This ink is a fine red 
when used, but soon gets black. 

13. Black, for Shading Pens. — The following 
recipe is for a glossy black ink for patent shad- 
ing pens : 

Powdered nutgalls 18 parts. 

Iron sulphate 8 parts. 

Gum arabic f parts. 

Pure water 145 parts. 

The galls are first boiled in 130 parts water, the- 
iron sulphate and gum arabic dissolved in 15 
parts water, and this solution then slowly 
added to the former. 

With Logwood.— 14. A decoction of logwood 
is first made by boiling 10 lb. logwood in 
enough water to produce 80 lb. of the decoc- 
tion. To 1,0l0 parts of this logwood extract 
when cold, is added 1 part of yellow (neutral) 
chromate of potash (K 2 Cr0 4 ), stirring rapidly. 
It is ready for use at once, -without any addi- 
tion; but it possesses the great fault of soon 
becoming thick. This may be corrected by 
adding corrosive sublimate or any other anti- 
septic. 15. Boil 10 oz. logwood in 20 oz. water; 
then boil again in 20 oz. more water and mix 
the two decoctions ; add 2 oz. chrome alum, and 
boil again for one-quarter hour ; and 1 oz. gum 
arabic. The product is 25 oz. deep black ink. 
16. Two lb. bruised galls, digested in 2 qt. alco- 
hol at a temperature of 104° to 140° F. (40° to 60° 
C.) ; when about half the alcohol has evapor- 
ated, add 3 qt. water; stir well and strain 
through a linen cloth. To clarify the solution 
add 8 oz. glycerine, 8 oz. gum arabic and 1 lb. 
sulphate of iron dissolved in water. Stir thor- 
oughly from time to time for a few days, allow 
to settle and put up in well stoppered bottles 
for preservation. The addition of too much 
sulphate of iron is to be avoided, as causing the 
ink soon to turn yellow. Ink thus prepared is 
said to resist the action of light and air for at 
least 12 months without suffering any change of 
color. 17. Digest in an open vessel 42 oz. 
coarsely powdered galls, 15 oz. gum Senegal, 18 
oz. sulphate of iron, 3 drm. aqua ammonias, 24 
oz. alcohol and 18 qt. distilled or rain water. 
Continue the digestion till the fluid has assumed 
a deep black color. 18. To good gall ink add a 
strong solution of fine Prussian blue in dis- 
tilled water; the ink writes greenish blue, but 
afterward turns black ; it is said that it cannot 
be erased either by acids or alkalies without the 
destruction of the paper. 

19. Twenty parts by weight extract of logwood 
are dissolved in 200 parts water and the solution 
is clarified by subsidence and decantation. A 
yellowish brown liquid is thus obtained. In 
another vessel, 10 parts ammonia alum are dis- 
solved in 20 parts boiling water ; the two solu- 
tions are mixed, there being also added i part 
sulphuric acid and finally 1J^ part sulphate of 



Inks. 



270 



Inks. 



copper. The ink should be exposed to the air 
for a few days to give it a good color, after 
which it should be stored in well corked bottles. 

20. Thirty parts extract of logwood are dis- 
solved in 250 parts of water; 8 parts crystallized 
carbonate of soda and 30 parts glycerine (sp. gr. 
1*25) are added ; lastly, 1 part neutral chromate 
of potash and 8 parts gum arabic, reduced to a 
powder and dissolved in water. This ink does 
not attack pens, does not turn mouldy and is 
very black. 

21. Joseph Ellis, of Brighton, stated to the 
Society of Arts that, by making a solution of 
shellac with borax in water and pure lamp- 
black, an ink is producible which is indestruct- 
ible by time or by chemical agents, and which, 
on drying will present a polished surface, as 
with the ink found on the Egyptian papyri. He 
made such an ink, and proved, if not its identity 
with that of ancient Egypt, yet the correctness 
of the formula. 

22. (Karmarsch.)-Pulverized gallnuts, 9 parts; 
3J^j parts gum arabic; sulphate of iron, 3% 
parts; 75 parts water. 

' 23. (Lewis.)-Two oz. pulverized iron sulphate, 
2oz. pulverized logwood, 7 oz. pulverized gall- 
nuts, 2 oz. gum arabic, 2 qt. white wine or 
acetic acid. 

24. Prerogative Court.— Galls, 1 lb.; gum 
arabic, 6 oz.; alum, 2 oz.; green vitriol, 7 oz.; 
kino, 3 oz.; logwood raspings, 4 oz.; soft water, 
1 gal.; macerate. Said to write well on parch- 
ment. 

25. (Reid.) Pulverized gallnuts, 2 lb.; sul- 
phate of iron, ^ lb.; water, 6 qt. 

26. (Ribaucourt.) Galls, lib.; logwood, y 2 lb.; 
gum, 6 oz.; sulphate of iron, Yq lb.; sulphate of 
copper, 2 oz.; sugar, 2 oz.; water, 12 lb. (or 5 
qt.). This has the disadvantage of corroding 
the steel pens and the penknives with which it 
comes in contact. 

27. Black Ruling Ink.— Add fresh gall to good 
black ink. Do not cork, as it prevents it from 
turning black. 

28. Runge's Black Writing Fluid.— Digest 34 
lb. logwood in fine chips for twelve hours in 3 
pt. boiling water, then simmer down gently to 
1 qt., carefully avoiding dust, grease and smoke. 
When cold decant the decoction and dissolve in 
it by agitation 20 grn. yellow chromate of pot- 
ash; it will then be fit for use. 

29. (Van Moos.)- Gallnuts, coarsely powdered, 
75 parts: sulphate of iron, 42J/£ parts; over this 
pour 2,000 parts cold water. Digest from 
twenty-four to forty-eight hours. Strain 
through a cloth and add twenty-four parts 
gum arabic. 

30. Rich Blue Black.— Take enough elder- 
berries to make a quantity of the liquid, bruise 
and put them in an earthen jar for three days, 
when they are to be crushed and the juice to be 
filtered. To every 25 pt. of the filtered liquid 
1 oz. of sulphate of iron and 1 oz. of crude 
pyroligneous acid is added. This ink will have 
a violet color when used, but turns to a blue 
black on drying. 

Blue Inks.—l. Three parts Prussian blue, 1 
part oxalic acid and 30 parts of water. When 
dissolved add 1 part of gum arabic. 

2. Beautiful Blue Writing Fluid.— Dissolve 
basic or soluble Prussian blue in pure water. 
This is the most permanent and beautiful ink 
known. 

3. Chinese Blue Ink.— Two oz. Chinese blue, 1 
qt. boiling water, 1 oz. oxalic acid; dissolve the 
blue in the water and add the acid; it is ready 
for use at once. 

4. One and one-eighth oz. of the so-called 
bleu soluble Parisienne (soluble Paris blue, 
also called cornflower blue) is dissolved in 
alcohol. 

5. Blue Writing Fluid (Mohr).— Pure Prus- 
sian blue, 9 parts; oxalic acid, 1}4 part. Tri- 
turate to a smooth paste with a little water. 
Dilute with sufficient soft water to make it 
fluid. 



6. Blue Ruling Ink.— Good vitriol, 6 oz.; in- 
digo, V/%, oz.; pulverize the indigo and add to 
the vitriol. Expose to the air for six days, or 
until dissolved. Fill the pots with chalk, add 
% gill fresh gall, boiling it before use. 

7. Blue, for Ruling.— Take 4 oz. of vitriol, 
best quality, to 1 oz. of indigo; pulverize the 
indigo very fine; put the indigo on the vitriol; 
let them stand exposed to the air for six days, 
or until dissolved; then fill the pot with chalk, 
add }/*>, a gill of fresh gall, boiling it before use. 

8. Stephen's Blue Black Writing Fluid.— Pure 
Prussian blue, 6 parts; oxalic acid, 1 part. Trit- 
urate with a little water to a perfectly smooth 
paste, then dilute the mass with a proper 
quantity of soft water. 

Bookbinders'' Ink. — A very good red ink may 
be made in the following manner : Infuse }4 lb. 
of Brazil wood raspings in vinegar for two or 
three days. Boil the infusion gently for an 
hour -and filter it while hot. Put it again over 
the fire and dissolve in it, first, J^ oz. of gum 
arabic and afteward of alum and white sugar, 
each J^ oz. A little alum will improve the 
color. The blue is a solution of indigo or Prus- 
sian blue. 

Branding Ink.—l. Triturate together 1 part 
of pine soot and 2 parts of Prussian blue with a 
little glycerine; then add 3 parts of gum arabic 
and sufficient glycerine to form a suitable 
paste. 

2. The following is recommended as a water- 
proof branding ink : 

Shellac 2 oz. 

Borax 2 oz. 

Water 25 oz. 

Gum arabic 2 oz. 

Lampblack ... q.s. 

Boil the borax and shellac in water till they 
are dissolved and withdraw from the fire. 
When the solution has become cold, complete 
25 oz. with water and add lampblack enough to 
bring the preparation to a suitable consistency. 
When it is to be used with a stencil it must be 
made thicker than when it is applied with a 
brush. 

3. The above gives a black ink; for red ink 
substitute Venetian red for lampblack. 

4. For blue, ultramarine. 

5. And for green, a mixture of ultramarine 
and chrome yellow. 

Red Branding Ink.— The following recipe is 
from the Druggists'' Circular : 

Cochineal, pulverized fine 2 oz. 

Cream of tartar 2 oz. 

Mix, and add— 

Boiling water 8 oz. 

Let stand for a quarter of an hour, then neu- 
tralize by adding— 

Carbonate of potash 1 oz. 

After the neutralization add — 

Alum (powdered) 1 oz. 

Gum arabic (powdered) 1 oz. 

Starch 2 oz. 

Mix. 

Brown Ink.—l. By adding to the violet ink 
finely powdered bichromate of potash, in the 
proportion of from 15 to 30 grn. to 1 oz., 
various shades of brown and snuff color are 
obtained. 

2. A strong decoction of catechu; the shade 
may be varied by the cautious addition of a 
little weak solution of bichromate of potash. 

3. A strong decoction of logwood, with a very 
little bichromate of potash. 

Burnishing Ink.—l. Four oz. shellac, 1 oz. bor- 
ax, sufficient water. Boil to tue consistence of 
sirup, and add a few drops of strong ammonia 
water. A small amount of soap is sometimes 
also introduced. Add a sufficient quantity of 
this to the ink to obtain the desired result. 
Instead of the above, soap is often used alone, 
or with a trace of glycerine, ammonia or gum 
arabic' 



Inks. 



271 



Inks. 



2. Receipts for burnishing ink for heel and 
sole edge polishing. 

a. Extract of logwood 1 to 2 oz. 

Tincture of iron 1 to 2 oz. 

Sweet oil 1 to 2 drm. 

Diluted alcohol 1 pt. 

b, Extract of logwood 4 oz. 

Bichromate of potassium 12 grn. 

Ferrocyanide of potassium 12 grn. 

Rain water 1 gal. 

The ink in either case is applied with a brush 
and immediately burnished with a hot iron. 

Canceling Ink for Post Offices, etc. — A fine 
grade of printing ink is ordinarily employed. 
A good ink may be made as follows : Balsam of 
copaiba, pure, 9 oz.; lampblack, 3oz.; indigo, 

5 drm.; Prussian blue, 5 drm.; Indian red, % oz.; 
dried yellow soap, 3 oz.; grind to a uniform 
smoothness. 

Carbon Ink. — Genuine India ink rubbed 
down with good black ink until it will flow 
easily from a pen. This ink resists chlorine 
and oxalic acid. 

Copying Ink. — 1. The quality required of a 
copying ink is that it shall afford one or more 
copies of the written matter by applying dry 
or damped paper to its surface, and subjecting 
it to more or less pressure. The best kinds of 
copying ink are usually prepared by adding a 
little alum to an extract of logwood of 10° B., 
T075 sp. gr., or to a decoction of the same, 
and then, to improve its copying power, some 
sugar and glycerine or table salt is added. 
Such inks have a violet tint, are purple when 
first written, and gradually darken on the 
paper. The copies taken from them are at first 
very pale, and only slowly darken. The chief 
recipes for copying inks are the following : 

2. Mix about 3 pt. jet black writing ink and 
I pt. glycerine. This, if used on glazed paper, 
.vill not dry for hours, and will yield one or 
„ wo fair, neat, dry copies, by simple pressure 
of the hand in any good letter copy book. The 
writing should not be excessively fine, nor the 
strokes uneven or heavy. To prevent setting 
off, the leaves after copying should be removed 
by blotting paper. The copies and the origin- 
als are neater than when water is used. 

3. A good copying ink may be made from 
common violet writing ink by the addition of 

6 parts glycerine to 8 parts of the ink. Using 
only 5 parts of glj'cerine to 8 pai'ts of the ink, 
the ink will copy well fifteen minutes after it 
has been used. With fine white copying paper, 
it will copy well without the use of a press. 

4. Half pound extract of logwood, 2 oz, alum, 
4 dr. blue vitriol (sulphate of copper), 4 dr. 
green vitriol, sulphate of iron, 1 oz. sugar; boil 
these ingredients with 4 parts water, filter the 
decoction through flannel; add a solution of 4 
dr. neutral chromate of potash in 4 oz. water, 
and a solution of 2 oz. chemic blue in 2 oz, 
glycerine. The chemic blue is the solution of 
indigo in sulphuric acid, or sulphindigotic acid. 

5. A black copying ink which flows easily 
from the pen, and will give very sharp copies 
without the aid of a press, can be prepared 
thus: 1 oz. coarsely broken extract of logwood 
and 2 dr. crystallized carbonate of soda are 
placed in a porcelain capsule with 8 oz. distilled 
water, and heated until the solution is of a 
deep red color, and all the extract is dissolved. 
The capsule is then taken from the fire. Stir 
well into the mixture 1 oz. glycerine, sp. gr. 
1*35, 15 gr. neutral chromate of potash, dis- 
solved in a little water, and 2 dr. finely pul- 
verized gum arabic, which may be previously 
dissolved in a little hot water so as to produce 
a mucilaginous solution. The ink is now com- 
plete and ready for use. 

6. Bruised Aleppo nutgalls, 2 lb.; water, 1 
gal.; boil in a copper vessel for an hour, adding 
water to make up for that lost by evaporation; 
strain and again boil the galls with 1 gal. water 
and strain; mix the liquors and add immedi- 
ately 10 oz. copperas in coarse powder and 8 oz. 



gum arabic; agitate until solution of these 
latter is effected, add a few drops of solution 
of potassium permanganate, strain through a 
piece of hair cloth and after permitting to 
settle, bottle. The addition of a little extract 
of logwood will render the ink blacker when 
first written with. Half an ounce of sugar to 
the gallon will render it a good copying ink. 

7. Professor Gin tl proposes the following: A 
concentrated solution of logwood is treated, 
first, with 1% of alum, and then with the same 
proportion of lime water until a permanent 
precipitate is formed. A tew drops of a weak 
solution of chloride of calcium are added, un- 
til a bluish black color is obtained; then hydro- 
chloric acid is added drop by drop until the 
liquid turns red. A little gum and about 1% 
glycerine are then added, and the ink is ready 
for use, 

8. Red Copying Ink.— Dissolve 50 parts extract 
of logwood in a mortar in 750 parts distilled 
water without the aid of heat; add 2 parts 
chromate of potassium and set aside. After 
twenty-four hours add a solution of 3 parts 
oxalic acid, 20 parts oxalate of ammonium, and 
40 parts sulphate of aluminum in 200 parts dis- 
tilled water, and again set aside for twenty- 
four hours. Now raise it once to boiling in a 
bright copper kettle, add 50 parts vinegar, and 
after cooling fill into bottles and cork. After 
a fortnight decant. This ink is red in thin 
layers, writes red, gives excellent copies in 
brownish color, and turns blackish brown upon 
the paper. 

9. Parisian Copying Ink.— Best kinds of copy- 
ing inks are, as is well known, prepared by 
adding a percentage of alum, sugar, and glycer- 
ine, or salt, to the extract of logwood. Such 
inks have a violet tint, and gradually become 
blacker on paper. The copy is, however, very 
pale at first, and is often indistinct. Th3 Par- 
isian copying ink is distinguished from the 
common kinds by its appearance more or less 
yellow in a liquid state, and by producing a 
distinct bluish black on paper. It has the ad- 
ditional advantage of preserving its fluidity, 
while the common kinds soon thicken. Pro- 
fessor Gintl recommends the following method 
of preparing an ink which has all the advan- 
tages of the Parisian: A strong solution of 
logwood extract is treated with 1% of alum, and 
then with as much lime water, so that a perma- 
nent precipitate is formed. Some drops of 
weak chloride of lime are then added, so that a 
perceptible bluish black color is attained, and 
hydrochloric acid is added by drops till a red 
solution is obtained. A little gum is then added, 
with 0*5^ of glycerine.— English Mechanic. 

10. Violet Copying Ink.— For blue violet, 
dissolve in 300 parts boiling water methyl violet 
5B, Hofmann violet 3B, or gentiana violet B. 
For reddish violet, dissolve in a similar quantity 
of water methyl violet BR. A small quantity 
of sugar added to these inks improves their 
copying qualities. If the writing, when dry, 
retains a bronzy appearance, more water must 
be added. 

Inks which Yield Copies without a Press.— 1. 
Black : 

Nigrosine C. P. fine 10 oz. 

Glucose A V/%, oz. 

Hot water 1% pt. 

Glycei-ine 1*4 oz. 

Dissolve the nigrosine by trituration in the 
hot water, then add the other ingredients and 
strain through a piece of silk. If too thick 
when cold, dilute to the proper consistence 
with water. 

2. Blue: 

Cotton blue (aniline) C. B 6 oz. 

Glucose A 1 oz. 

Glycerine Y± oz. 

Hot water. 2 pt. 

Proceed as directed for black ink (above). In 
preparing these inks it is essential that the 
water should be kept quite hot while the ope- 



Inks. 

ration of trituration is performed. The tritu- 
ration should be continued until all of the dye 
has been taken up by the water. The straining- 
must be performed hot, otherwise the filtering- 
cloths quickly become clogged. In purchasing 
nigrosine and aniline blue, obtain if possible 
the purest quality. Cheap grades of these dyes 
are almost invariably heavily adulterated with 
dextrine. 

3. Dissolve an aniline color in water, and add 
a little glycerine. It is well to dissolve the 
color in alcohol first. About 10$ glycerine 
should be sufficient. 

4. Mix white sugar with the ink; V& drm. 
sugar to 1 oz. ink. Use this with an ordinary 
pen, and place over the writing a moistened 
sheet of unsized paper. Lay both leaves be- 
tween two layers of carpet; put the whole under 
a piece of board large enough to cover. Then 
stand on the board for a few seconds. An ex- 
cellent impression will be found on the copying- 
paper. 

Parts. 

5. Extract of logwood 200 

Sulphate of iron 8 

Chromate of potash 2 

Indigo carmine 16 

Gum arabic 2 

Glycerine 20 

Salicylic acid 03 

Vinegar 100 

Distilled water 900 

Dissolve the extract of logwood completely 
in a portion of the ,7ater by heating at a tem- 
perature of about 200° F. Then add the rest of 
the water and the vinegar, in which the other 
ingredients have been mixed in the order given 
above and dissolved. Mix thoroughly, and set 
aside for a few days to settle. Another formula, 
which provifies an ink of a different color, but 
equally satisfactory, is as follows : 

Parts. 

6. Water 1,000 

Extract of logwood 200 

Indigo carmine 20 

Alum . 25 

Sulphate of iron 4 

Sulphate of copper 3 

Glucose 16 

Gum arabic 2 

Chromate of potash 2 

Salicylic acid 0*3 

7. Writing, too old to copy by moisture only, 
or from thin writing ink, may be copied as 
follows : In y 2 pt. water dissolve about a table- 
spoonful white sugar, and to the solution add a 
sufficient quantity of the ferrocyanide of po- 
tassium to distinctly color it, also about y % gill 
pure muriatic acid (free from iron). Moisten 
white tissue paper with this, partially dry it 
with a blotter, place the writing to be copied 
in contact with it, and keep under pressure for 
about five minutes. With most inks this recipe 
will give very good results. 

Chrome Ink.— Extract of logwood, % oz.; gum, 
M oz.; water, 1 pt. Dissolve also in 12 oz. water, 
34 oz. yellow chromate of potash (or J^ oz. bi- 
chromate and bicarbonate of potash), and mix 
the two solutions. The ink is ready for im- 
mediate use. 

Brier for Inks used on Bookbinders'' Cases. — 
Beeswax, 2 oz.; gum arabic (dissolved in acetic 
acid q. s. to make a thin mucilage), J^ oz.; 
brown japan, )4 oz. Mix with 2 lb. good cut 
ink. 

Diamond Ink. — Diamond ink is made by mix- 
ing with hydrofluoric acid enough barium sul- 
phate to give it consistency, so that it will not 
spread, and show well on the glass. Ammonium 
fluoride may also be added. After the writing- 
has stood some time it is washed or dusted off, 
and the etching appears. See Etching. 

Drawing Ink— I. A very black and indelible 
drawing ink may be made by dissolving shellac 
in a hot water solution of borax, and rubbing 
up in this solution a fine quality of India ink. 



272 Inks. 






After using, dip the drawing pen in alcohol 
and wipe dry. to keep it clean and bright. 

2. The addition of 1 part of carbolic acid to 80- 
parts of the fluid India ink, while it does not im- 
pair its fluidity, causes it to dry rapidly even in 
heavy lines, so that they can be varnished over. 
The proper amount of carbolic acid to be added 
in any case may be ascertained by adding drop 
by drop the ordinary apothecary's solution of 
it in alcohol until varnishing does not affect 
the definition of a test line by causing it to 
run. The addition of too much carbolic acid 
is indicated by the transparancy of the line 
and the inability to draw fine lines, a condition 
easily remedied by the addition of more of the 
fluid ink. 

See also India Inks below. For a manufac- 
tured ink Higgins' waterproof is highly recom- 
mended. 

Enameled Cards, Ink for.— An ink that may 
be applied to enameled calling or playing cards 
that will show perfectly plain, and that will 
not destroy the gloss, is printer's ink diluted 
with oil of lavender. 

Indorsing Inks.— Dissolve 1 part of aniline 
blue, violet or magenta, according to the color 
required, in a mixture of 30 parts of alcohol 
and 30 parts of glycerine. 

Ink Eraser.— 1. Mix equal parts of oxalic and 
tartaric acids in powder. When to be used, dis- 
solve a little in water. It is poisonous. 

2. Oxalic acid mixed with citric acid may be 
used. 

3. Equal parts of cream of tartar and citric 
acid in solution with water. 

4. A more powerful one, a saturated solution 
of oxalic acid in water. The red inks are made 
of various bases for the color, as Brazil wood, 
cochineal, and aniline red. The aniline red 
may be removed by alcohol acidulated with 
nitric acid. No receipt for the other reds. 

5. Cold aqueous or acetic acid solution of 
calcium hypochlorite, bleaching powder or 
eau de JaveUe. 

6. Immerse blotting paper or any similar ma- 
terial in a hot concentrated solution of citric 
acid, roll it into a pencil, and coat the larger 
portion of it with paper or lacquer. Moisten 
the eraser with water, and rub over the ink to 
be removed. Drop upon the ink spot a drop of 
water containing chloride of lime. The ink 
immediately disappears. 

7. Chloride of lime, % pound, is added to 
2 parts water. Allow this to stand for 24 
hours, then strain and add 1 drm. acetic acid to 
every ounce of the chloride of lime used. Ap- 
ply this liquid to the blot without rubbing. 
When the ink has disappeared absorb the fluid 
with blotting paper. 

Engraving Inks.— Under the term engraving- 
inks will be included all inks employed for en- 
gravers, whether on stone, wood, or metal. 

1. Black.— Coal tar, 100 parts; lampblack, 36 
parts; Prussian blue, 10 parts; glycerine, 10 
parts. This ink may be used for lithography, 
chromo lithography, autography, etc. 2. To 
the varnish obtained by boiling linseed oil, as 
for printing- ink, is added as much best calcined 
Paris black as can be ground up with it. This 
is a litho printing ink. For copper plate print- 
ing, the Paris black is replaced by lampblack. 
3. Eight oz. mastic in tears, 12 oz. shellac, 1 oz. 
Venice turpentine; melt together; add 1 lb. 
wax, 6 oz. tallow; when they are dissolved, add 
6 oz. hard tallow soap shavings, and mix; then 
add 4 oz. lampblack. Mix all well together, let 
cool slightly, pour into moulds, and cut into 
cakes of convenient size. This ink is suited for 
writing- on stones. 4. To render 3 liquid, for 
writing and drawing on transfer paper, it is 
warmed in a pot, and then rubbed down with 
soft water (rain or distilled water). The pen 
should be dipped into oil and wiped before 
use. 6. Pure white wax, 4 parts (best quality); 
white tallow, 2 parts; gum lac, 2 parts; lamp- 
black made from burnt rags, 1 part; oil copal 
varnish, 1 part. Melt the wax over a slow 



Inks. 



273 



Inks. 



fire, then add gum lac crushed small, then mix 
in the soap in shavings, then the oil varnish 
for cakes. When wanted, thin Avith water 
from the cake, and for crayons cut from the 
paint, which must be brittle if it is good. 

Colored.— Colored inks are made by adding 
to the varnish already described certain pig- 
ments, of which the principal are as follows: 

1. Blue.— Two oz. celestial blue, 3 oz. marine 
blue. 

2. Brown.— Two oz. burnt umber, 1 oz. rose 
pink. 

3. Green. — Two oz. mineral green, 3oz. chrome 
green. 

4. Lilac— One oz. Prussian blue, 2 oz. Chinese 
red. 

5. Orange.— Two oz. orange red, 1 oz. flake 
white, ground up with Canada balsam, and 
omitting the linseed oil varnish. 

6. Pink.— Two oz. mineral pink, 1 oz. satin 
white. 

7. Red. — Five oz. mineral orange red, 2 oz. 
Chinese red. 

Exchequer Ink.— Bruised galls, 20 lb.; gum, 5 
lb.; green iron sulphate, 4>£ lb.; soft water, 22}^ 
gal. Macerate for three weeks, stirring fre- 
quently. This ink is very enduring. 

Fireproof Paper and Ink for Documents.— 
Fireproof paper maybe made, according to the 
Pharmaceutische Zeitung, from a pulp consist- 
ing of 1 part vegetable fiber, 2 parts asbestos, 
-& part borax, £ part of alum. The ink is made 
from 85 parts graphite, 0'8 part copal var- 
nish, 7 - 5 parts copperas, 30 parts tincture of 
nutgalls, and a sufficient quantity of indigo 
carmine. 

Frost Proof Ink.— Aniline black, 1 drm. ; rub 
with a mixture of concentrated hydrochloric 
acid, 1 drm; pure alcohol, 10 oz. The deep blue 
solution obtained is diluted with a hot solution 
of concentrated glycerine, V/% drm., in 4 oz. of 
water. This ink does not injure steel pens, is 
unaffected by concentrated mineral acids or 
strong alkalies, and will not freeze at a tem- 
perature of 22° or 24° below zero. 

Gluten Ink.— Dissolve wheat gluten, free from 
starch, in' weak acetic acid, of the strength of 
common vinegar; mix 10 grn. lampblack and 
2 grn. indigo, with 4 oz. of the solution, and a 
drop or two of the oil of cloves. 

Glass, Inks for Writing on.— 1. A solution of 
hydrofluoric acid applied to glass previously 
coated with wax, and the matter scratched 
through with a style. 

2. Three parts barium sulphate, 1 part am- 
monium fluoride, and sufficient sulphuric acid 
to decompose the ammonium fluoride and make 
the mixture of a semi-fluid consistence. It 
should be prepared in a leaden dish and kept in 
a gutta percha or leaden bottle. 

Green Inks.— Green Black Ink.— 1. Take 15 
parts bruised gallnuts and 200 parts of water, 
boil for about an hour, strain, and then add to 
the liquor 5 parts sulphate of iron, 4 parts fine 
iron shavings and a solution of y» pint of 
powered indigo in 3 parts of sulphuric acid. 
This ink writes green, but turns black after a 
few days ; it flows very well from the pen. 

2. Calcine acetonitrate of chrome; dilute the 
green powder with sufficient water. 

3. Mix good clear blue and yellow inks in 
the proportions necessary to give the desired 
tint. 

4. Sap green dissolved in very weak alum 
water. 

5. Verdigris, 2 oz.; cream of tartar, 1 oz.; 
water, Yz pt.; reduce one-half by boiling, and 
filter. 

6. Rub 3}& drm. Prussian blue and 3 drm. gam- 
boge, with 2 oz. mucilage, and add Y pt. water. 

7. A solution of recently precipitated hy- 
drated oxide of chromium in liquor of am- 
monia, dilluted with distilled water, q. s. This 
produces a beautiful dark green liquid, per- 
fectly anti-corrosive. 

8. Dissolve 180 grains bichromate of potassa 
in 1 fl. oz. of water, add while warm Yz oz. spirit 



of wine, then decompose the mixture with con- 
centrated sulphuric acid until it assumes a 
brown color; evaporate this liquor until its 
quantity is reduced to one-half, dilute it with 
2 oz. distilled water; filter it, add Y oz. alcohol, 
followed by a few drops of strong sulphuric 
acid; it is now allowed to rest, and after a time 
assumes a beautiful green color. Add a small 
quantity of gum arabic and it is ready for use. 

9. A strong solution of binacetate of copper in 
water, or of verdigris in vinegar; 3 (klaproth) 
verdigris, 2 oz.; cream of tartar, 1 oz.; water, 
Yz pt. Boil to one-half, and filter. 

10. Two parts acetate of copper, 1 part car- 
bonate of potash and 8 parts water. Boil till 
one-half is evaporated, and filter. 

Gold Ink.— See also Silver Ink below.— Honey 
and gold leaf equal parts ; triturate until the 
gold is redueed to the finest possible state of 
division, agitate with 30 parts of hot water, 
and allow it to settle. Decant the water and 
repeat the washing several times; finally dry 
the gold and mix it with a little weak gum 
water for use. 

Liquid Gold for Vellum.— Grind gold leaf 
with gum water. Add a little bichloride of 
mercury, and bottle. 

Hektogxaph Ink.—l. The ink is prepared by 
dissolving 1 oz. of aniline violet or blue (2 R B 
to 3 B) in 7 fl. oz. of hot water, and, on cooling, 
adding 1 oz. of wine spirit with J4 oz. of glycer- 
ine, a few drops of ether, and a drop of carbo- 
lic acid. Keep the ink in a well stoppered 
bottle. 

2. Use a strong aqueous solution of nigrosine 
(aniline black) in the proportion of about 1 of 
the coloring material to 5 or 7 of water. It 
must be a saturated solution, rather thick. 

3. Nigrosine black 1 part. 

Water 14 parts. 

Glycerine 4 parts. 

This will make a black ink suitable for use 
with the hektograph. In order to make it 
copy add more glycerine, gum arabic, or sugar. 

For a description of the Hektograph, see 
Hektograph. 

Horticultural Ink.—l. Blue vitriol, 1 oz.; sal- 
ammoniac, Yi oz. (both in powder) ; vinegar, J4 
pt.; dissolve. A little lampblack or vermilion 
may be added. For iron, tin or steel plate. 

2. Verdigris and sal ammoniac, of each Yz oz.; 
levigated lampblack, Yz oz.; common vinegar, 
34 pt.; mix thoroughly. Used for either zinc, 
iron or steel labels. 

Ink and Paper, Incombustible.— The pulp for 
the paper is composed of vegetable fiber, 1 part ; 
asbestos, 2 parts ; borax, T V part ; alum, £ part. 
The ink can be used in either writing or paint- 
ing, and is made according to the following re- 
cipe: Graphite finely ground, 22 drm.; copal or 
other resinous gums, 12 grn.; sulphate of iron, 
2 drm.; tincture of nutgalls, 2 drm.; sulphate of 
indigo, 8 drm. These substances are thoroughly 
mixed and boiled in water. See also Fireproof 
Inks above. 

Incorrodible Ink.— This name has been given 
to several preparations of a resinous character, 
capable of resisting the action of damp and 
acids. 

1. Boiled linseed oil, ground with lampblack 
and Prussian blue, of each q. s. to impart a deep 
black color. It may be thinned with oil of tur- 
pentine. 

2. Good copal or amber varnish colored with 
either plumbago or vermilion. 

3. Trinidad asphaltum (genuine), 1 part ; oil of 
turpentine, 4 parts ; color as last. 

4. (Close.) Cobalt (in powder), 25 grn.; oil of 
lavender, 200 grn.; dissolve by a gentle heat, 
and add of lampblack, 3 grn.; indigo, 1 grn. 
(both in impalpable powder) ; or vermilion, q.s. 

5. (Sheldrake.) Asphaltum dissolved in amber 
varnish and oil of turpentine, and colored with 
lampblack. 

Indeliblelnk.—l. Aniline Inks, to Render Indel- 
ible.— To render aniline inks indelible on paper 



Inks. 



274 



Inks. 



it will be necessary to coat the reproduction 
with some preparation. An excellent com- 
pound consists of collodion dissolved to the 
consistency used by photographers with 2% of 
stearine added. 

2. The following- ink is recommended for 
marking; linen : Triturate 1*75 drm. aniline 
black with 240 drops strong- hydrochloric acid 
and 42 drm. strong- alcohol. The mixture is 
diluted with a hot solution of 2*5 drm. gum 
arabic in 170 drm. water. Experimentation is 
to be recommended with the various colors 
used. It is impossible to furnish any positive 
iuformation on such matters without first 
engaging the services of an expert dyer to 
experiment on the matter, liosin and salt are 
added to soap mixtures in order to produce a 
harder compound. 

3. The Apotheker Zeitung gives the following 
formula : 1'75 grm. aniline black are ground up 
with 40 drops hydrochloric acid and 42 grm. 
alcohol, and the liquid is diluted with a hot 
solution of 2'5 grm. gum arabic in 170 grm. 
water. If the aniline black solution is diluted 
with a solution of 2 - 5 grm. shellac in 170 grm. 
spirit instead of gum water, the result is an ink 
suitable for writing on wood, brass or leather. 

1. Marking Ink for Linen, etc.— Dissolve shel- 
lac in a little water by boiling it with about | 
part of borax, and add to this solution a suffi- 
cient quantity of nigrosine to produce the 
proper color. 

2. Indelible Ink for Marking Linen.— Add 
caustic alkali to a saturated solution of cup- 
rous chloride until no further precipitate forms; 
allow the precipitate to settle, draw off the 
supernatant liquid with a siphon, and dissolve 
the hydrated copper oxide in the smallest 
quantity of ammonia. It may be mixed with 
about %% of gum dextrine for use. 

3. Asphaltum, 1 part; oil of turpentine, 4 
parts; dissolve and temper with printer's ink. 
Best used with a stamp. 

4. Marking Ink.— The following recipe affords 
a marking ink which is said to flow freely from 
the pen without running or blotting, becoming 
perfectly black upon the application of mod- 
erate heat, and which does not destroy the 
quality of the finest cambric : Nitrate of silver, 

1 oz.; carbonate of soda (crystallized), 1)4 oz.; 
tartaric acid, 100 grn.; strong liquor ammonia?, 

2 fl. oz.; archil, ^ fl. oz.; white sugar, 1 oz.; 
powdered gum arabic, 1^ oz. Dissolve the 
nitrate of silver and carbonate of soda separ- 
ately in distilled water; mix the solutions, col- 
lect and wash the precipitate, still moist, in a 
Wedgwood mortar, and add to it the tartaric 
acid, rubbing them together until effervescence 
has ceased; add liquor ammonias in sufficient 
quantity to dissolve the tartrate of silver; then 
mix in the archil, white sugar and gum arabic, 
and add as much distilled water, if required, as 
will make 6 fl. oz. of the mixture. 

5. The following are highly recommended by 
Dr. Reimann : The linen is first moistened'-with 
a fluid consisting of a mixture of 2 parts car- 
bonate of soda in crystals, 2 parts gum arabic, 
8 parts of water and then dried. When quite 
dry it is rubbed with a glass cloth to render it 
as smooth as possible, so that it may be easier 
to write upon. The composition of the ink 
itself is as follows : If pt. nitrate of silver, 16 pt. 
distilled water, 2 pt. gum arabic and \i pt. of 
sap green. The nitrate of silver is first dis- 
solved in the distilled water, and the gum arabic 
and sap green are subsequently added. Use a 
quill pen. 

6. For very fine linen the following ink is best 
employed : 4 pt. nitrate of silver, 24 pt. distilled 
water. To this solution liquid ammonia is 
added until the precipitate which is first formed 
is redissolved. Then a little sap green, indigo, 
etc., are ground together and dissolved in a 
solution of 4 pt. gum arabic, and this solution 
and that of the nitrate of silver are mixed to- 
gether. The whole is then diluted until it 



occupies 32 parts. This ink is very limpid and 
easy to write with. When dry a hot iron need 
only be passed over the surface of the linen, 
when the letters will at once make their ap- 
pearance, their tint being a deep black. The 
ink does not injuriously affect even the finest 
linen. The discovery of an aniline black has 
led to the employment of this coloring matter 
in marking linen. 

7. The ink made with nitrate of silver can be 
removed by washing the linen with a solution 
of hyposulphite of soda or by moistening it 
with a solution of bichloride of copper and theu 
washing with liquid ammonia. This is not the 
case with the aniline ink, the color of which 
cannot be removed by any chemical agent 
whatever. Linen, therefore, marked with this 
ink can never be appropriated by other per- 
sons than the rightful owner. 

8. Such aniline ink may be prepared in the 
following way : 8}4 grn. of bichloride of cop- 
per are dissolved in 30 grn. of distilled water ; 
then are added 10 grn. of common salt and 9V£ 
grn. of liquid ammonia. A solution of 30 grn. 
of hydrochlorate of aniline in 20 grn. of distilled 
water is then added to 20 grn. of a solution of 
gum arabic, containing 2 pt. water, 1 pt. gum 
arabic and lastly 10 grn. of glycerine. Four 
parts of the aniline solution thus prepared are 
mixed with 1 part of the copper solution. The 
liquid which results has a green appearance, 
and may be at once employed for marking 
linen, since it invariably becomes black after a 
few days. A steel pen may be employed as 
well as a quill. If it is desirable not to wait so 
long for the appearance of the black color, a 
hot iron may be passed over the writing when 
the ink is dry, or the linen may be held over the 
flame of a spirit lamp, or over a hot plate or 
hot water, when the black tint will readily ap- 
pear. It is a good plan to put the linen when 
maiked into a tepid solution of soap, which has 
the effect of bringing out a fine bluish tint. 
The ink must be so limpid that it is able to per- 
meate the tissue of the linen, so that the marks 
appear on both sides. 

9. Dissolve 25 grn. of gum copal powder in 
200 grn. of lavender oil by the aid of a gentle 
heat; then add 2^ grn. of lampblack and \i grn. 
of powdered indigo. To be applied to paper 
with a quill pen. 

10. Eisner prepares an ink which resists the 
action of bleaching agents, thus : Take equal 
parts of copperas and vermilion, powder thor- 
oughly, sift and grind the finest portions with 
linseed oil; finally squeeze through linen. A 
thick paste is thus obtained which can be used 
either for writing or printing on calico or 
wool.— Les Mondes. 

11. Bottger prepares an ink that does not cor- 
rode steel pens by triturating 3*65 grn. of ani- 
line black with 22 grn. of alcohol and 4 drops of 
hydrochloric acid; a porcelain mortar is em- 
ployed, and the paste thus produced is mixed 
with l - 82 grn. of gum arabic previously dis- 
solved in 85 grn. of hot water. If this ink be 
added to an alcoholic solution of shellac (21 gr. 
of lac to 85 of alcohol), a black product results, 
suitable for coloring leather and wood.— Ding- 
Zer's Polytech. Journal. 

12. If the ink is to be used for writing or 
drawing and there is no danger of the letters, 
etc., being rubbed off mechanically, printing 
ink or Indian ink may be used. 

13. Printing ink sinks "into woven fabrics to 
a considerable depth and will last a long time. 
It is probably one of the cheapest marking 
inks to be used with stencils. 

14. In many cases Indian ink answers as well, 
and in some cases, as for engrossing valuable 
documents, it is the only safe ink, since nothing 
but the destruction of the document itself will 
be able to obliterate it. It is made by triturat- 
ing 100 grn. of best Indian ink (Chinese) with 
very dilute hydrochloric acid(about 22 parts of 
absolute hydrochloric acid in 1,000 parts), or 



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275 



Inks. 



with a solution of acetate of manganese in di- 
luted acetic acid. 

15. Another fine indelible ink, which resists 
all ordinary reagents, is made by means of 
vanadium. Vanadium and its salts are rather 
expensive still, although their price has fallen 
during the last few years to about one tenth of 
what it was formerly. 

16. This ink consists of lampblack and caus- 
tic soda, mixed with gelatine and caustic soda. 
It is said to be indelible and to resemble China 
ink. 

17. India ink, ground up with ordinary black 
writing ink, forms a cheap indelible ink for 
common purposes. It will resist the action of 
chlorine, most acids, and even ablution with a 
brush or sponge. 

18. Ink, Indelible.— The following recipe is 
given by Puscher: Dissolve 4 parts of ani- 
line black in 16 parts by weight of alcohol, 
with 60 drops strong hydrochloric acid, and 
dilute the dark blue solution with 90 parts by 
weight of water, in which 6 parts of gum 
arabic has been previously dissolved. ' This ink 
is said not to act upon steel pens or to suffer 
any alteration by alkalies or acids. 

19. By adding f errocyanide of potassium to 
ordinary ink an indelible writing ink may be 
obtained. The removal of such an ink by acid 
would result in the production of Prussian blue. 
—Pharmaceutische Zeitung. 

20. Gelatine, 2 grn.; bichromate of potassium, 
2 grn.; nigrosine, 10 grn.; water 2 fl. oz. Dis- 
solve the gelatine and nigrosine in most of the 
water and the bichromate in the remainder. 
Mix the two solutions in an amber colored 
bottle. 

' 21. Dissolve with the assistance of heat, 20 
parts of brown shellac in a solution of 30 parts 
of borax in 300 to 400 parts of water and filter 
the solution while hot. Then add to the filtrate 
a solution of 10 parts of aniline black soluble in 
water, T 3 ff part of tannin, & part of picric acid, 
15 parts of spirit of sal ammoniac and J4 oz. of 
water. 

22. Solution of permanganate of potass, fol- 
lowed by a solution of oxalic acid. If necessary 
repeat. Cyanide of potassium will do it, but 
it is not easy to use, and is poison. 

23. Dissolve 34 oz. nitrate of silver in about 2 
oz. of distilled water, add carbonate of soda so 
long as a precipitate falls; wash this precipi- 
tate, and add tartaric acid till effervescence 
ceases. Wash the insoluble tartrate of silver, 
and dissolve in 1 oz. of strong solution of am- 
monia. Use this with a quill pen and hot iron 
as generally directed. Jetoline marking ink is 
also an excellent preparation, made with ani- 
line dyes. 

24. One part of pyrogallic acid is triturated 
with 3 parts of powdered acacia, 3 parts of van- 
adate of ammonium and a sufficient quantity 
of cold distilled water, in a porcelain capsule, 
until a uniform mixture is made. This forms a 
fine ink, flowing black from the pen. This may 
also be made into a stencil ink by using less 
water and adding a little glycerine. 

25. A composition prepared by mixing well 
triturated carbon with an alkaline silicate 
(potash or soda), the following proportions an- 
swering well: Lampblack, 1 part; sirupy sili- 
cate solution, 12 parts ; ammonia liquor, 1 part ; 
distilled water, 38 parts. 

26. An ink that cannot be erased, even with 
acids, is obtained by the following : To good 
gall ink, add a strong solution of fine soluble 
Prussian blue in distilled water. This addi- 
tion makes the ink, which was previously proof 
against alkalies, equally proof against acids, 
and forms a writing fluid which cannot be 
erased without destruction of the paper. The 
ink writes greenish blue, but afterward turns 
black.— Pharmacist. 

27. For Rubber Stamps.— An excellent mark- 
ing ink that dries rapidly and is free from grease 
may be cheaply pi'epared, by dissolvine- : 



Crystallized aniline black J^ oz. 

In pure alcohol 15 oz. 

And adding concentrated glycer- 
ine 15 oz. 

to the solution. Thisliqu.d is poured upon the 
cushion and rubbed with a brush, 

28. Red marking ink, unaffected by soap alka- 
lies is made asfollows: Enough finely powdered 
cinnabar to form a moderately thick liquid is 
very intimately mixed with egg albumen pre- 
viously diluted with an equal bulk of water, 
and beaten to a froth and filtered through 
fine linen. Marks are formed on cloth with this 
liquid by means of a quill and are fixed after 
they have become dry by pressing on the re- 
verse side with a hot iron. This might work in 
a rubber stamp by adding glycerine, but it is 
recommended to use the quill. 

29. Tyrian Purple Ink for Marking Linen. — 
Von Bele gives the following method for pre- 
paring an ink for marking linen and cotton : 
Neutralize 75 grn. carbonate of ammonia with 
pure nitric acid, and triturate 45 to 60 grn. car- 
mine with the solution. Mordant the fabric 
with a mixed solution of acetate of al umina 
and tin salt, and write upon it, when it is per- 
fectly dry, with the ink. 

30. Purple Marking Ink.— A purple marking 
ink can be prepared by mixing 1 part bichlor- 
ide of platinum with 16 parts distilled water. 
The place where the letters have to be written 
must be moistened with a solution of 3 parts 
carbonate of soda, 3 parts gum arabic and 12 
parts water. The spot is then dried and made 
smooth. After the letters have been written 
with platinum ink and become dry, the linen is 
moistened with a solution of 1 part chloride of 
tin in 4 parts distilled water, when an intense 
and beautiful purple red color makes its ap- 
pearance. 

31. Indelible Ink for Paper.— A good formula 
is the following : Gelatine, 2 grn.; bichromate 
of potash, 2 grn.; nigrosine, 10 grn.; water, 1 
fl. oz. Dissolve the gelatine and nigrosine in 
most of the water, and the bichromate of po- 
tassium in the remainder. Mix the two solu- 
tions in an amber colored bottle. If it is found 
that the ink gums in the pen, the quantity of 
gelatine and bichromate may be somewhat re- 
duced. But the ink, when properly made, and 
dry, cannot be entirely removed from paper 
by hot or cold water, acids or alkalies. 

32. Ink for Marking Textile Fabrics.— Tritu- 
rate 4 parts of powdered soluble nigrosine in 
about 15 parts of hot water, and strain the hot 
solution repeatedly through fine silk, or filter 
it through filter paper, using a hot funnel. 

33. a. Dissolve in 60 grm. water 8*25 grm. crys- 
talline chloride of copper, 10'65 grm. chlorate 
of soda, 5*35 grm. chloride of ammonium. 

b. Dissolve 20 grm. hydrochlorate of ani- 
line in 30 grm. of distilled water, add 20 grm. 
solution of gum arabic (1 part of gum to 2 of 
water), 10 grm. glycerine. If 4 parts of the 
solution b is mixed cold with 1 part solution a, 
a greenish liquid is obtained which may be 
used at once for marking linen, but as it de- 
composes in a few days, it is better to preserve 
the two solutions separately, mixing when de- 
sired for use. The writing is at first greenish, 
but is blackened by exposure to steam. 

A Two-Bottle Marking Ink. By R. Wright.— 
In The Chemist and Druggist, the following 
formulae were given: 

No. 1 Solution. 
Chloride of copper (in crys- 
tals) 8*52 grn. 

Chloride of sodium . 10*65 grn. 

Chloride of ammonium 5"35 grn. 

Water 1 H. drm. 

Dissolve. 

No. 2 Solution. 

Hydrochlorate of aniline 20 grn. 

Distilled water 30 min. 

Mucilage of acacia 20 min. 

Glycerine 10 min. 

Dissolve. 



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276 



Inks. 



For use as a marking ink, 4 drops of No. 2 
solution are mixed with 1 drop of No. 1. 

in The Chemist and Druggist for April 30, 
1887, the following formula was recom- 
mended : 

Crawshaw's black dye 1 drm. 

Acetic acid 1 drm. 

Rectified spirit 1 drm. 

Water 4 drm. 

Digest the dye in the mixed liquids at a 
gentle heat till dissolved ; then add 4 fl. drm. of 
glycerine, and mix. Serves as a marking ink 
on the addition of a mordant. 

In the course of some experiments, made 
with a view of discovering a reliable method, 
the above mentioned recipes were tried, but 
the results were not very encouraging. The 
first mentioned solution, when mixed, gives an 
ink which is not nearly thick enough to write 
with, and as a result it has a tendency to run. 
Another disadvantage is that the writing is al- 
most colorless when freshly done, and it is 
sometimes very difficult to trace the marks. 
On exposure to the air it becomes considerably 
darker, but seldom, if ever, yields a jet black, 
even on long exposure and subsequent boiling 
with soap lye. With the second formula the 
results were just as unsatisfactory: once or 
twice boiling with soap had the effect of almost 
entirely obliterating the marks. From this it 
was evident that some other process would 
have to be adopted in order to secure anything 
like good results. 

In Cooley's ''Cyclopedia, 1 ' page 1626, in an 
article on "Tar Colors, 1 ' the following recipes 
are given for the production of aniline black. 

1. Dissolve 20 parts of potassium chlorate, 40 
parts of cupric sulphate and 16 parts of am- 
monium chloride in 50 parts of water, warming 
the liquid to about 60°, and then remove it from 
the water bath. In about three minutes the 
solution froths up and gives off vapors which 
strongly attack the breathing organs. If the 
mass does not become black after the lapse of 
a few hours it is again heated to 60°, and then 
exposed in an open place for a day or two, and 
afterward carefully washed out until no salts 
are found in the filtrate. For use in printing, 
the black paste is mixed with a somewhat large 
quantity of albumen, and the goods after print- 
ing are strongly steamed. 

2. Mix equal weights of aniline (containing 
toluidine), hydrochloric acid and potassium 
chlorate with a minute quantity of copper 
chloride and a sufficient quantity of water, and 
leave the mixture to evaporate spontaneously, 
when a black powder will be obtained. From 
this it is evident that an aniline black may be 
obtained, by the action of an oxidizing agent 
upon aniline or aniline chloride in presence of 
a copper salt; and it was thought possible, by 
a rearrangement of the ingredients in the above 
processes, to produce two solutions which, when 
mixed, would be capable of giving rise to the 
production of the same color. With this ob- 
ject in view, the following solutions were pre- 
pared : 

No. 1. 

Commercial aniline 1 fl. drm. 

Dilute hydrochloric acid, B.P. 2 fl. drm. 
Thick mucilage of acacia 1 fl. drm. 

No. 2. 

Commercial aniline 1 fl. drm. 

Dilute hydrochloric acid, B.P. 2 fl. drm. 

Methylated spirit. 1 fl. drm. 

Thick mucilage of acacia 1 fl. drm. 

Mix in the above order. 

For mordants the following solutions were 
tried. No. 1, Chemist and Druggist formula 
given above, thickened with mucilage : 
No. 3. 

Potassium chlorate 20 grn. 

Cupric sulphate 40 grn. 

Ammonium chloride 20 grn. 

Distilled water 6 fl. drm. 

Thick mucilage of acacia 2 fl. drm. 



Rub the solid ingredients to powder, to dis- 
solve in the water (boiling), then add the gum 
solution and mix. 

No. 4. 

Copper chloride« 40 grn. 

Sodium chloride 30 grn. 

Ammonium chloride 20 grn. 

Potassium chlorate 20 grn. 

Distilled water 5 fl. drm. 

Thick mucilage of acacia. ... 3 fl. drm. 
Dissolve the solid ingredients in the water, 
previously heated to the boiling point; add the 
mucilage and mix. 

Each of the aniline solutions was tried with 
the three mordants, with fairly satisfactory 
results. The aniline solution without spirit 
seemed to promise best, and certainly gives an 
indelible black with Nos. 2 and 3 copper solu- 
tions. 

It occurred to me that possibly the aniline 
might be improved by the addition of a little 
toluidine, and one or two experiments were 
tried with the addition of the solid orthotolui- 
dine. The following solutions were made : 
No. 1. 

Aniline < 1 fl. drm. 

Toluidine 10 grn. 

Dilute hydrochloric acid, B.P. 2 fl. drm. 

Mucilage of acacia 2fl.drm. 

Dissolve the toluidine in the aniline, add the 
acid and the mucilage and mix. 

No. 2. Like No. 1, with the addition of 1 fluid 
drm. methylated spirit. 

Both these solutions give good results with 
mordants Nos. 2 and 3; the marking is clear and 
distinct, and turns perfectly black when boiled 
with soap lye. No. 1 solution of aniline and 
toluidine, with No. 3 mordant, yields probably 
the best ink. A quill pen should always be used 
with inks of this character, and the goods, after 
being marked, should be left for a day or two 
before being washed, in order to give time for 
the chemical reaction which results in the pro- 
duction of the aniline black to take place. 

I have by me now samples of linen which were 
marked with an ink of this character over three 
years ago, and which have repeatedly been 
boiled with a strong soap solution since then, 
and the marking is as distinct to-day as when 
first written. One of these specimens I inclose 
for your inspection. [Results good.— Ed. C. & DJ] 
Indestructible Ink. — 1. Pulverized verdigris, 
y± oz.; sal ammoniac, 114 oz.; lampblack, }4 oz.; 
water, 8% oz. Shake well before using. 

2. Hausmann's Indestructible Ink.— Mix 1 
part genuine Trinidad asphaltum with 4 parts 
oil of turpentine; color with a sufficiency of 
plumbago for black, or vermilion for red, ink. 

3. Close's Indestructible Ink.— Mix 25 grn. 
powdered cobalt and 200 grn. oil of lavender by 
a gentle heat; color with 3 grn. lampblack and 1 
grn. indigo, both in fine powder. If a red color 
is required, omit the lampblack and indigo, and 
add sufficient vermilion to make the mixture a 
good color. 

4. Traille.— Dissolve gluten in pyroligneous 
acid. This produces a soap like fluid, which 
should be diluted to the strength of ordinary 
vinegar. Add to every quart of this fluid y 2 oz. 
lampblack and 40 grn. of indigo. Reagents 
which destroy ordinary ink have no effect on 
it. It is of a beautiful color and flows readily 
from the pen. It cannot be effaced by water. 

5. Gaffard.— Two parts lampblack; 24 parts 
potash water glass of the consistency of sirup; 
2 parts aqua ammonia; 76 parts distilled Avater. 

India Ink.— I. Indian ink consists of finely di- 
vided carbon cemented together by certain 
glutinous vegetable juices, gum, gelatine, etc. 
The precise nature of the cement or mucilage 
used by the Chinese in the manufacture of 
their inks is not known. But the greater part 
of the ink now sold as Indian ink consists of 
fine lampblack and glue. Purify fine lampblack 
by washing it with a solution of caustic soda, 






Inks. 



277 



Inks. 



dry and make it into a thick paste with a weak 
solution of geiatine containing- a few drops of 
musk essence and about half as much amber- 
gris; mould and dry. Instead of gelatine the 
following solution may be used : seed lac, 1 oz.; 
borax, M oz.; water, 1 pt.; boil until solution is 
effected and make up with water to % pt. 

2. Purify fine lampblack by washing it with a 
solution of caustic soda, dry and make into a 
thick paste with a weak solution of gelatine, 
containing a few drops of musk essence and 
about half as much ambergris; mould and dry. 
Instead of gelatine the following solution may 
be used : seed lac, 1 oz.; borax, 34 oz.; water, 1 
pt.; boil until a solution is effected and make 
up with water to % pt. 

3. Dissolve horn strip with caustic kali root 
till it is melted. The brown liquid is to be 
boiled in an iron kettle until it is thick. Then 
pour on it boiling water, double its weight, and 
precipitate it with dissolved alum. Dry, grind 
and mix it with gum water and pour it in a 
mould. A few drops of essence of musk, or of 
ambergris, may be added as perfume. 

4. Horse beans or the kernels of the stones of 
apricots.— Must be burnt in an oven till per- 
fectly black, ground to a fine powder, and 
made into a paste with a solution of gum ara- 
ble, and then formed into cakes. [Last two 
formulas not recommended.— Ed.] 

5. Mix the finest lampblack with a solution of 
100 grn. of lac with 20 grn. of borax and 4 oz. of 
water. 

6. Pure lampblack mixed with asses' skin glue 
and scented with musk. 

7. For making a deep black Indian ink, which 
will also give neutral tints in its half shades, 
rub thoroughly together 8 parts lampblack, 64 
parts water and 4 parts finely pulverized in- 
digo. Boil the mixture until most of the water 
has evaporated; then add 5 parts gum arabic, 2 
parts glue and 1 part extract of chiccory. Boil 
the mixture again till it has thickened to a 

Easte, then shape it in wooden moulds which 
ave been rubbed with olive or almond oil. 

8. Most of the black Indian ink met with in 
commerce possesses the disadvantage that it 
blots when a damp brush is passed over it, or, 
as draughtsmen say, it does not stand. The 
addition of alum does but little good, but bi- 
chromate of potash accomplishes the object by 
rendering insoluble the glue which the ink con- 
tains, and thus making the ink permanent. 
The bichromate of potash possesses a deep yel- 
low (almost red) color, but does not at all injure 
the shade of the ink, as 1% of it in a very fine 
powder, intimately mixed with the ink, is suffi- 
cient. The bichromate must always be mixed 
with the ink in a dry state, otherwise the latter 
might lose its friability in water. A drawing 
which has been made with this ink in the dark, 
or by artificial light, must be exposed to sun- 
light for a few minutes, which renders the bi- 
chromated glue insoluble in water. Draughts- 
men who cannot provide themselves with such 
ink make use of a dilute solution of bichromate 
of potash in rubbing up the ink paper, if the 
ink is thick enough. 

9. A substance much of the same nature and 
applicable to the same purpose as Indian ink 
may be formed in the following manner : Con- 
vert 3 oz. isinglass into size by dissolving it 
over a fire in 6 oz. of soft water; dissolve 1 oz. 
Spanish licorice in 2 oz. soft water in another 
vessel over a fire; grind up on a slab with a 
heavy muller 1 oz. ivory black with the licor- 
ice mixture; add this compound to the isinglass 
size while hot and stir well together till thor- 
oughly incorporated. Evaporate away the 
water and then cast the remaining composition 
in a leaden mould slightly oiled, or make it up 
in any other convenient way. This composi- 
tion will be found quite as good as the genuine 
article. The isinglass size mixed with the 
colors work well with the brush. The licorice 
renders it easily dissolvable on the rubbing up 
with water, to which the isinglass alone would 



be somewhat reluctant; it also prevents it 
cracking and peeling off from the ground on 
which it is laid. 

10. Gray. — Pure lampblack made up with 
asses' skin glue and scented with musk. 

11. Merimee. — Dissolve superfine glue in 
water, add a strong solution of nutgalls and 
wash the precipitate in hot water; then dis- 
solve it in a fresh solution of glue, filter, evap- 
orate to a proper thickness and form it into a 
paste with purified lampblack. 

12. Seed lac, 14 oz.; borax, 1}4 drm.; water, % 
pt.; boil to 8 oz., filter and make a paste of 
pure lampblack. When dry it resists the action 
of water. 

The Chinese do not use glue in the prepara- 
tion of their ink, but an infusion or decoction 
of certain seeds abounding in a glutinous, 
transparent mucilage, which imparts bril- 
liancy and durability to the color. Starch con- 
verted into gum by means of sulphuric acid or 
British gum has been recommended as a sub- 
stitute.— M. Merimee. 

13. French.— Indian ink, diffused through 
water, acidulated with hydrochloric acid. For 
quills. 

14. Indian ink diffused through water slightly 
alkalized with liquor of potassa. For metallic 
pens. 

15. To improve Indian ink for drawing, so 
that even the thickest lines will quickly dry, 
add 1 part of carbolic acid to 80 parts of the 
ink. If, by mistake, too much has been added, 
it may be rectified by putting in more Indian 
ink. If the mixture is properly performed, the 
ink is as easy to draw with as it is without car- 
bolic acid, but dries quickly and may even be 
varnished without discharging. 

To Fix Indian Ink on Paver.— -It is a fact well 
known to photographers that animal glue, 
when treated with bichromate of potash and 
exposed to the sunlight for some time, is in- 
soluble in water. It has been found by analysis 
that Indian ink contains such animal glue, and 
consequently, if a small quantity of bichromate 
of potash be used with it, the lines drawn with 
such prepared ink will not be affected by water, 
providing that they have been exposed to the 
sunlight for about an hour. 

Liquid India Ink.— A little glycerine added 
acts as a preservative, and causes the ink to 
flow well. Too much glycerine should not be 
used, as it will prevent the ink from drying, 
and in this case it is, of course, easily blotted 
or smeared. Keep in well corked bottles. 

Imitation of India Ink. — Grind together 
lampblack and gelatine, the gelatinizing power 
of which has been partly destroyed by boiling 
with water. Scent with camphor and make 
into sticks. 

Indulin Ink.— Coupier & Collins' blue black 
ink, known by the name of indulin, is prepared 
as follows: Dissolve 20 parts indulin in 1,000 
parts water. This forms a writing ink of 
good color. This ink can be washed out with 
water. 

Japan Ink.— I. Take of Aleppo galls % lb.; 
logwood chips and copperas, each J4 lb.; gum 
arabic, 3 oz.; sugar, 1 oz.; sulphate of copper, 
V£ oz.; sugar candy, y% oz. Put the galls and 
logwood in 6 qt. water. Boil slowly until the 
water is reduced in volume one half. Strain 
through cotton flannel, and add the other in- 
gredients. Keeping the solution warm, stir 
until all the ingredients added are dissolved 
It should then be placed in a deep glass vessel 
and allowed to settle. The ink may be removed 
from the settlings by pouring off carefully, or 
using a siphon. The gloss of the ink may be in- 
creased or diminished by increasing or dimin- 
ishing the amount of gum used in the recipe. 
If carbolic acid be added until its odor is just 
perceptible, it will prevent moulding. Oil of 
cloves added will also effect the same result, 
and it gives the ink a less offe nsive odor. 



Inks. 



278 



Inks. 



2. Dissolve in y% pt. soft water % oz. of potas- 
sium bichromate, and add the solution to 6 
oz. of logwood extract, dissolved in 1 gal. of 
water; then dissolve in 1 gal. water by con- 
tinued boiling, borax, 6 oz.; shellac, 1% oz. 
Mix all together while warm and add 3 oz. of 
ammonia. 

Lithographic Writing and Drawing Ink.— 
Tallow, 4 oz.; wax, 4 oz.; soap, 4 oz.; shellac, 
4 oz.; fine Paris black, q. s. This is an ex- 
cellent ink for drawing on stone. For 
transfer paper the following proportions 
are better: Tallow, 4 oz.; wax, 5 oz.; soap, 
4 oz.; shellac, 3 oz.; black, about half the 
quantity used for stone. The fire for ink 
making should be a clear one, yet not low, as 
the operation requires some time. Put into 
the saucepan the tallow and wax and when 
melted throw in the soap a little at a time. It 
must be put in in small pieces and time be 
allowed for each piece to part with its water 
(which may be known by the cessation of the 
ebullition which follows). When the soap is dis- 
solved in the wax and tallow, the heat must be 
continued until the dense, light colored fumes 
passing off can be ignited upon the application 
of a light. If the flame be two or three inches 
high the saucepan may be removed from the 
fire, when the burning will probably be con- 
tinued without further application of heat to 
the bottom. Stirring with a rod will facilitate 
the passing off of the vapor. It must be burned 
until the 12 oz. are reduced to nearly 8 oz. 
Then put out the flame and add the shellac a 
little at a time, taking care that it does not boil 
over. Add the black. Ink that is not suf- 
ficiently burnt becomes thick and slimy on 
standing for two or three hours after mixing 
with water. Place a grain or so on a saucer and 
drop upon it a little distilled water ; watch it 
for a few seconds and notice whether the ink 
becomes lighter in color. If it does, it is a sign 
that the burning has been insufficient. Heat 
again and allow the white fumes to pass off for 
a few minutes without catching fire. Try the 
ink again. Cast it into sticks for convenient 
use. 

Considerable difference of opinion appears to 
exist as to the qua tity of black to be used. It 
is variously stated at from one-sixth to one- 
twentieth of the whole. It is better to err on 
the side of putting too little than too much 
black, because the former can be easily reme- 
died. The black must be ground. If it be 
ground in turpentine and cautiously added to 
the ink the heat will vaporize the turpentine. 
If it is added in dry powder there will be con- 
siderable difficulty in diffusing it through the 
mass.— Text Book of Lithography. 

Plate Transfer Ink.— The making of re-trans- 
fer ink for taking impressions from copper 
plates is conducted in the same manner as that 
for writing and drawing. In the following re- 
ceipts it is preferable to burn only the first 
three of the ingredients by setting them on fire 
after they attain sufficient heat to do so. *For 
the quantities first named they may burn for 
fifteen minutes. If after the other ingredients 
are melted the ink is too soft, it is best not to 
set them on fire, but to keep up the heat until 
the necessary degree of hardness is arrived at. 
Melt the ingredients in the order they are set 
down. 

1. Tallow, 4 oz.; wax, 4oz.; soap, 4oz.; shellac, 
4 oz.; pitch, 4 oz. 

2. Varnish, 2 oz.; tallow, \y% oz.; wax, 4 oz.; 
soap, 3 oz.; shellac, 5 oz.; pitch, 5 oz.; lamp- 
black, 2% oz. 

3. Varnish, 8 oz.; tallow, 10 oz.; wax, 16 oz.; 
soap, 8 oz.; shellac, 14 oz.; pitch, 7 oz.; lamp- 
black, 2 oz. 

4. Tallow, 8 oz.; soap, 4oz.; wax, 8oz.; shellac, 
4 oz.; lampblack,! oz.; Venice turpentine, 8 oz.; 
Burgundy pitch, 8 oz. 

Where varnish is employed that should be 
burnt alto.— Text Book of Lithography. 



Lithographic Inks. — (Senef elder) : 

1. Lampblack, 1 part ; soap, 4 parts ; wax, 12 
parts ; tallow, 4 parts. 

2. Lampblack, 1 part ; soap, 4 parts ; wax, 12 
parts : shellac, 4 parts. 

3. Lampblack, 1 part ; soap, 4 parts ; tallow, 8 
parts ; shellac, 8 parts. 

4. Lampblack, 1 part; soap, 4 parts; wax, 8 
parts ; shellac, 4 parts. 

5. Lampblack, 1 part ; soap, 4 parts ; wax, 8 
parts ; tallow, 4 parts ; shellac, 4 parts. 

6. Lampblack, 1 part ; soap, 4 parts ; wax, G 
parts; tallow, 2 parts; shellac, 4 parts ; mastic, 
3 parts ; Venice turpentine, 1 part. 

7. Lampblack, 1 part ; soap, 4 parts ; wax, 2 
parts ; tallow, 6 parts ; shellac, 3 parts ; mastic, 
5 parts. 

Lithographic Ink.— 1. Tallow, 2 oz.; virgin 
wax, 2 oz.; shellac, 2 oz.; common soap, 2 oz.; 
lampblack, ^ oz. The wax and tallow are first 
put in an iron saucepan with a cover, and 
heated till they ignite ; while they are burning 
the soap must be thrown in in small pieces, one 
at a time, taking care that the first is melted 
before a second is put in. When all the soap is 
melted the ingredients are allowed to continue 
burning till they are reduced one-third in 
volume. The shellac is now added, and as soon 
as it is melted the flame must be extinguished.. 
It is often necessary in the course of the opera- 
tion to extinguish the flame and take the sauce- 
pan from the fire, to prevent the contents from 
boiling over ; but if any parts are not com- 
pletely melted, they must be dissolved over the 
fire without being again ignited. The black is 
now to be added. When it is completely mixed 
the whole mass should be poured out on a 
marble slab, and a heavy weight laid upon it to 
render its texture fine. The utmost care and 
experience are required in the making both the 
ink and chalk, and even those who have had the 
greatest practice often fail. Sometimes it is 
not sufficiently burned, and when mixed with 
water appears slimy : it must then be remelted 
and burned a little more. Sometimes it is too 
much burned, by which the greasy particles 
are more or less destroyed ; in this case it must 
be remelted, and a little more soap and wax 
added. This ink is for writing or pen drawing 
on the stone. The ink for transfers should 
have a little more wax in it.— Workshop Re- 
ceipts. 

2. Mastic in tears, 8 oz.; shellac, 12 oz.; Ve- 
nice turpentine, 1 oz.; melt together, add wax, 
1 lb.; tallow, 6 oz.; when dissolved, further add 
hard tallow soap, in shavings, 6 oz.; when the 
whole is combined, add lampblack 4 oz.; mix 
well, cool a little, and then pour it into moulds 
or on a slab, and when cold cut it into square 
pieces. 

3. M. Lasteyrie.— Dry tallow soap, mastic in 
tears, and common soda in fine powder, of 
each 30 parts ; shellac, 150 parts ; lampblack, 12 
parts ; mix as last. Both the above are used for 
writing on lithographic stones. 

4. Autographic— White wax, 8 oz.; and 
white soap, 2 to 3 oz.; melt ; when well combin- 
ed add lampblack, 1 oz.; mix well, and heat it 
strongly ; then add shellac, 2 oz.; again heat it 
strongly ; stir well together, cool a little, and 
pour it out as before. With this ink lines may 
be drawn of the finest to the fullest class, with- 
out danger of its spreading, and the copy may 
be kept for years before being transferred. 

5. White soap and white wax, of each 10 oz.; 
mutton suet, 3 oz.; shellac and mastic, of each 
5 oz. ; lampblack, 3J^ oz. ; mix as above. Both 
the above are used for writing on lithographic 
paper. When the last one is employed, the 
transfer must be made within a week. 

Remarks.— The above inks are rubbed down 
w th a little water in a cup or saucer for use, in 
the same way as common water color cakes, or 
Indian ink. In winter, the operation should 
be performed near the fire, or the saucer should 
be placed over a basin containing a little warm 
or tepid water. Either a steel pen or camel's 



Inks. 



279 



Inks. 



hair pencil may be employed with the ink.— 
Cooley. 

6. Ink.— Writing on Lithographic Stones. — 
Mastic in tears, 8 oz.; shellac, 12 oz.; Venice 
turpentine, 1 oz. Melt together, add 1 lb. wax, 
6 oz. tallow ; when they are dissolved add G oz. 
hard tallow soap shavings and mix. Then add 
4 oz. lampblack. Mix all well together, let cool 
slightly, then pour into moulds, and cut into 
convenient shaped cakes. 

7. Melt 10 oz. of wax, 8 oz. of shellac, 5 oz. of 
mastic, 4 oz. each of pure tallow and hard 
tallow soap, Yz oz. "Venetian turpentine. Mix 
with these 2^ oz. of lampblack. This ink is 
rubbed up with water like water colors, and 
forms an emulsion. 

Luminous Ink.— Phosphorous Luminous Ink : 
Phosphorous, % drm.; oil of cinnamon, % oz.; 
mix, cork well and heat gently until thorough- 
ly united. A letter written with this ink can 
only be read in a dark room; the writing will 
have the appearance of fire. 

Marking Ink for Packages. — 1. Take lamp- 
black and mix thoroughly with sufficient tur- 
pentine to make it thin enough to flow from 
the brush. Powdered ultramarine, instead of 
lampblack, makes a fine blue marking mixture 
for the same purpose. 

2. An excellent and very cheap ink is made 
by mixing 34 oz. of bichromate of potassa and 
4 oz. of extract of logwood in a stone jar or 
demijohn with 2 gal. of hot water. Shake well 
and let it stand for about two weeks, shaking 
occasionally. See also Indelible Inks above. 

For Bales. — 

Shellac t 2 oz. 

Borax. 2 oz. 

Water — 25 oz. 

Gum arabic 2 oz. 

Venetian red sufficient to color. 
Boil the borax and shellac in the water until 
they are dissolved, add the gum arabic, and 
withdraw from the fire. When the solution 
has become cold, complete 25 oz. with water 
and add Venetian red enough to bring it to a 
suitable consistency and color. This ink must 
be preserved in a glass or earthenware vessel. 

Metals, Ink for 1 Writing on.—l. Inks for writ- 
ing on metallic surfaces may be made as fol- 
lows: 2. One part verdigris (acetate of copper), 
1 part sal ammoniac, Yz part soot, 10 parts 
water; stir well; write with a quill. 3. One grn. 
sulphate of copper dissolved in 20 grn. water; 
add 2 drops hydrochloric acid, and enough so- 
lution of gum arabic to make the ink adhesive. 
To make the writing appear at once, add a 
little pyrogallic acid. Write with a copper 
pen. 4. Dissolve 2 oz: shellac in 1 pt alcohol, 
filter through chalk, and mix with finest lamp- 
black; forms a jet black lusterless ink, insolu- 
ble in water. 5. Take Yi lb. of nitric acid and 1 
oz. muriatic acid. Mix and shake well together, 
and then it is ready for use. Cover the place 
you wish to mark with melted beeswax; when 
cold, write your inscription plainly in the wax 
clear to the metal with a sharp instrument. 
Then apply the mixed acids with a feather, 
carefully filling each letter. Let it remain one 
to ten hours; according to the appearance 
desired; then wash and remove the wax. 6. 
Make a saturated solution of sulphate of cop- 
per in gum water. Write with a quill pen. 
When quite dry, give the labels a coat of white 
hard varnish, the labels being slightly warmed 
before application. 7. Chloride of platinum, 34 
oz.; soft water, 1 pt.; to be kept in glass and 
used Avith a quill pen. 8. Verdigris, sal ammo- 
niac, and levigated lampblack, of each Y> oz.; 
common vinegar, 34 pt.; mix thoroughly. 9. Is 
the better, but rather expensive ; both will do 
for zinc, iron or steel. 

Non-Corrosive Ink (Haenle's). — Pulverized 
gallnuts, 50 parts ; gum, 25 parts ; sulphuric 
acid (in 800 parts of distilled or rain water), 25 
parts; a few drops of chloride of mercury. 



Papyrograph Ink.— Dissolve any of the solu- 
ble dyes in warm glycerine. 

Perpetual Ink for Monuments.— 1. One lb. of 
lampblack, and 10 lb. pitch; turpentine q. s.; 
mix without heat. 

2. Pitch, 22 parts; lampblack, 2 parts; tur- 
pentine, q. s. Warm and stir. 

Obliterated Ink. — 1. Wash in warm water to 
remove salt if the paper has been immersed in 
sea water, and then soak in a weak solution of 
gallic acid, say 3 grn. to the oz. 

2. Wash in clean water and soak in solution 
of proto-sulphate of iron, 10 grn. to the oz. 

3. Apply a solution of potassium ferrocya- 
nide with a brush, when the writing will ap- 
pear in blue, if any iron is left of the original 
ink. 

Ink, to Remove Oil from.— Add a little ox gall 
and vinegar to the ink. 

Pharmaceutical Ink.— Pharmaceutical ink 
is the name applied by Kauffeisen (Prog. 
Rundsch.) to a solution of 30 parts of alizarin 
paste in a small quantity of water, in which 15 
parts of bicarbonate of soda have previously 
been dissolved. This solution is added to an 
aqueous solution of 50 parts of logwood, with 
enough water to make the total weigh 2,000 
parts, and filtered. Some iron filings and a few 
cloves are added next, and the mixture is ex- 
posed to the sunlight for a week, with frequent 
agitation. The liquid is then strained, and 
about y%% carbolic acid added to prevent mould- 
ing. K. claims for this ink the following vir- 
tues: Cheapness, great fluidity, absence of 
tendency to become acid, and therefore not 
attacking metallic pens, and finally permanency 
if exposed to light. 

Portable Ink (Boettger's).— Saturate several 
sheets of paper with aniline black, and press 
them together intQ a compact and portable 
mass. For writing it is merely necessary to 
tear off a piece of this paper and steep it in a 
little water. 

Ink Powder. — 1. Extract of logwood,150 parts; 
bichromate of potash, lYz parts. Pulverize 
and mix thoroughly with 8% of the weight of 
the whole of indigo blue. 

2. One lb. nutgalls, 7 oz. copperas and 7 oz. 
gum arabic. Pulverize and mix. This amount 
of ink powder will make 1 gal. of good black 
ink. Two or three powdered cloves should be 
mixed with each pound of powder to prevent 
moulding. 

3. Reduce best quality of soluble nigrosin to 
impalpable powder by grinding. The powder 
dissolved in water makes an excellent and dur- 
able ink. 

4. A good ink powder, which might with a 
little mucilaginous material be made into 
blocks by pressure, consists of Aleppo galls, 3 
lb.; copperas, 1 lb.; gum arabic, Yz lb.; white 
sugar, H lb.; powder and mix; 2 oz. of this 
powder dissolved in 1 pt. of boiling water gives 
a very good ink. 

Printing Ink.— Mix alcohol with tar, then fire 
the alcohol, and condense the vapors arising 
from the combustion of the mixture; 10 gal. of 
the oil thus made is then mixed by boiling 
with 1 gal. of burnt corn meal or flour and 
about 10 oz. of linseed oil as a drier. 

Colored.— Printing inks may be made in a 
number of colors besides black. The principal 
are the following: 

1. Blue.— Indigo gives a deep but dull blue; it 
is cold but permanent. 

2. Prussian blue needs much grinding, and 
extra soap: it affords a deep bright color, and 
is useful for making greens. 

3. Antwerp blue is easily ground to the 
proper degree of fineness, makes a good ink, 
and works clean and well; its tint is bright and 
light, with a slight green tendency. 

4. Green.— Various shades of green may be 
produced by suitable admixture of blues and 
yellows, Prussian blue and chromate of lead 
make a good rich green; indigo and the same 
vellow, a deeper, duller color; Antwerp blue 



Inks. 



280 



Inks. 






and the same yellow, a brilliant rich green. 
The chromate must be quite pure to insure 
bright colors. 

5. Purple.— Different shades of purple may 
be made by grinding together carmine or pur- 
ple lake with Prussian blue. 

6. Red. — Carmine may be readily ground into 
a fine ink of brilliant color by admixture with 
black ink varnish made with balsam of copaiba. 
It is expensive, but valuable for special pur- 
poses. 7. Crimson lake is easily reduced by the 
muller; it works clean, and does not require 
more soap than is contained in the varnish, but 
it does not possess much depth. 8. A deeper 
tone than can be obtained from commercial 
lake may be produced in the following manner: 
One oz. best cochineal, powdered, and boiled in 
1 qt. water, till the coloring matter is extracted; 
let the cochineal subside, and pour the liquid 
into another vessel; when cold, gradually add 
some chlorate of tin, with constant stirring, 
till the supernatant liquid, on standing, be- 
comes nearly colorless; then add a little pow- 
dered alum. Assist the solution by stirring; 
allow to subside; pour off the excess liquid; 
wash the colored residue with 3 or 4 waters, to 
remove the acid; and dry carefully and slowly. 
The addition of cream of tartar during the 
process will give a purple tint. 9. Vermilion 
may be used for red ink where neatness is re- 
quired, as for title lines of books. The quanti- 
ty varies much, and necessitates care in its pro- 
portions. It requires much soap to make it 
work clean. 10. For cheap work, such as post- 
ing bills, red lead may be used; it requires ad- 
ditional soap to make it work clean, and its 
color soon changes to black. 11. An excellent 
permanent red, of rich tone, may be produced 
from Indian red. 12. Venetian red is easily 
ground into a smooth ink, and requires but 
little more soap than the varnish usually con- 
tains; it is not very intense. 13. Two oz.mineral 
orange red, 1 oz. Chinese vermilion; grind in 
printers' varnish or oil, as prepared for ordi- 
nary printing ink. 14. Boil linseed oil till 
smoke arises, then apply a lighted paper stuck 
in a cleft stick, and then remove the pot 
from the fire, allowing the oil to burn till 
it can be drawn out into strings l / 2 in. long. 
Add 1 lb. rosin for each qt. oil, and % lb. dry 
brown soap cut into slices; put the latter in cau- 
tiously, as the water in the soap causes a vio- 
lent commotion. Then grind up the oil with 
sufficient pigment ; vermilion, red lead,carmine, 
Indian red, Venetian red, and the lakes are all 
suitable for printing ink. Grind on a stone 
with a muller. 

15. Yellow.— The highest yellow is obtained 
from chromate of lead, which is easily ground 
into a fine ink, works freely and well, and re- 
quires but little soap beyond what the var- 
nish contains. 16. Yellow ocher is easily 
ground into a fine ink; it gives a useful color, 
dull but permanent. 

Copper Plate Printing Inks.— Take linseed oil, 
1 pt., put into a dry iron saucepan and Ijoil 
until it will readily ignite by applying lighted 
paper; let it burn ten minutes; now put the 
lid on and it will cease to burn ; add nearly \& 
oz. litharge, and stir well; when cool, ready for 
use, mix a little of this oil with lampblack, 
forming a thick paste; grind this very fine with 
a muller. The grinding is most important. 
Boil the oil out of doors. 

1. Black.— Frankfort black, finely ground 
with boiled linseed oil, or, for very fine work, 
fat oil. 

2. Take linseed oil, 1 pt.; boil out of doors in a 
dry saucepan till it will ignite on applying 
lighted paper; let it burn ten minutes, then 
put the lid on, and the flame will go out. Stir 
in \i oz. litharge. When cool, grind into a 
paste with lampblack, using a muller. 

3. Red.— Mineral orange red, 5 oz.; Chinese 
red, 2 oz. 

4. Blue.— Celestial blue, 2 oz.; marine blue, 3 
oz. 



5. Green.— Mineral green, 2 oz.; chrome green, 
3oz. 

6. Brown.— Burnt umber, 2 oz.; rose pink, 1 oz. 

7. Lilac— Prussian blue, 1 oz.; Chinese red, 

2 oz. 

8. Pink.— Mineral pink, 2 oz.; satin white, 1 oz. 

9. Orange.— Orange red, 2 oz.; flake white, 1 
oz. The above to be ground and mixed with 
Canada balsam. Or, 

10. Red.— Vermilion. 

11. Yellow.— King's yellow. 

12. Blue.— Smalts. 

13. Green.— King's yellow— green. 

14. Blue. — Prussian blue, and flake white. 

15. Brown.— Burnt umber. 

16. Dark Brown.— Burnt umber and Frank- 
fort black. 

17. Puce. — Frankfort black and vermilion. 

18. Brown.— Frankfort black, and drop lake. 
These to be ground and mixed with nut or lin- 
seed oil. 

19. Gold.— Gold bronze mixed with dark oak 
and mahogany varnish. 

20. Silver, Copper, Ruby.— The same as for 
gold, merely substituting the different bronzes. 
Cards printed in gold, silver, or colors should, 
when dry, be placed on a very smooth copper 
or steel plate, not engraved, and passed through 
a copper plate press with rather a tight pres- 
sure; this would also improve the appearance 
of cards printed in like manner with letter- 
press. 

Printing Pads, to Remove Aniline Ink from. — 
Saturate a sponge in water as hot as possible to 
bear the hand in, pass the wet sponge across 
the face of the pad and the ink will disappear. 
Then rinse off the face with the sponge dipped 
in cold water. Experience has also taught 
that when the print begins to get dim, if you 
will dampen the face of the pad with a sponge 
dipped in cold water, the ink becomes as bright 
as at first, and in this way a much larger num- 
ber of letters may be pulled than if this process 
is not employed. 

Printers' 1 Ink, to Remove.— 1. Place a thick 
pad of white blotting paper beneath the sheet 
of paper which is soiled. Then apply sulphuric 
ether with cotton wool, gently rubbing. Finally 
apply white blotting paper to absorb the color. 
Continue the application of fresh ether and 
repeat until all stains disappear. Do this away 
from a light. 

2. Printers' ink is soluble in ether, *oil of tur- 
pentine, and benzine. Washing with warm 
caustic lyes is also recommended. 

3. This is not an easy matter. It is said, 
however, that it can be accomplished to a 
limited extent by means of ether or a solution 
of soap in water, naphtha, benzol, hot solutions 
in water of potassium or sodium hydroxide 
(caustic potash or soda). 

Ink, to Preserve.~To Prevent Moulding of.— 
1. Mouldiness in ink may be prevented by add- 
ing a little oil of cloves or a few drops of 
creosote. 

2. A small quantity of salicylic acid, *4 grm. 
to the liter, will prevent it from moulding even 
when kept in open ink bottles. This is far pre- 
ferable to the bad smelling carbolic acid or the 
very poisonous bichloride of mercury, so fre- 
quently used both in ink and mucilage to pre- 
vent souring, fermentation or mould. 

3. Add a small quantity of a solution of creo- . 
sote in pyroligneous acid or rectified spirit. A- 
clove placed in the ink will keep it twenty 
years. 

4. Add a few drops of carbolic acid and clove 
oil to each pint bottle. 

Purple.— 1. To a decoction of 12 part's Cam- 
peachy wood in 120 parts water, add 1 part sub- 
acetate of copper, 14 parts alum, and i parts 
gum arabic; let stand for four to five days. 

2. To a strong decoction of logwood add a 
little alum or chloride of tin. 

Red and Carmine Inks.—l. Genuine carmine 
ink is made by placing 15 to 20 grn. carmine in 

3 oz. water, and then to add so much strong 



Inks. 



281 



Inks. 



liquid ammonia, drop by drop, till all the car- 
mine is dissolved; then add 20 grn. powdered 
gum arabic. It you want a cheaper ink, sub- 
stitute droplake for the carmine; but it is not 
so beautiful. 

2. Buchner's Carmine Ink.— Pure carmine, 12 
grn.; water of ammonia, 3 oz.; dissolve, then 
add powdered gum, 18 grn.; y, drm. powdered 
drop lake may be substituted for the carmine 
where expense is an object. 

3. Use 220 grn. best carmine, 1 oz. caustic am- 
monia, then add 7 grn. finely powdered white 
gum arabic; shake until the gum is thoroughly 
dissolved. 

4. Half a drachm of powdered drop lake and 
18 grn. powdered gum arabic, dissolved in 3 oz. 
ammonia water, makes one of the finest red 
or carmine inks. 

5. Brazil wood, 2 oz.; muriate of tin, y drm ; 
gum arabic, 1 drm.; boil down in 32 oz. water 
to one half and strain, 

6. The following recipe for a beautiful red 
ink is given by Metra, of Paris: Dissolve 25 
parts, by weight, of saffranin in 500 parts warm 
glycerine, then stir in carefully 500 parts alco- 
hol and an equal quantity of acetic acid. It is 
then diluted with 9,000 parts water, in which is 
dissolved a little gum arabic. 

7. Use J4 lb. Brazil wood, y oz. gum arabic. 
14 oz. sugar and J4 oz. alum. Add a little vin- 
egar. 

8. Red Ink, Durable. (Winckler's.)— Rub fine 
6 parts red carmine with 75 parts liquid water 
glass. Dilute this mixture with 675 parts rain 
water. Let it stand a few days, and pour off 
the fluid. 

9. Bottger rubs up carmine and silicate of 
soda, and then adds to this mixture a concen- 
trated silicate solution till the whole is of suffi- 
cient consistency to write well. The product 
gives a very brilliant ink when dry, and dries 
quickly. It must be kept out of contact of air 
in a well closed vessel. 

10. Dissolve 20 gr. pure carmine in 3 fl. oz. 
liquid ammonia; add 18 gr. powdered gum. 

11. Best ground Brazil wood, 2 oz.; diluted 
acetic acid, y pt.; alum, J4 oz. Boil them slowly 
in an enameled vessel for half an hour, strain 
and add y oz. gum. 

12. One quart white wine vinegar, 2 oz. Bra- 
zil wood and y oz. alum, bottled and well 
shaken, for a fortnight ; then let simmer in a 
saucepan, and add % oz. gum arabic. Let the 
whole stand for a few days, filter and it will be 
ready for use. 

13. Boil 4 oz. Pernambuco wood with 16 oz. 
dilute acetic acid and an equal quantity of 
water, until 24 oz. remain. Add 1 oz. alum and 
evaporate again to 16 oz.; add gum arabic, 1 oz. 
and strain; and lastly, add to the cold liquid 
1 dr. protochloride of tin. 

14. Triturate in a porcelain mortar 3 drm. 
best crystallized water soluble roseine and dis- 
solve it in boiling distilled water, in the last 
portions of which 2 oz. gum arabic has been 
dissolved. The amount of water depends on 
the tint which it is desired to produce. 

N. B.— Roseine is acetate of rosaniline; the 
hydrochlorate of rosaniline is known as 
luchsine. In place of roseine, eosine (or tri- 
-brom fluorescine) may be used, which gives a 
magnificent yellow-i*ed tint. 
• 15. Four ounces gi-ound Brazil wood and 3 pt. 
vinegar, boiled till reduced to \y pt., and 3 oz. 
powdered rock alum added. 

16. One quarter pound raspings of Brazil wood 
infused in vinegar for 2 to 3 days; boil the 
lnf usioa.for 1 hour over a gentle fire and filter 
while hot: put it again on the fire and dissolve 
in it first, y oz. gum arabic, then y oz. alum 
and white sugar. 

17. Crimson Writing Fluid.— Powdered coch- 
ineal, 1 oz.; hot water, y pt. Digest, and when 
quite cold add ammonia, 1 oz., diluted with 3 or 
4 oz. water. Macerate for a few days and de- 
cant when clear. 



Resin Oil Ink.— Resin oil, iy lb.; resin, 19y 
oz.; soft soap, 2J4 oz. Melt together. Add 
lampblack when cold. 

Ruling Inks.— Red, for Ruling.— One pound 
Brazil wood to 1 gal. best vinegar; let the vine- 
gar simmer before you add the wood, then let 
them simmer together for half an hour, then 
add y± lb. alum to set the color; strain it through 
a woolen or cotton cloth, cork it tight in a stone 
or glass bottle. For ruling, add y gill fresh 
gall to' 1 qt. red ink, then cork it up in a bottle 
for use. 

Ink to Rule Faint Lines. — Dissolve in a small 
quantity of warm water, 20 parts Prussian blue 
by the aid of 3 parts potassium ferrocyanide, 
and dilute the solution with thin gum water 
until the proper degree of color is obtained. 

See also Mack ink above, 

Shoemaker' 's Ink.— Dissolve an equal quantity 
each of copperas and gum arabic in a small 
quantity of boiling water and add a very little 
extract of logwood to the solution. If it gums, 
dilute it a little with hot water. Concentrated 
solution of shellac in hot aqueous solution of 
borax is sometimes used in place of a portion 
of the gum. 

Show Card Ink. — 

Pure asphaltum 16 oz. 

Venice turpentine 18 oz. 

Lampblack 4 oz. 

Spirit of turpentine 2 qt. 

Dissolve and mix thoroughly. 

Silver, to Write on with a Permanent Black. — 
Take burnt lead and pulverize it. Incorporate 
it next with sulphur and vinegar, to the con- 
sistency of a paint, and write with it on any 
silver plate. Let it dry, then present it to the 
fire so as to heat the work a little, and it is 
completed. 

To Write in Silver.— Finest pewter or block 
tin, iy oz.; quicksilver, 3 oz. Mix until both 
become fluid, grind with gum water and write 
with it. The writing will appear as if done 
with silver. 

Silver Ink.—l. For silver ink the process is the 
same as for gold, substituting silver leaf for 
the gold loaf. See Gold Ink above. Then treat 
as follows : 

In consequence of the beating between gold 
beaters' skin, it has particles of grease and 
other impurities attached to it which must be 
removed before it can be used for ink. For 
this purpose the whole sheets, or the com- 
mercial bronze powder, are triturated with a. 
little "honey to a thin magma on a glass or 
porphyry plate with a pestle, as carefully as 
possible, as the beauty of the ink depends es- 
sentially on this. The finely rubbed paste is 
rinsed into a thin glass beaker, boiled for a 
long time with water containing a little alkali, 
frequently stirred, decanted, well washed with 
hot water and dried at a gentle heat. By boil- 
ing this powder with water containing sul- 
phuric, nitric, or hydrochloric acid, different 
shades can be imparted to it. 

Next, a solution of 1 part of white gum arabic 
in 4 parts of distilled water is mixed with 1 part 
of potash water glass and triturated with the 
requisite quantity of purified metallic powder. 
Gold ink will bear more liquid then silver ink* 
since gold covers much better; on rough paper 
more metal is necessary than on sized paper; 
on light paper more than on dark, to make the 
color of the ink appear equally intense. 

In general 1 part of foil is enough for 3 or 4 
parts of the above liquid. In preparing large 
quantities of ink a low porcelain measure is 
used for transferring it to the small glass ves- 
sels where it is to be kept, and it must be con- 
tinually and thoroughly stirred, so that it will 
always keep well mixed. It requires frequent 
stirring also when in use. It is best to mix the 
dry powder with the liquid immediately before 
using. The ink can be used with a common 
steel pen and flows very well when writing 
slowly, but it is better to use a pencil. 



AUKS. 



282 



Inks. 



T consider the use of potash water glass of 
great importance. It greatly increases the 
metallic luster on paper, prevents its looking 
dead, protects the writing from being discol- 
ored by the action of the atmosphere, and also 
prevents its penetrating too far into the pores 
of the paper, without rendering it very viscid. 
Although the writing of itself possesses a high 
metallic luster, it may be increased by gently 
polishing with a polishing steel. Inks made 
with mosaic gold, mosaic silver, iodide of lead, 
etc., are not nearly so beautiful.— C. H. Viedt. 

2. Mix 1 oz. finest block tin in shavings with 
2 oz. mercury till they become perfectly amal- 
gamated. Then shake up in a stoppered bottle 
with enough gum water to give proper con- 
sistence. The writing, when dry, will have the 
appearance of silver. 

lAquid Silver for Vellum. — Grind silver leaf 
with gum water, or white of egg. 

Solid Inks. (Roy.)— Various qualities of inks 
are prepared in powder. By placing a small 
quantity of this powder in water, ink for writ- 
ing is immediately obtained. One variety styled 
indelible ink is stated to resist the most ener- 
getic chemical reagents. It appears to consist 
mainly of charcoal and glycerine. 

Steel, Ink for Writing on, or Tin Plates, or 
Sheet Zinc.—l. Mix 1 oz. of powdered sulphate 
of copper and ^ oz. of powdered sal ammoniac 
with 2 oz. of diluted acetic acid, adding lamp- 
black or vermilion. 

2. Dissolve 1 part of copper in 10 parts of 
nitric acid, and dilute with 10 parts of water. 

Stencil Ink. — 1. Take of shellac, 2 oz.; borax, 2 
oz.; water, 25 oz.; gum arabic, 2 oz., and of Ven- 
etian red a sufficiency. Boil the borax, shellac 
and some water until they are dissolved; add the 
gum arabic and withdraw from the fire. "When 
the solution has become cold complete 25 oz. 
with water, and add more red to bring it to a 
suitable consistency. 

2. Eight oz. mastic in tears, 12 oz. shellac, 1 oz. 
Venice turpentine; melt together, add 1 lb. 
wax, 6 oz. tallow; when dissolved add 6 oz. hard 
soap shavings (tallow soap) and mix, then add 
coloring matter, such as lampblack, Prussian 
blue, vermilion or carmine, chrome green or 
white lead or other pigment. The cake should 
be brittle. 

3. Stencil Ink for Wood.— An excellent stencil 
ink for boxes and packing cases can be made 
by mixing lampblack, fine clay and gum arabic 
together. The lampblack gives the color, the 
clay furnishes a body and the gum an adhesive. 
Water will answer as a solvent, but lampblack 
is so light that a few drops of vinegar or other 
acid will facilitate its admixture with the other 
ingredients. Any good adhesive substance, 
such as dextrine or gum tragacanth, may be 
found to answer as well as gum arabic to bind 
the mixture. 

4. Colored Stencil Ink.-Shellac, 4 parts; borax, 
1 part ; dissolve in a small quantity of boiling 
water and dilute with hot water to the con- 
sistency of very thin sirup; to this add a suffi- 
cient quantity of logwood, or Brazil wood ex- 
tract, or soluble coal tar reds, for red. For 
blue add to the lac solution soluble Prussian 
blue or blue carmine. 

Fabrics, Removal of Stains from. See also 
Cleansing.—]. To remove ordinary ink (tan- 
nogallate of iron) stains, the following treat- 
ment is recommended: In many cases lemon 
juice will often prove efficacious. 

2. If this fails, try an aqueous solution of ox- 
alic acid, 1 part to 2 parts water, and rub well 
with a soft cloth. 

3. Or use a solution of chloride of tin, 1 part 
to 3 parts water, or pure dilute muriatic acid, 1 

Eart to 10 parts water. Apply with, a camel's 
air brush and then wash in cold water. 

4. Where the colors of the fabric are affected 
by the above treatment, moisten the spots with 
fresh milk and cover with fine salt. This should 
be done before washing. 



5. If the fabric is fine and delicate, the stained 
portions may be dipped in melted tallow and 
then pressed for some time between layers of 
warm pipe clay. 

6. Stains of indelible ink, made from nitrate of 
silver, may be removed by moistening them 
with a brush dipped in a strong aqueous solu- 
tion of cyanide of potassium, and then well 
washing the fabric in water. The cyanide solu- 
tion is very poisonous. 

7. Boettger recommends pyrophosphate of 
soda for the removal of ink stains from colored 
textiles. 

8. Try a mixture of 2 parts cream of tartar 
and 1 part of powdered alum. 

9. Tartaric acid is also recommended. 

10. Oxalic acid can also be used, but is not 
recommended, as it is liable to destroy the fibers 
of the cloth. 

11. The Journal de Pharmacie d^Anvers recom- 
mends pyrophosphate of soda for the removal 
of ink stains. This salt does not injure vege- 
table fiber and yields colorless compounds with 
the ferric oxide of the ink. It is best to first 
apply tallow to the ink spot, then wash in a 
solution of pyrophosphate until both tallow 
and ink have disappeared. 

12. Stains of red aniline ink may be removed 
by moistening the spot with strong alcohol 
acidulated with nitric acid. Unless the stain is 
produced by eosine, it disappears without diffi- 
culty. Paper is hardly affected by the process; 
still it is always advisable to make a blank ex- 
periment first. 

13. Marking Ink.— Dissolve 1 oz. cyanide of 
potassium in 4 oz. water; this mixture is very 
poisonous, and should therefore be used with 
great caution. Moisten the stained part of the 
garment with this solution by dipping it into 
it, or by means of a small brush, and in a few 
hours the stain will be obliterated. 

14. To a solution of strong cyanide of potas- 
sium add a few grains of iodine. Repeated ap- 
plications will remove any stain caused by 
nitrate of silver. 

15. Grimm, in the Polytechnisches Notizblatt, 
proposes the following method for removing 
indelible ink and other silver stains without 
the use of cyanide of potassium. Chloride of 
copper is first applied to the tissue; it is next 
washed with hyposulphite of soda solution, and 
afterward with water. It is said that this may 
be employed on colored woven cotton tissues. 
For white cottons and linens dilute solutions 
of permanganate of potash and hydrochloric 
acid, followed by the hyposulphite of soda and 
clear water are preferable. For cleaning the 
hands, iodine dissolved either with iodide of 
potassium, or in alcohol, is used, f ollowed by 
aqua ammonia. 

16. Wet with chloride of lime and afterward 
rinse in a little ammonia or sodium of hyposul- 
phite. 

17. Rub with tincture of iodine, then wash 
with ammonia. 

18. India Ink on Clothing.— India ink cannot 
be removed by any chemical means, as it is 
composed of minute parts of carbon held in 
suspension by water. Some of the ink may be 
removed by sponging. 

19. Ink Stains, to Remove from Wood.— Mix 
lib. of sulphuric acid and 2 qt. water. Apply 
to the stain after scouring with sand. 

20. Ink Stains, to Remove from Hands.— Use 
ammonia water, muriatic acid, and plenty of 
water alternately, assisted by pumice stone, if 
necessary. 

21. To Remove from Paper.— Take of chloride 
of lime lib., thoroughly pulverized, and 4 qt. 
soft water. The above must be thoroughlj: 
shaken when first put together. I lis required 
to stand twenty-four hours, to dissolve the 
chloride of lime; then strain through a cotton 
cloth, after which add a teaspoonful of acetic 
acid (No. 8 commercial) to every ounce of the 
chloride of lime water. The eraser is used by 
reversing the penholder in the hand, dipping 



Inks. 



383 



Inks. 



the end of the penholder in the fluid, and apply- 
ing- it, without rubbing, to the word, figure or 
blot required to be erased. When the ink has 
disappeared, absorb the fluid with a blotter. 

Stamp Inks for Rubber Stamps. — The usual 
rubber stamp inks are prepared with water sol- 
uble aniline colors and glycerine. A good 
formula, which we have tested practically, is 
given by Dieterich. 

I. Blue Rubber Stamp Ink : 

Aniline blue, water sol., IB.... 3 parts. 

Distilled water 10 parts. 

Pyroligneous acid 10 parts. 

Alcohol :. 10 parts. 

Glycerine 70 parts. 

Mix them intimately by trituration in a mor- 
tar. [The blue should be well rubbed down 
with the water, and the glycerine gradually 
added. When solution is effected the other in- 
gredients are added.] 

Other colorsare produced by substituting for 
the blue any one of the following : 

2. Methyl violet, 3B 3 parts. 

3. Diamond f uchsin I 2 parts. 

4. Methyl green, yello wish 4 parts. 

5. Vesu vin B (brown) 5 parts. 

6. Nigrosin AY (blue black) 4 parts. 

7. If a bright red ink is required, 3 parts of 
eosin BBN are used, but the pyroligneous acid 
must be omitted, as this would destroy the 
eosin. Other aniline colors, when used for 
stamping ink, require to be acidulated.— Amer- 
ican Druggist. 

8. The ordinary stamping ink made by dilut- 
ing printing ink (which is made of lampblack 
and linseed varnish) with boiled linseed oil, 
stands pretty well if enough is used, but when 
poorly stamped will wash off. Dr. W. Reissig-, 
of Munich, has recently made an ink for can- 
celing stamps, which is totally indelible, and 
the least trace of it can be detected chemically. 
It consists of 16 parts of boiled linseed oil var- 
nish, 6 parts of the finest lampblack, and 2 to 
5 parts of iron perchloride. Diluted with % 
the quantity of boiled oil varnish, it can be 
used for a stamp. Of course it can only be used 
with rubber stamps, for metallic type would 
be destroyed by the chlorine in the ink. To aviod 
this, the perchloride of iron may be disolved in 
absolute alcohol, and enough pulverized metal- 
lic iron added to reduce it to the protochloride 
which is rapidly dried and added to the ink. 
Instead of the chloride, other salts of protox- 
ide or peroxide of iron can be used. The iron 
unites with the cellulose and the sizing of the 
paper, so that it can easily be detected even 
after the ink has all been washed off. Sulphide 
of ammonia is well adapted for its detection. 

9. A violet ink for rubber stamps is made by 
mixing and dissolving 2 to 4 drm. aniline vio- 
let, 15 oz. alcohol, and 15 oz. glycerine. The 
solution is- poured on the cushion and rubbed 
in with a brush. 

10. The following is said to be a good ink for 
use with rubber stamps : Aniline violet, 90grn.; 
boiling rain water, 1 oz.; to which is added a 
little glycerine and a small quantity of treacle, 
The quantities of the last two ingredients will 
vary with the season, but half a teaspoonful 
will be ample for the quantities of violet and 
water specified. 

II. Red.— Dissolve hi oz. of carmine in 2 oz. of 
strong water of ammonia and add 1 dr. of 
glycerine and % oz. of dextrine. 

12. Blue.— Rub 1 oz. of Prussian blue with 
enough water to make a perfectly smooth 
paste; then add 1 oz. of dextrine, incorporate it 
well, and finally add sufficient water to bring 
it to the proper consistence. 

13. For Linen and Cotton.— Dissolve 1 part of 
asphaltum in 4 parts of oil of turpentine and 
add lampblack or blacklead, in fine powder, in 
sufficient quantity to render the ink of a 
proper consistence for printing with types. 

14. Rubber Stamp Color.— (Boettger.)— Bleu 
do Lyons is dissolved to saturation with the 



aid of heat in concentrated glycerine, some 
Thenard's blue adued, and the liquid thickened 
with finely powdered gum arabic. 

Steel Pens, Inks ivhich do not Corrode.— 1. Ink 
which does not corrode steel pens (Haenle's). 
Boil 125 parts of pulverized gallnuts, 62j^ parts 
of gum, and 62^£ parts sulphuric acid, in 2,01)0 
parts of distilled or rainwater, add a few grains 
of chloride of mercury. 

2. Runge's.— Two hundred and fifty parts 
decoction of logwood and y± part of yellow 
chromate of potash. To prevent the ink from 
becoming too thick add a few drops of solution 
of chloride of rnercury. 

3. Schmidt's.— Two oz. calcined iron sulphate, 
3 oz. gallnuts, 1 oz. vegetable gum. Digest in 
1 qt. distilled water. 

Stone or Marble, Ink for.— Trinidad asphal- 
tum and oil of turpentine, equal parts. This is 
used in a melted state for filling in letters cut 
on tombstones, marble slabs and monuments, 
and is very durable. 

Sympathetic Inks. — Inks which favor secret 
correspondence. They are very interesting 
from a chemical point of view. 

The solutions used should be so nearly color- 
less that the writing cannot be seen till the 
agent is applied to render it visible. 

Inks that Appear Through Heat. 

1. Write with a concentrated solution of 
caustic potash. The wi'iting will appear when 
the paper is submitted to strong heat. 

2. Write with a solution of hydrochlorate 
of ammonia, in the proportion of 15 parts to 
100. The writing will appear when the paper 
is heated by holding it over a stove, or by pass- 
ing a hot smoothing iron over it. 

3. A weak solution of nitrate of copper gives 
an invisible writing, which becomes red through 
heat. 

4. A very dilute solution of perchloride of 
copper gives invisible characters that become 
yellow through heat. 

5. A slightly alcoholic solution of bromide of 
copper gives perfectly invisible characters 
which are made apparent hy a gentle heat, 
and which disappear again through cold. 

6. Write upon rose colored paper with a solu- 
tion of chloride of cobalt. The invisible writ- 
ing will become blue through heat and will 
disappear on cooling. 

7. Write with a solution of sulphuric acid. 
The characters will appear in black through 
heat. This ink has the disadvantage of de- 
stroying the paper. 

8. Write with lemon, onion, leek, cabbage, or 
artichoke juice. Characters written with these 
juices become very visible when the paper is 
heated. 

9. Digest 1 oz. of zaffre, or oxide of cobalt, at a 
gentle heat, with 4 oz. of nitromuriatic acid 
till no more is dissolved, then add 1 oz. common 
salt and 16 oz. of water. If this be written 
with and the paper held to the fire, the writing- 
becomes green, unless the cobalt should be 
quite pure, in which case it will be blue. The 
addition of a little nitrate of iron will then 
impart the property of becoming green. It is 
used in chemical landscapes for the foliage. 

10. Put in a vial y& oz. of distilled water, 1 
drm. of bromide of potassium, and 1 drm. of 
pure sulphate of copper. The solution is near- 
ly colorless, but becomes brown when heated. 

11. Nitrate of nickel and chloride of nickel in 
weak solution form an invisible ink, which be- 
comes green by heating, when the salt contains 
traces of cobalt, which usually is the case; 
when pure, it becomes yellow 

12. When the solution of acetate of protoxide 
of cobalt contains nickel or iron, the writing 
made by it will become green when heated; 
when it is pure and free from these metals, it 
becomes blue. 

13. Milk makes a good invisible ink, and but- 
termilk answers the purpose better. It will 
not show if written with a clean new pen, and 



Inks. 



284 



Inks. 



ironing with a hot flat iron is the best way of 
showing- it up. All invisible inks will show on 
glazed paper; therefore unglazed paper should 
be used. 

14. Burn flax so that it may be rather smoul- 
dered than burned to ashes, then grind it with 
a muller on a stone, putting a little alcohol 
to it, then mix it with a little weak gum water, 
and what you write, though it seem fair, may 
be rubbed or washed out. 

15. Boil oxide of cobalt in acetic acid. If a 
little common salt be added, the writing be- 
comes green when heated, but with niter it be- 
comes a pale rose color. 

16. A weak solution of nitrate of mercury 
becomes black by heat. 

Inks that Appear under the Infleunce of Light. 

17. Chloride of gold serves for forming char- 
acters that appear only as long as the paper is 
exposed to daylight, say for an hour at least. 

18. Write with a solution made by dissolving 
one part of nitrate of silver in 1,000 parts of 
distilled water. "When submitted to daylight, 
the writing appears of a slate color or tawny 
brown. 

Inks Appearing Through Reagents. 

19. If writing be done with a solution of 
acetate of lead in distilled water, the characters 
will appear in black upon passing a solution of 
an alkaline sulphuret over the paper. 

20. Characters written with a very weak so- 
lution of chloride of gold will become dark 
brown upon passing a solution of perchloride of 
tin over them. 

21. Characters written with a solution of 
gallic acid in water will become black through 
a solution of sulphate of iron, and brown 
through the alkalies. 

22. Upon writing on paper that contains but 
little sizing with a very clear solution of starch, 
and submitting the dry characters to the vapor 
of iodine, or passing over them a weak solution 
of iodide of potassium, the writing becomes 
blue, and disappears under the action of a so- 
lution of hyposulphite of soda in the propor- 
tions of 1 to 1,000. 

23. Characters written with a 10$ solution of 
nitrate of protoxide of mercury become black 
when the paper is moistened with liquid am- 
monia, orange red with a solution of, and gray 
through heat. 

24. Characters written with a weak solution 
of the soluble chloride of platinum or iridium 
become black when the paper is submitted to 
mercurial vapor. This ink may be used for 
marking linen. It is indelible. — Les Inventions 
Nouvelles. 

25. C. Widemann communicates a new method 
of making an invisible ink to Die Natur. To 
make the writing or the drawing appear which 
has been made upon paper with the ink, it is 
sufficient to dip it into water. On drying the 
traces disappear again, and reappear by each 
succeeding immersion. The ink is made by 
intimately mixing linseed oil, 1 part ; water of 
ammonia, 20 parts; water, 100 parts. The mix- 
ture must be agitated each time before the pen 
is dipped into it, as a little of the oil may sepa- 
rate and float on top, which would, of course, 
leave an oily stain upon the paper. 

26. "Write with a solution of f errocyanide of 
potassium* develop by pressing over the dry 
invisible characters a piece of blotting paper 
moistened with a solution of copper sulphate 
or of copperas. 

27. Write with pure dilute tincture of iron ; 
develop with a blotter moistened with strong 
tea. 

28. Writing with iodide of potash and starch 
becomes blue by the least trace of acid vapors 
in the atmosphere, or by the presence of ozone. 
To make it, boil starch, and add a small quan- 
tity of iodide of potassium in solution. 

29. Sulphate of copper in very dilute solution 
will produce an invisible writing, which will 
turn light blue by vapors of ammonia. 



30. Soluble compounds of antimony will be- 
come red by sulphide of hydrogen vapor. 

31. Soluble compounds of arsenic and of pe- 
roxide of tin will become yellow by the same 
vapor. 

32. An acid solution of chloride of iron is di- 
luted till the writing is invisible when dry. This 
writing has the remarkable property of be- 
coming red by sulphocyanide vapors (arising 
from the action of sulphuric acid on sulpho- 
cyanide of potassium in a long necked flask), 
and it disappears by ammonia, and may alter- 
nately be made to appear and disappear by 
these two vapors. 

33. Writing executed with rice water is visi- 
sible when dry, but the characters become blue 
by the application of iodine. This ink was 
much employed during the Indian mutiny. 

34. Write with a solution of paraffin in benzol. 
When the solvent has evaporated, the paraffin 
is invisible, but becomes visible on being dusted 
with lampblack or powdered graphite, or smok- 
ing over a candle flame. 

35. To Write Black Characters with Water. 
—Mix 10 parts nutgalls, 2% parts calcined sul- 
phate of iron. Dry thoroughly, and reduce to 
fine powder. Rub this powder over the sur- 
face of the paper, and force into the pores by 
powerful pressure, brush off the loose powder. 
A pen dipped in water will write black on 
paper thus treated. 

36. To Write Blue Characters with Water.— 
Mix sesquisulphate of iron and ferrocyanide 
of potassium. Prepare the paper in the same 
manner as for writing black characters with 
water. Write with water and the characters 
will appear blue. 

37. To Produce Brown Writing with Water. — 
Mix sulphate of copper and ferrocyanide of 
potassium. Prepare the paper in the same 
manner as before. The charaters written with 
water will be reddish brown. 

38. There is a well known proprietary article 
sold in Paris under the name of " Encre pour 
les Dames " (ink for ladies). Hager, in a recent 
scientific journal, states that this consists of 
an aqueous solution of iodide of starch, and is 
specially intended for love letters. In four 
weeks characters written with it disappear, 
preventing all abuse of letters, and doing away 
with all documentary evidence of any kind in 
the hands of the recipient. The signers of bills 
of exchange who use this ink are' of course 
freed from all obligations in the same length 
of time. Of course this is criminal. 

39. Vanishing Ink.— To make an ink, black 
at the time of writing, but which will disap- 
pear after a short time, boil nutgalls in alco- 
hol, put Roman vitriol and sal ammoniac to 
it, and when cold dissolve a little gum in it. 
Writing done with this ink will vanish in 
twenty-four hours. 

40. Invisible. 

Linseed oil ... 1 part. 

Liquor ammonia 20 parts. 

Water 100 parts. 

The mixture is well shaken before the pen is 
dipped into it, as otherwise the little oil which 
separates causes an oily mark on the paper. 
To render the writing legible, the paper is 
dipped into water, the characters again dis- 
appearing when the paper dries. See 25. 

Transfer Ink.— For the manufacture of the l 
following inks an iron pot and lid must be 
procured. Then take as follows : 

Stone Writing Ink. — Virgin wax, 4 parts; 
tallow, 3 parts ; soap, 13 parts ; shellac, 6 parts ; 
lampblack, 3 parts. 

Transfer Writing Ink. — Virgin wax, 2 parts ; 
white soap, 1 part ; shellac, 1 part ; lampblack, 
% part. 

Chalks. — Virgin wax, 16 parts; tallow, 2 
parts; white soap, 12 parts; lampblack, 3^ 
parts. 

Manipulation of Writing Ink and Chalks.— 
Melt the wax and tallow and mix with an iron 



Inks. 



285 



Inks. 



spoon ; then add the soap, which must be pre- 
viously cut into strips, and when melted apply 
a light, and allow to burn until the whole is 
decreased to the same bulk as existed before 
the addition of the soap. The shellac is now to 
be carefully added, bit by bit, stirring- the 
whole time to effect perfect amalgamation. 
The black is next to be added, and the whole 
well mixed while in a liquid state ; then poured 
into a mould, or on a slab, and cut to the re- 
quired size while warm. The same method of 
proceeding is alike applicable to the manufac- 
ture of transfer writing ink, proceeding with 
the wax only, there being no tallow. 

Retransf er Inks. — Stone Retransfer Ink. — 
Litho. printing ink, 2 parts; writing ink, 2 
parts ; thin varnish, 2 parts ; tallow, Yi part. 

Copperplate Transfer Ink. — Litho. writing 
ink, 4 parts; thin varnish, 1 part; wax, 1 part ; 
tallow, Y% part; soap, 1 part. Carefully melt 
the ingredients, and when in a liquid state pour 
into moulds, or cut to the required size. 

Terra-Cotta, Irik for Sketching on. — Try 
Brunswick or Japan black. Thin with a 
little turpentine if necessary. 

Ink, to Keep from Thickening.— Keep the ink 
from the air, as it not only evaporates, but 
also oxidizes it, and renders it thick. 

Tin, Ink for Writing on.—l. Nitric acid, 12^£ 
parts ; copper, 1*4 parts ; add water, 12*^ parts. 
Clean the tin with dry whiting ; Avrite with a 
quill. 

2. Mix verdigris, 1 part; sal ammoniac, 1 
part ; chimney black, Yz part ; water, 10 parts ; 
to be well shaken in a bottle (and labeled 
poison). To be used with a quill pen. 

Typeivriter Ribbons. — Take vaseline (petro- 
latum) of high boiling point, melt it on a water 
bath or slow fire, and incorporate by constant 
stirring as much lampblack or powdered drop 
black as it will take up without becoming 
granular. If the fat remains in excess the print 
is liable to have a greasy outline ; if the color 
is in excess the print will not be clear. Remove 
the mixture from the fire, and while it is cool- 
ing mix equal parts of petroleum, benzine and 
rectified oil of" turpentine, in which dissolve 
the fatty ink, introduced in small portions by 
constant agitation. The volatile solvents 
should be in such quantity that the fluid ink 
is of the consistence of fresh oil paint. One 
secret of success lies in the proper application 
of the ink to the ribbon. Wind the ribbon on 
a piece of cardboard, spread on a table several 
layers of newspaper, then unwind the ribbon 
in such lengths as may be most convenient, 
and lay it flat on the paper. Apply the ink, 
after agitation, by means of a soft brush, and 
rub it well into the interstices of the ribbon 
with a tooth brush. Hardly any ink should re- 
main visible on the surface. For colored inks 
use Prussian blue, red lead, etc., and especially 
the aniline colors. 

Aniline black Yi oz. 

Pure alcohol 15 oz. 

Concentrated glycerine 15 oz. 

Dissolve the aniline black in the alcohol, and 
add the glycerine. Ink as before. 

Vanadium Ink. — This is for an ink which is 
permanent and unaffected by the application 
of acids, alkalies, etc., and which renders f or- 
geries and erasures, additions or alterations 
easy of detection and difficult to accomplish. 
To carbon black (preferably prepared by the 
action of concentrated sulphuric or other acid 
on sugar) are added a solution of gum arabic 
or other mucilage, caustic soda, oxalic acid and 
Indian ink. Vanadium in any form, Aleppo 
galls, nutgalls, and a small quantity of an ani- 
line dye are then added, along with sufficient 
water to make the ink flow readily. The fol- 
lowing proportions yield good results: Nut- 
galls, 20%; Aleppo galls, 5%; carbon black, 10%; 
vanadium, 1%; Indian ink, 10%; oxalic acid, 3%; 
aniline dye, 1% : rain water, 50%. The whole is 
boiled, filtered and strained. 



Vegetable Ink.— Experiments are being made 
to acclimatize in Europe the Coriaria thymi- 
folia, or ink plant of New Grenada. The juice 
of this plant, locally tenned chanchi, is at first 
of somewhat a reddish color, but becomes in- 
tensely black in a few hours. This juice can 
be used for writing" without requiring any 
further preparations; it corrodes steel pens 
less than ordinary ink, and has, moreover, the 
advantage of better resisting chemical agents. 
When the portion of America named above 
was under Spanish dominion, all public docu- 
ments were written with chanchi, which was 
not removed from paper by sea water. 

Violet.— 1. One and one sixth oz. of so- 
called primula violet is dissolved in 3 qt. boil- 
ing distilled water. This may be converted 
into a copying ink by adding 4 oz. sugar, 4 oz. 
glycerine and 10 oz. of gum arabic. 

N. B.— Primula violet is known also as dahlia, 
or Hofmann's violet, of which there exist a 
number of different shades. Perhaps the finest 
is that known as No. 6. This coloring matter 
consist of salts of trimethylrosaniline, and tri- 
ethylrosaniline. 

Other tints may be prepared from other ani- 
line colors. 

It is best to add to the solution of an aniline 
color a small percentage (3 to 5 per cent.) of al- 
cohol, and also of glycerine (1 to 4 per cent.— 
Monthly Mag. of Pharmacy. 

LOn this receipt we would remark that gum 
arabic is simply a mischieveus addition which 
deprives aniline inks of their most valuable 
properties, i. e., their, perfect limpidity, their 
leaving no deposit on the pen, and their in- 
stantaneous drying. Cornflower blue is an- 
other name for pittacal, and is perfectly dis- 
tinct from soluble Paris blue.] 

2. Boil 8 oz. logwood in 3 pt. water till re- 
duced to V/% pt. Strain, and add 1Y oz. gum 
and ZYz oz. alum. 

3. Cudbear, 1 oz.; pearlash, 1]4 oz.; hot water, 
1 pt. Allow to stand for twelve hours; strain 
and add about 2 oz. gum. If required to keep, 
add 1 oz. spirits of wine. 

4. Water, 2,000 parts; alum, 10J4 parts; log- 
wood, 250 parts; gum arabic, 10J4 parts; sugar, 
5J4 parts. Boil for one hour. Let the mixture 
stand two or three days, then strain through 
linen. Improved by age. 

White Ink.—l. Triturate together 1 part of 
honey and 2 parts dry ammonia alum. Dry 
thoroughly and calcine in a shallow dish over 
the fire to whiteness. Cool, wash and rub up 
Avith enough gum water to use. 

2. Fine French zinc white, or white lead, 
rubbed up with gum water to the proper con- 
sistency. 

3. Mix pure freshly precipitated barium sul- 
phate, or flake white, with water containing 
enough gum arabic to prevent the immediate 
settling of the substance. Starch or magnesium 
carbonate may be used in a similar way. They 
must be reduced to impalpable powders. 

4. White Ink for Blue Paper.— Use oxalic acid 
and water. This bleaches the paper, leaving 
white lines. 

To Make New Writing Look Old. — Infuse Yz 
drm. saffron with M pt. ink. Warm it gently. 
It will cause whatever is written with it to turn 
yellow, and give it an appearance of age. 

Faded Writing, Restoration of.— Moisten the 
paper a little with water, and brush over it a 
solution of sulph-hydric ammonia. Since most 
inks contain iron, it is easy to understand that 
there will be formed sulphide of iron, which is 
black. 

Yellow Ink.—l. Coarsely powdered gamboge, 
1 oz.; hot watei-, 5 oz.; dissolve, and when cold 
add of spirit, % oz. 

2. Boil Yz lb. French berries and 1 oz. alum in 
1 qt. rain water for half an hour, or longer; 
then strain and dissolve in 1 oz. hot liquor of 
gum arabic. 

3. One part fine orpiment, well rubbed up, 
with 4 parts thick gum water. 



Insecticides. 



286 



Insecticides. 



Ink for Zinc Labels— 1. Take 1 drm. verdigris, 
1 drm. sal ammoniac powder, and y% drm. lamp 
black, and mix them with 10 drm. water. This 
will form an indelible ink for writing on zinc. 

2. Ammonium chloride, 6 parts; verdigris, 6 
parts; lampblack, 3 parts; water, 50 parts. 

3. Ink for Writing on Zinc. Dietrich gives 
the following as a reliable formula : 

Parts. 

Chloride of potassium 3 

Sulphate of copper 6 

Distilled water 70 

Dissolve, and mix with the following : 

Aniline blue (water soluble) ^ 

Dilute acetic acid 5 

Distilled water 20 

4. An ink composed of copper, 1 part, dis- 
solved in 10 parts nitric acid, 10 parts water be- 
ing afterward added, is useful for marking on 
tin or zinc plant labels. 

5. Permanent Ink for "Writing in Relief on 
Zinc. — Bichloride of platinum, dry, 1 part; gum 
arabic, 1 part; distilled water. 10 parts. The 
letters traced upon zinc with this solution turn 
black immediately". The black characters resist 
the action of weak acids or of rain, and the 
liquid is thus adapted for marking signs, labels, 
or tags which are liable to exposure. To bring 
out the letters in relief, immerse the zinc tag 
in a weak acid for a few minutes. The writing 
is not attacked, while the metal is dissolved 
away. 

Insecticides.— 1. Kerosene Emulsion.— One 
of the most satisfactory formulas is as follows : 

Kerosene 2 gal. 67$ 

Common soap or whale oil 

soap 

"Water 



i^ajw 



Heat the solution of soap and add it boiling 
hot to the kerosene. Churn the mixture by 
means of a force pump and spray nozzle for 
five or ten minutes. The emulsion, if perfect, 
forms a cream which thickens upon cooling 
and should adhere without oiliness to the sur- 
face of glass. For use against scale insects 
dilute 1 part of the emulsion with 9 parts of 
water. For most other insects dilute 1 part of 
the emulsion with 15 parts of water. For soft 
insects like plant lice the dilution may be car- 
ried to from 20 to 25 parts of water. 

2. The milk emulsion is produced by the 
same methods as the above. 

3. The Resin Washes.— These insecticides act 
by contact, and also, in the case of scale in- 
sects, by forming an impervious coating which 
effectually smothers the insects treated. These 
resin washes vary in efficacy, according to the 
insect treated. Experience has shown that the 
best formula for the red scale (Aonidiaaurantii 
Maskell) and its yellow variety (A. citrinus 
Coquillett) is as follows : 

Resin 18 lb. 

Caustic soda (70$ strength) 5 lb. 

Fish oil 2J^pt.» 

Water to make 100 gals. 

The necessary ingredients are placed in a 
kettle and a sufficient quantity of cold water 
added to cover them; they are then boiled 
until dissolved, being occasionally stirred in 
the meantime, and after tiie materials are dis- 
solved the boiling should be continued about 
an hour, and a considerable degree of heat 
should be employed, so as to keep the prepara- 
tion in a brisk state of ebullition, cold water 
being added in small quantities whenever there 
are indications of the preparation boiling over. 
Too much cold water, however, should not be 
added at one time, or the boiling process will 
be arrested and thereby delayed, but by a little 
practice the operator will learn how much 
water to add so as to keep the preparation 
boiling actively. Stirring the preparation is 
quite unnecessary during this stage of the 
work. When boiled sufficiently it will assimi- 



late perfectly with water, and should then be 
diluted with the proper quantity of cold 
water, adding it slowly at first and stirring 
occasionally during the process. The undi- 
luted preparation is pale yellowish in. color, 
but by the addition of water it becomes a very 
dark brown. Before being sprayed on the 
trees it should be strained through a fine wire 
sieve, or through a piece of Swiss muslin, and 
this is usually accomplished when pouring the 
liquid into the spraying tank, by means of a 
strainer placed over the opening through which 
the preparation is introduced into the tank. 

The preparing of this componnd will be 
greatly accelerated if the resin and caustic 
soda are first pulverized before being placed in 
the boiler, but this is quite a difficult task to 
perform. Both of these substances are put up 
in large cakes for the wholesale trade, the 
resin being in wooden barrels, each barrel con- 
taining a single cake weighing about 375 lb., 
while the caustic soda is put up in iron drums 
containing a single cake each, weighing about 
8001b. The soda is the most difficult to dissolve, 
but this could doubtless be obviated by first 
dissolving it in cold water and then using the 
solution as required. This insecticide may be 
applied at any time during the growing season. 

4. A stronger wash is required for the San 
Jose scale (Aspidiotus perniciosus Comstock), 
and the following formula gives the best re- 
sults : 

Resin 30 lb. 

Caustic soda (70^) , 9 lb. 

Fish oil 43^ pt. 

Water enough to make 100 gals. 

Place all the ingredients in a kettle and cover 
with water to a depth of 4 or 5 in., boil briskly 
for about two hours or until the compound can 
be perfectly dissolved with water. When this 
stage is reached the kettle should be filled up 
with water, care being taken not to chill the 
wash by adding large quantities of cold water 
at once. It may be thus diluted to about 40 
gal., the additional water being added from 
time to time as it is used. 

This preparation should only be applied, 
during winter or during the dormant period. 
Applied in the growing season it will cause the 
loss of foliage and fruit. 

In the application of both of these washes a 
very fine spray is not essential, as the object is 
not simply to wet the tree but to thoroughly 
coat it over with the compound, and this can 
be best accomplished by the use of a rather 
coarse spray, which can be thrown upon the 
tree with considerable force. 

5. For Subterranean Insects. — Recent experi- 
ments have shown the practical value of the 
resin compounds against the grape phylloxera, 
and they will also be applicable to the apple 
root louse and other underground insects. The 
cheapest and at the same time one of the most 
satisfactory compounds experimented with is 
the following : 

Caustic soda Ti% 5 lb. 

Resin 40 lb. 

Water to make 50 gal. 

Dissolve the soda over fire with 4 gal. of water, 
add the resin and after it is dissolved and while 
boiling add water slowly to make 50 gal. of 
compound. For use dilute in 500 gal. Excavate 
basins about the vines 6 in. deep and about 2 
ft. in diameter and apply to each vine 5 gal. 
The results will be more satisfactory if the 
treatment is made early in the spring, so that 
the rain of the season will assist in disseminat- 
ing the wash about the roots. 

6. The kerosene emulsion made according to 
the formula given above is also applicable to 
certain underground insects in cases where it 
will not prove too expensive, as, for instance, 
the grape phylloxera or where white grubs are 
infesting a valuable lawn. It may then be 
used in the proportion of 1 part of the emulsion 



Insecticides. 



287 



Insects. 



to 15 gal. of water, applied liberally to the soil, 
and afterward washed down at frequent inter- 
vals with large quantities of water for several 
days. This can be done only where there is 
plenty of water at hand, but will be found of 
great value in special cases. 

7. In other cases bisulphide of carbon may be 
used for specific and local underground forms. 
Nests of ants, for instance, may be destroyed 
by pouring 1 oz. of this substance into several 
holes, covering them with a wet blanket for 
ten minutes and afterward exploding the vapor 
at the mouth of the holes with a torch. Against 
onion, cabbage and radish maggots this sub- 
stance may also be used by punching a hole 
with a sharp stick at the base of the plant and 
pouring in a teaspoon!' ul of the liquid, cover- 
ing afterward with earth. 

8. The Arsenites —London Purple, Paris 
Green and White Arsenic. — These poisons are 
of the greatest service against all mandibulate 
insects, as larvae and beetles, and they furnish 
the most satisfactory means of controlling- 
most leaf feeders and the best wholesale remedy 
against the codling moth. Caution must be 
used in applying them on account of the lia- 
bility of burning or scalding the foliage. The 
poisons should be thoroughly mixed with water 
at the rate of from 1 lb. to 100-250 gal. water, 
and applied with a force pump or hand spray 
nozzle. In preparing the wash it will be best 
to first mix the poison with a small quantity of 
water, making a thick batter, and then dilute 
the latter and add to the reservoir or spray 
tank, mixing the whole thoroughly. 

9. When freshly mixed, either London purple 
or Paris green may be applied to apple, plum 
and other fruit trees except the peach, at the 
rate of 1 lb. to 150-200 gal., the latter amount 
being recommended for the plum, which is 
somewhat more susceptible to scalding than 
the apple. White arsenic does little if any in- 
jury at the rate of 1 lb. to 50 gal. of water. As 
shown by Mr. Gillette, however, when allowed 
to remain for some time (two weeks or more) 
in water, the white arsenic acts with wonderful 
energy, scalding, when used at the rate of 1 lb. 
to 100 gal., from 10$? to 90:2 of the foliage. The 
action of the other arsenites remains practically 
the same, with, perhaps, a slight increase in the 
case of London purple. 

10. With the peach these poisons, when ap- 
plied alone, even at the rate of 1 lb. to 300 or 
more gallons of water, are injurious in their 
action, causing the loss of much of the foliage, 

11. By the addition of a little lime to the mix- 
ture, London purple and Paris green may be 
safely applied at the rate of 1 lb. to 125 to 150 
gal. of water, to the peach or the tenderest 
foliage, or in much greater strength to strong 
foliage, such as that of the apple or most shade 
trees. 

12. Whenever, therefore, the application is 
made to tender foliage or when the treating 
with a strong mixture is desirable, lime water, 
milky, but not heavy enough to close the 
nozzle, should be added at the rate of about 2 
gal. to 100 gal. of the poison. Pure arsenic, 
however, should never be used with lime, as the 
latter greatly increases its action. 

13. With the apple, in spraying for the cod- 
ling moth, at least two applications should be 
made— the first on the falling of the blossoms, 
the apples being about the size of peas, and the 
second a week or ten days later; but the poison 
should never be applied after the fruit turns 
down on the stem, on account of the danger of 
the poison collecting and remaining perman- 
ently in the stem cavity. —Circular IT. S. Depart. 
Agriculture. 

Insects, to Destroy.— Hot alum water de- 
stroys red and black ants, cockroaches, spiders 
and chintz bugs. 

Formula for Insect Bites,— One of the very 
best applications for the bites of mosquitoes and 
fleas, also for other eruptions attended with in- 
tense itchings, is: Menthol in alcohol, one part 



to ten. This is very cooling and immediately 
effectual. It is also an excellent lotion for ap- 
plication to the forehead and temples in head- 
ache, often at once subduing the same. — Weekly 
Med. Review, See also Bites. 

Insects, to Discover.— It the leaves of the plant 
turn reddish or yellow, or if they curl up, a 
close inspection will generally disclose that the 
plants are infested with a very small green in- 
sect, or else with the red spider, either of which 
must be destroyed. For this purpose, scald 
some common tobacco with water until the 
latter is colored to a yellow, and when cold 
sprinkle the leaves of the plants with it ; but a 
better plan is to pass the stems and leaves of the 
plants between the fingers, and to then shake 
the plant and well water the bed immediately 
afterward. The latter operation destroys a 
large proportion of the insects shaken from the 
plant. This latter method is the only infallible 
one. 

Insects, Expelling Them.— All insects dread 
pennyroyal ; the smell of it destroys some and 
drives the others away. At the time that fresh 
pennyroyal cannot be gathered, get oil of 
pennyroyal ; pour some into a saucer and steep 
in it small pieces of wadding or raw cotton and 
place them in corners, closet shelves, bureau 
drawers, boxes, etc., and the cockroaches, ants, 
or other insects will sOon disappear. It is also 
well to place some between the mattrasses and 
around the bed. It is also a splendid thing for 
brushing off that terrible little insect, the seed 
tick. 

Insects, and How to Fight Them,, — Cut Worms. 
— Where cut worms are troublesome in the field, 
a very old and at the same time a very good 
remedy is to entrap them in holes made near 
the plants, or hills, if in the cornfield. An old 
rake handle, tapered at the end so as to make a 
smooth hole five or six inches deep, or more, 
will answer very well for this purpose. In the 
morning the worms that have taken refuge in 
these holes may be crushed by thrusting the 
rake handle into them again, and the trap is 
set for the next night. It is always well in 
planting to make provision for the loss of a 
stalk or two by cut worms or other causes, as 
it is easier to thin out than to replant. 

May Beetles.— These are the perfect insects 
of the white grub, so destructive to lawns and 
sometimes to meadows. A French plan for de- 
stroying, or rather catching, the cockchafer, a 
very similar insect, is to place in the center of 
the orchard after sunset an old barrel, the in- 
side of which has been previously tarred. At 
the bottom of the barrel is placed a lighted 
lamp, and the insects, circling around to get at 
the light, strike their wings and legs against 
the tarred sides of the barrel, and either get 
fast or are rendered so helpless that they fall 
to the bottom. Ten gallons of beetles have been 
captured in this way in a single night. 

Slugs.— English gardeners place handfuls of 
bran at intervals of eight or ten feet along the 
border of garden walks. The slugs are attracted 
to the bran, and in the morning each little heap 
is found covered with them. The ground is 
then gone over again, this time the operator 
providing himself with a dustpan and small 
broom and an empty bucket, and it is an easy 
matter to sweep up the little heaps and empty 
them, slugs and all, into the bucket. In this 
way many hundreds have been taken in a single 
walk, and if a little salt and water be placed on 
the bottom of the bucket the slugs coming in 
contact with it are almost instantly destroyed. 

Ants.— When these insects are troublesome 
in the garden, fill small bottles two thirds with 
water, and then add sweet oil to within an inch 
of the top; plunge these into the ground near the 
nest or hills to Avithin half an inch ot the rim, 
and the insects coming for a sip will get into 
the oil and perish, asit fills the breathing pores. 
The writer once entrapped in a pantry myriads 
of red ants in a shallow tin cover smeared with 
lard, the vessel having accidentally been left in 



Insulating-. 



288 



Iron. 



their track. Another means of entrapping 
them, suggested to me by Professor Glover 
many years ago, is to sprinkle sugar into a 
dampened sponge near haunts to attract the 
insects. When they have swarmed through the 
sponge it is squeezed in hot water, and the trap 
is reset until the majority of the insects are 
killed. 

Aphis.— A remedy for plant lice upon the 
terminal shoots of rose bushes (or similar hardy 
plants), said to work like a charm, is as follows : 
Take 4 oz. of quassia chips and boil for ten 
minutes in a gallon of soft water. Take out 
the chips and add 4 oz. of soft soap, which 
should be dissolved in it as it cools. Stir well 
before using, and apply with a moderate sized 
paint brush, brushing upward. Ten minutes 
after, syringe the trees with clean water to 
wash off the dead insects and the preparation, 
which would otherwise disfigure the rose trees. 

Scale.— A French composition for destroying 
scale insects, plant lice, etc., on fruit and other 
trees, is as follows : Boil 2 gal. barley in water, 
then remove the grain (which may be fed to 
the chickens), and add to the liquid quicklime 
until it approaches the consistency of paint. 
When cold, add 2 lb. of lampblack, mixing it for 
a long time, then add Vy& lb. flowers of sulphur 
and 1 qt. alcohol. The mixture is applied with 
a paint brush, first using a stiff bristle brush to 
remove moss, etc. It not only destroys the in- 
sects, but gives the bark greater strength.— 
Prairie Farmer. 

Insects to Preserve. See Anatomical Pre- 
parations. 

Insects, Small, to Catch and Kill.— Take a wide 
mouthed bottle, fill it half full of cotton ; after 
saturating the cotton with chloroform, put on 
the cotton and in the bottle a round piece of 
white paper or paste board; hold the mouth of 
the bottle over a sitting insect and within one 
minute it will lay dead and clean on the dry, 
protecting paper.— Dr. Carl H. Horsch. 

Insulating Compounds. See Compo- 
sitions, Insulating. 

Insulating Material.— Linseed oil, 2 
parts; cotton seed oil, 1 part; heavy petro- 
leum, 2 parts ; light coal tar, 2 parts ; Venice 
turpentine, y& part; spirits of turpentine, 1 
part; gutta percha, J part; sulphur, 2 parts; 
heat the oils separately to about 300° F.; cool to 
240°, and mix in the other materials, the sulphur 
last. Heat to 300° F., for about an hour or until 
the mixture becomes pasty, and on cooling is 
soft and elastic. 

Insulating Paper. See Paper. 

Insulating Tapes, Cement for. See 
Cements. 

Insulating, "Varnishes for. See Var- 
nishes. 

Insulating Wood, — 1. Wood for battery 
jars, etc., is also rendered insulating, by steep- 
ing it in or brushing it with melted paraffine. 

2. An insulator of 2 parts by weight of Greek 
pitch and 2 of burnt plaster of Paris is used for 
electric light work in France. The plaster is 
pure gypsum highly heated and plunged in 
water. The compound is applied hot with a 
brush. 

Intensifiers. See Photography, 

Intoxicating Drinks.— The following 
treatment is recommended as likely to be suc- 
cessful in attempting to wean a person from 
indulging to excess in alcoholic drink. Antici- 
pate the craving by supplying food in some ac- 
ceptable form— a cup of hot cocoatine being an 
excellent substitute for, or addition to, more 
solid food ; a cup of soup made from Liebig's 
extract is also useful in the same way. As an 
addition to food, and to supply the craving for 
bitter (experienced by drunken persons), an in- 
fusion of bark is said not only to afford that, 
but to create an actual distaste for alcohol in 



any form. The infusio* of bark is made by 
pouring a pt. of boiling water upon an oz. of 
coarsely powdered bark, and allowing it to 
stand near the fire in a covered vessel for five 
or six hours ; dose, a wineglassf ul two or three 
times a day. An infusion of quassia is also use- 
ful in the same way, made thus : Quassia chips, 
J4 oz.; cold water, a pt.; dose, the same as the 
infusion of bark. A teaspoonful or two of 
Malt extract may be added to either infusion 
if liked. 

Iodine Paint, Iodine Caustic— Iodide 
of potassium, }& oz.; iodine, 34 oz-J water (or 
better, proof spirit), 3 oz.; dissolve by agitation. 
Used as a paint in cases in which it is desired to 
apply iodine, in a strong form, locally ; also 
as a caustic for corns, warts, etc. These are 
the proportions recommended by Soubeiran, 
with water as the solvent. The tincture of 
iodine of the pharmacopoeia is, however, more 
generally employed ; but it is only of about 
one third the strength of the above. To com- 
pensate for this, the greater volatility of the 
menstruum admits of more frequent applica- 
tion of the tincture in a short space of time. 

Iodine, Tincture of. See Tinctures. 

Iridescent Paper. See Paper. 

Iron, Amalgam. See Amalgams. 

Iron, to Blacken. See Blacking Met- 
als. 

Iron, to Blue. See Bluing. 

Iron, Brassing.— Iron ornaments may be 
covered with brass by removing all organic 
matter from their surface, which would pre- 
vent adhesion, and then plunging them into 
melted brass. A thin coating of brass is spread 
over the iron, which may be burnished or poli- 
shed. See also Electro-Metallurgy. 

Iron, to Bronze. See Bronzing. 

Iron Carbonate, Effervescing.— (Br. 

T. Skinner.) 

Tartaric acid 24 parts. 

Sodium bicarb 40 pai'ts. 

Iron sulphate (proto) 10 parts. 

Sugar, powd 14 parts. 

Citric acid 2 parts 

Mix the finely powdered dry materials as fol- 
lows: First, the sulphate of iron with the sugar 
and part of the tartaric acid ; secondly, the cit- 
ric acid with the remainder of the tartaric acid 
and the bicarbonate. Stir the two mixtures 
together, and unite by sifting. Finally gran- 
ulate in open metal vessel ovor a water bath. - 
Pharmacist. 

Iron, Cement for. See Cements. 

Iron, Cast, Copper Dip for.— Dissolve 
4^4 lh. sulphate of copper in water, add 3 fl. oz. 
sulphuric acid. Used in laying out work. 

Iron, Wrought, to Drill.— In drilling 
wrought iron, use 1 lb. of soft soap mixed with 
a gallon of boiiing water. This is a cheap 
lubricator, and insures clean cutting by the 
drill. 

Iron, to Enamel. See Enameling. 

Iron, Fluxes for. See Fluxes. 

Iron Protected by Gum.— Sheet iron 
covered with gum of the euphorbiacea, com- 
mon and luxuriant in tropical climates, was 
immersed in Chatham, England, dockyard, 
where everything rapidly becomes foul, and 
when taken out was found quite clean. The 
gum is intensely bitter and poisonous; hence 
marine animals avoid it. 

Iron, to Harden. See Hardening. 

Iron, Lacqners for. See Lacquers. 

Iron, Bronze Paint for. See Paints. 

Iron, Cast, to Chill Very Hard.— Salt 
Yz peck; oil vitriol, *4 pt-; saltpeter, J4 lb.; prus- 
siate of potash, V% lb.; cyanide of potash, y± lb.; 
soft water, 5 gal. Heat the iron to a cherry 



Iron. 



289 



Ivory. 



red, dip in the mixture. If not hard enough 
repeat the process. 

For Malleable Iron.— Put the articles in an 
iron box, with layers of animal carbon (that 
is, pieces of horns, hoofs, skins or leather 
burned so as to be reduced to powder). Lute 
the box with sand and clay equal parts. Place 
in the fire and keep at a light red heat, for a 
length of time proportioned to the depth of 
steel required. Empty the contents of the box 
into water. 

Iron 9 to Melt in a Moment.— Ingredi- 
ent — Roll of sulphur. 

Directions. — Heat a piece of iron (a poker 
will do) to white heat, then apply the roll of 
sulphur. The iron will immediately melt and 
run into drops. This experiment is best per- 
formed over a wash basin of water, allowing 
the melted iron to drop into the water. 

Iron, to Improve Poor.— Dissolve in 
soft water 1}£ parts of black oxide of manga- 
nese, 6 parts copperas, 6 parts common salt; 
boil until dry; cool, pulverize and mix with 
nice welding sand. Heat the iron and roll in 
this mixture, work for a time, and reheat. 
This treatment will soon free the iron from 
impurities. Good horse nails can be made out 
of common iron by this process. 

Iron, Paint for. See Paints. 

Iron, to Polish. See Polishing. 

Iron Pots, to Clean. See Cleansing. 

Iron, to Protect.— Cast iron water pipes 
and other articles may be preserved by cover- 
ing the inside and out with pitch, heated to 
300° F. and kept at this point during the dip- 
ping. As the material deteriorates after a 
number of pipes have been dipped, fresh pitch 
is frequently added, and at least 8% of heavy 
linseed oil put to it daily; the vessel is also 
entirely emptied of the pitch and refilled with 
fresh material, as often as is necessary to in- 
sure the perfection of the process. Each cast- 
ing is kept immersed from thirty to forty-five 
minutes, or until it attains a temperature of 
300° F. After the bath is completed, the cast- 
ings are removed and placed to drip in such a 
position that the thickness of the varnish will 
be uniform. It is essential that the coating 
be tenacious when cold, and not brittle or dis- 
posed to scale off. The pitch or varnish is 
made from coal tar, distilled until all the naph- 
tha is removed, the material deodorized, and 
the pitch like wax or very thick molasses. 

Iron, to Prevent Rust on. See Rust, 

Iron, to Silver. See Silvering. 

Iron Surfaces, Lemon Juice on.— The 

Scientific American states that lemon juice 
gives an effective and elegant result when ap- 
plied to cast iron surfaces. It turns the por- 
tion of polished cast iron to which it is applied 
to a bronze black, and when touched over with 
shellac varnish will absorb a sufficient amount 
of the varnish to preserve it. To many, lemon 
juice would seem to be a weak and ineffective 
acid for metal; but every one knows how 
quickly a knife blade of steel will blacken 
when used to cut a lemon, and the darkening 
of polished iron by the acid is very beautiful. 
Iron, to Temper. See Tempering. 

Iron and Steel, to Test.— To test iron 
and steel : Nitric acid will produce a black spot 
on steel; the darker the spot, the harder the 
steel. Iron, on the contrary, remains bright if 
touched with nitric acid. Good steel in its soft 
state has a curved fracture and a uniform gray 
luster; in its hard state, a dull, silvery uniform 
white. Cracks, threads or sparkling particles 
denote bad quality. Good steel will not bear a 
white heat without falling to pieces, and will 
crumble under the hammer at a bright red 
heat; while at a middling heat it may be drawn 
out under the hammer to a fine point. To test 
the toughness, place the fragment on a block 



of cast iron; if good, it may be driven by a 
hammer into the iron; if poor, it will be 
crushed under the blow. 

Iron, to Tin. See Tinning. 

Iron, to Weld. See Welding. 

Isinglass.— The best quality of American 
isinglass is made from the sounds of the hake. 
The crude material is collected during the 
summer and autumn, coming from Maine, New 
Brunswick, Nova Scotia, and Prince Edward's 
Island. The conversion of the crude material 
into the mercantile article takes place in winter. 
A low temperature is necessary in order to turn 
out by machinery the fine ribbons of isinglass, 
and ice water passes through the rolls. The 
total product is about 250,000 lb. Besides the 
use of isinglass for fining beer, etc., it is em- 
ployed as a dressing or glaze for straw goods in 
the United States. — Scient. Amer 

Isomerism. — In chemistry, identity of com- 
position with dissimilarity of properties. Iso- 
meric compounds (isomerides) are such as 
contain the same elements in the same propor- 
tions, but which differ from each other in their 
chemical properties; thus, formate of ethyl 
and acetate of methyl are isomeric, having 
precisely the same ultimate composition,though 
differing in the arrangement of their elements* 

Isomorphism. — In chemistry, the quality 
possessed by bodies differently composed of as- 
suming the same crystalline form. Isomor- 
phous substances are found to be closely allied 
in their chemical nature; and the fact of two 
bodies crystallizing in the same form has often 
led to the discovery of other points of similarity 
between them. The alums, for instance, no 
matter what their components, all crystallize in 
octahedra; and a crystal of potassium alum, if 
transferred to a solution of chrome alum, will 
continue to increase with perfect regularity 
from the deposition of the latter salt. 

Ivory, Artificial Ivory.— 1. Four parts 
of shellac mixed with 16 parts of ammonia. 
Place in revolving cylinders for five hours, 
at a temperature of 99"5° F. A complete sol- 
ution of the consistency of a thin sirup will be 
the result. Add to this 30 parts zinc oxide, mix 
thoroughly and grind in a color mill. The 
ammonia is driven off by heating. Press into 
moulds. 

2. Dissolve 2 lb. of pure India rubber in 32 lb. 
of chloroform and saturate the solution Avith 
pure ammoniacal gas. Then distill the chloro- 
form off at a temperature of 185° F, Mix the 
warm residue with phosphate of lime or carb- 
onate of zinc, press it in moulds and let it cool. 
If using carbonate of zinc, the preparation i3 
the whitest and finest; but if using phosphate 
of lime it resembles natural ivory better, and 
partakes more of its properties, as it contains a 
sufficient amount of the solid bone substance 
(phosphate of lime), while the India rubber 
serves in place of the cartilage and gelatine 
which cements it together. The introduction 
of the other ingredients of the natural ivory 
has been found to be inessential. In regard to 
the statement that the difference cannot be 
discovered, this is entirely erroneous. For in- 
stance, the microscope alone, which shows in 
thin slices of the natural ivory the peculiar 
bone structure so well known to all anatomists, 
is sufficient to detect the imitations by reason 
of the total absence of all traces of organic 
growth. 

3. The Chronique Industrielle gives the follow- 
ing description of a new process for making arti- 
ficial ivory from the bones of sheep and goats 
and the waste of white skins, such as kid, deer, 
etc. The bones are macerated for ten or fifteen 
hours in a solution of chloride of lime, and 
afterward washed in clean water and allowed 
to dry. Then they are put with all the scraps 
of hide, etc., into a specially constructed boiler, 
dissolved by steam so as to form a fluid mass, to 
which is added 2l£% of alum. 



Ivory. 



290 



Japanning. 



The foam is skimmed off as it rises, uncil the 
mass is clear and transparent. Any convenient 
coloring- matter is then added, and while the 
mass is still warm it is strained through cloth 
of appropriate coarseness and received in a 
cooler and allowed to cool until it has acquired 
a certain consistency so that it can be spread 
out on the canvas without passing through it. 
It is dried on frames in the air, and forms 
sheets of convenient thickness. It is then 
necessary to harden it, which is accomplished 
by keeping it for eight or ten hours in an alum 
bath that has been used before. 

The quantity of alum necessary for this oper- 
ation amounts to 50$ by weight of the gdatine 
sheets. When they have acquired sufficient 
hardness, they are washed in cold water and let 
dry on frames, as at first. 

This material works more easily and takes as 
fine a polish as real ivory. 

4. Mix 20 parts by weight of white shellac, 16 
parts of ivory dust, 9 parts of acetate of lead 
and 10 parts of camphor. Heat these ingredi- 
ents, dry, powder and press. 

Ivory, to Bleach. See Bleaching. 

Ivory, Cement for. See Cements, 

Ivory, to Clean. See Cleansing. 

Ivory, to Bye. See Dyeing. 

Ivory, Vegetable Dyeing of.— L. MULer 
finds that objects of this material may be 
stained by boiling them for a long time in a 
perfectly clear solution of the desired coloring- 
matter. Aniline red, picric acid, or potassium 
dichromate, iodine green, sumac, aniline dyes, 
etc., may be used conveniently. The ivory 
must be thoroughly clean. It may be bleached 
by immersion for several hours in a solution of 
permanganate, and then in sulphurous acid. 

Ivory, Etching on. See Etching. 

Ivory, Flexible.— Immerse the ivory in a 
solution of pure phosphoric acid, sp. gr. P13, 
until it partially loses its opacity, then wash in 
cold soft water and dry. This renders ivory 
very flexible, but it regains its hardness if long- 
exposed to dry air. Its pliability may, how- 
ever, be restored by immersion in hot water. 

Ivory, Glue for. See Glues. 

Ivory, to Harden.— To harden ivory 
after it has been softened, wrap in a sheet of 
white paper, cover with dry, decrepitated salt, 
let it remain for 24 hours, when it will be re- 
stored to its original hardness. 

Ivory, Imitation of.— The composition 
for making imitation ivory is as follows : Pow- 
der very finely some egg shell. Make isinglass 
and brandy into a paste with the egg shell. 
Color it as desired. The mould must be oiled, 
and the paste poured in warm. When dry it is 
ready for use. 

Ivory, Inlaying Imitation. -A quantity 
of best plaster of Paris, dried in an oven, kept 
in a well corked bottle for use. Now, suppose 
we want to fill in, say, lines of any pattern. Mix 
up a small quantity of the plaster of Paris with 
weak clear glue; fi'l in and smooth over. When 
dry it may bo glass papered down to the level 
of 'the surrounding wood. If wanted colored, 
mix with the plaster of Paris any of the pow- 
der colors, such as ultramarine, amber, vermil- 
ion, or yellow ocher. For cheapness you better 
use' the various colored ochers. The chief se- 
cret is to have the powders, plaster of Paris, 
etc., quite dry. In polishing but little extra 
care is required. Merely take a brush, dip it in 
the white polish, if for light goods, and brush 
two or three coats over the plaster— this fills 
up the pores or grain, if to use the phrase— then 
polish in the usual manner 

Ivory, Fluid for Marking.— Nitrate of 
silver, 2 parts; nitric acid, 1 part; water 7 parts, 
mix. 



Ivory, to Soften.— 1. In 3 oz. of spirits of 
niter, and 15 of water, mixed, put the ivory 
and leave for three or four days. 

2. To make Ivory Soft and Flexible.— Take a 
solution of phosphoric acid of l*13Usp. gr. Put 
the ivory in this solution, and let it remain 
until it has a transparent appearance. Take 
out, wash carefully, dry between soft linen. 
The ivory will be soft as thick leather. It will 
become hard if it is exposed to the air, but be- 
come soft again if placed in warm water. 

Ivory, to Stain. See Staining. 

Ivory, Substitute.— Melt together over a 
gentle fire in an iron pot : Pitch, 1 part ; gutta 
percha, 2 parts; orange shellac, 5 parts; add to 
this 6 parts of white lead (lead carbonate), in 
impalpable powder, and stir until a perfectly 
homogeneous mixture is obtained; then cast 
and turn out. Color with the aniline dyes 
mixed with dilute alcoholic solution of bleach- 
ed shellac. 

Ivory, to Work.— Turned work should re- 
quire very little polishing. All tools should be 
kept very sharp. In polishing the greatest care 
should be used not to round the sharp corners 
which give so much beauty to ivory work. 
Emery paper is not recommended, but can be 
used on rough work. Use whiting and water, 
and with a chamois skin. Then apply a plain 
rag with a little oil if necessary. Jewelers 1 
brushes wet with water and dipped in whiting 
are used for complicated work. 

Jaeoby's Alloy. See Alloys. 

Japanning and Japans.— When finished 
wood, papier mache, composition, or materials 
are varnished in the usual manner and left to 
dry in the air ; the drying is in most cases im- 
perfect, and the coating more or less uneven. 
If the surface thus varnished is heated for 
some time to a temperature of from 250° to 
300° Fah. or higher, it is found that the whole 
of the solvent or vehicle of the gums or resins 
in the varnish is soon driven off, and the gum- 
my residue becomes liquefied or semi-liquefied, 
in which state it adapts itself to all inequalities, 
and if the coating is thick enough, presents a 
uniform glossy surface, which it retains on 
cooling. This process of drying out and fusion 
secures a firm contact and adhesion of the 
gums or resins to the surface of the substance 
varnished, and greatly increases the density of 
the coating, which enables it to resis't wear and 
retain its gloss longer. 

This process of hardening and finishing var- 
nished or lacquered work by the aid of heat, 
constitutes the chief feature of the japanner's 
art. 

In practice the work to be japanned is first 
thoroughly cleansed and dried. If of wood, 
composition, or other porous material, it is 
given, while warm, several coats of wood filler, 
or whiting mixed up with a rather thin glue 
size, and is, when this is hardened, rubbed down 
smooth with pumice stone. It is then ready 
for the japan grounds. Metals as a rule re- 
quire no special preparation, receiving the 
grounds directly on the clean dry surface. 

In japanning, wood and similar substances 
require a much lower degree of heat and usu- 
ally a longer exposure in the oven than metals, 
and again a higher temperature may be ad- 
vantageously employed when the japan is dark 
than when light colored grounds are used; so 
that a definite knowledge of just how much 
heat can be safely applied*and how long an ex- 
posure is required with different substances 
and different grounds can only be acquired by 
practical experience. Large japanners seldom 
make their own varnishes, as they can procure 
them more cheaply from the varnish maker. 

The japanner's oven is usuaily a room or 
large box constructed of sheet metal, and 
heated by stove drums or flues, so that the tem- 
perature — which is indicated by a thermometer 
or pyrometer hung up inside, or with its stem 
passing through the side wall midway between 



Japanning 



291 



Japanning. 



the top and bottom of the chamber— can. be 
readily regulated by dampers. The ovens are 
also provided with a chimney to carry off the 
vapors derived from the drying- varnish, a small 
door through which the work can be entered 
and removed and wire shelves and hooks for 
its support in the chamber. The ovens must be 
kept perfectly free from dust, smoke, and 
moisture. 

A good cheap priming varnish for work to be 
japanned consists of : 

Shellac, pale 2 oz. 

Rosin, pale . ...2oz. 

Rectified spirit 1 pt. 

Two or three coats of this is put on the work 
in a warm dry room. A good black ground is 
prepai-ed by grinding fine ivory black with a 
sufficient quantity of alcoholic sheDac varnish 
on a stone slab with a muller until a perfectly 
smooth black varnish is obtained. If other 
colors are required, the clear varnish is mixed 
and ground with the proper quantity of suit- 
able pigments in a similar manner; for red, 
vermilion or Indian red; green, chrome green 
or Prussian blue and chrome yellow; blue, Prus- 
sian blue, ultramarine or indigo; yellow, chrome 
yellow, etc. But black is the hue commonly re- 
quired. The following are good common black 
grounds : 

1. Asphaltum 1 lb. 

Balsam of capivi 1 lb. 

Oil of turpentine q. s. 

The asphaltum is melted over a fire, and the 
balsam, previously heated, is mixed in with it. 
The mixture is then removed from the fire and 
mixed with the turpentine. 
. 2. Moisten good lampblack with oil of tur- 
pentine and grind it very fine with a muller on 
a stone plate. Then add a sufficient quantity 
of ordinary copal varnish and rub well to- 
gether. 

3. Asphaltum 3 oz. 

Boiled oil 4 qt. 

Burnt umber 8 oz. 

Oil of turpentine q. s. 

Me]t the asphaltum, stir in the oil, previously 
heated, then the umber, and when cooling thin 
■down with the oil of turpentine. 

4. An extra fine black is prepared from : 

Amber 12 oz. 

Asphaltum, purified. 2 oz. 

Boiled oil J^pt. 

Resin 2 oz. 

Oil of turpentine 16 oz. 

Fuse the gum and resin and asphaltum, add 
the hot oil, stir well together, and when cool- 
ing add the turpentine. 

A white ground is prepared from copal var- 
nish and zinc white or starch. 

From one to six or more coats of varnish are 
applied to work in japanning, each coat being 
hardened in the oven before the next is put on. 
The last coat in colored work is usually of clear 
varnish, without coloring matters, and is in 
fine work sometimes finished with rotten stone 
and chamois. For ordinary work the gloss de- 
veloped in the oven under favorable conditions 
is sufficient, 

Japan Finishing.— The finishing part of jap- 
anning lies in laying on and polishing the outer 
coats of varnish, which is necessary in all 
painted or simply ground colored japan work. 
When brightness and clearness are wanted, the 
white kind of varnish is necessary for seed lac 
varnish, which is the hardest and most tena- 
cious, imparts a yellow tinge. A mixed var- 
nish, we believe, is the best for this purpose, 
that is, for combining hardness and purity. 
Take then 3 oz. of seed lac, picked very care- 
fully from all sticks and dirt, and washing it 
well with cold water, stirring it up, pouring it 
off, and continuing the process until the water 
runs off perfectly pure. Dry it and then re- 
duce it to powder, and put it with a pt. of alco- 



hol into a bottle, of which it must occupy only 
two thirds of its space. This mixture must oe 
shaken well together and the bottle kept at a 
gentle heat (being corked) until the lac be dis- 
solved. When this is the case the clear must be 
poured off and the remainder strained through 
a cloth, and all the clear, strained and poured, 
must be kept in a well stopped bottle. The 
manner of using this seed lac varnish is the 
same as that before described, and a fine polish- 
ing varnish is made by mixing this with pure 
white varnish. The pieces of work to be var- 
nished for finishing should be placed near a 
stove or in a warm, dry room, and one coat 
should be perfectly dry before the other is ap- 
plied. The varnish is applied by proper 
brushes, beginning at the middle, passing the 
stroke to one end and with the other stroke 
from the middle to the other end. Great skill 
is displayed in laying on these coats of varnish. 
If possible the brush should never cross or 
twice pass over in giving one coat. When 
one coat is dry another must be laid over it, 
and so on successively for a number of coats, 
so that the coating should be sufficiently thick 
to stand fully all the polishing, so as not to bare 
the surface of the colored work. When a suffi- 
cient number of coats are thus laid on the 
work is fit to be polished, which, in common 
cases, is commenced with a rag dipped in finely 
powdered rotten stone, and toward the end of 
the rubbing a little oil should be used along 
with the powder, and when the work appears 
fine and glossy a little oil should be used alone 
to clean off the powder and give the work a 
still brighter hue. In very fine work French 
whiting should be used, which should be washed 
in water to remove any sand that might be in 
it. Pumice stone ground to a very fine powder 
is used for the first part of the polishing, and 
the finishing done with whiting. It is always 
best to dry the varnish of all Japan work by 
heat. For wood work heat must be sparingly 
used, but for metals the varnish should be 
dried in an oven, also for papier mache and lea- 
ther. The metal will stand the greatest heat, 
and care must be taken not to darken by too 
high a temperature. When gold size is used in 
gilding for japan work, where it is desired not 
to have the gold shine or appear burnished, the 
gold size should be used with a little of the 
spirits of turpentine and a little oil, but when 
a considerable degree of luster is wanted with- 
out burnishing and the preparation necessary 
for it, a little of the size along with oil alone 
should be used. 

Black Japan Grounds.— I. Mix shellac var- 
nish with either ivory black or lampblack; but 
the former is preferable. These may be always 
laid on with the shellac varnish, and have their 
upper or polishing coats of common seed lac 
varnish. 

2. A common black japan may be made by 
painting a piece of work with drying oil and 
putting the work into a stove, not too hot, but 
of such a degree as will change the oil black 
without burning it, gradually raising the heat 
and keeping it up a long time. This requires 
no polishing. 

3. Asphaltum, }4 lb.; melt, then add hot balsam 
of capivi, lib., and when mixed, thin with hot 
oil of turpentine. 

4. Grind lampblack very smooth on a marble 
slab with a muller with turpentine, and then 
add copal varnish to the proper consistency. 

Japan Black.— 1. Asphaltum, 3 oz.; boiled oil, 
4 qt.; burnt umber, 8 oz. Mix by heat, and 
when cooling thin with turpentine. 

2. Amber, 12 oz.; asphaltum, 2 oz.; fuse by 
heat, add boiled oil, \i, pt.; resin, 2 oz.; when 
cooling add 16 oz. oil of turpentine. Both are 
used to varnish metals. 

Japan Black, for Leather,— Burnt umber, 
4 oz.; true asphaltum, 2 oz.; boiled oil, 2 qt. 
Dissolve the asphaltum by heat in a littleof the 
oil, add the burnt umbec ground in oil, and the 



Japanning. 

remainder of the oil; mix, cool and thin with 
turpentine. Flexible. 

Blue Grounds.— Blue japan grounds may be 
formed of bright Prussian blue. The color may 
be mixed with shellac varnish and brought to a 
polishing state by five or six coats of seed lac 
varnish. The varnish, however, is apt to give 
a greenish tint to the blue, as the varnish has a 
yellowish tinge, and blue and yellow form a 
green. Whenever a light blue is desired, the 
purest varnish must always be used. 

Green Grounds.— A good green may be made 
by mixing Prussian blue along with the chro- 
mate of lead, or with turmeric, or orpiment 
(sulphuret of arsenic) or ocher, only the two 
should be ground together and dissolved 
in alcohol and applied as a ground, then 
coated with four or five coats of shellac var- 
nish in the manner already described. A very 
bright green is made by laying on a ground of 
Dutch metal or leaf of gold, and then coating 
it over with distilled verdigris dissolved in alco- 
hol, then the varnishes on the top. This is a 
splendid green, brilliant and glowing. 

Orange Colored Grounds.— Orange grounds 
may be made of yellow mixed with vermillion or 
carmine, just as a bright or rather inferior color 
is wanted. The yellow should always be in quan- 
tity to make a good full color, and the red 
added in proportion to the depth of shade. If 
there is not a full good body of yellow, the color 
will look watery or bare, as it is technically 
termed. 

Japan, Purple Grounds. — This is made by a 
mixture of lake and Prussian blue or carmine, 
or for an inferior color vermilion, and treated 
as the foregoing. When the ground is laid on 
and perfectly dried, a fine coat of pure boiled 
nut oil then laid on and perfectly dried is a 
good method to have a japan not liable to 
crack. But a better plan is to use this oil in the 
varnish given the first coat, after the ground 
is laid on, and which should contain considera- 
ble of pure turpentine. In every case where 
oil is used for any purpose for varnish, it is 
all the better if turpentine is mixed with it. 
Turpentine enables oils to mix with either al- 
cohol or water. Alkalies have this property 
also. 

Bed Japan Ground.— The base of this japan 
ground must be made up with madder lake, 
ground with oil of turpentine; this forms the 
first ground; when perfectly dry, a second coat 
must be applied, composed of lake and white 
copal varnish; and the last with a coat com- 
posed of a mixture of copal and turpentine 
varnish mixed up with lake. Vermilion or 
carmine can also be used for red japan instead 
of lake. 

White Ground.— To form a hard, perfect 
white ground is no easy matter, as the sub- 
stances which are generally used to make the 
japan hard have a tendency, by a number of 
coats, to look or become dull in brightness. 
One white ground consists of the following 
composition : White flake or lead washed 
over and ground up with J of its weight of 
starch, then dried and mixed with the finest 
gum, ground up in parts of 1 oz. gum to 3^ oz. 
of rectified turpentine, mixed and ground thor- 
oughly together. This is to be finely laid on 
the article to be japanned, dried, and then var- 
nished with 5 or 6 coats of the following : Two 
oz. of the finest seed lac to 3 oz. of gum anime, 
reduced to a fine powder and dissolved in a qt. 
of alcohol. The lac must be carefully picked. 
For a softer varnish than this, a little turpen- 
tine should be added, and less of the gum. A 
very good varnish and not brittle, may be 
made by dissolving gum anima in nut oil, boil- 
ing it gently as the gum is added, and giving 
the oil as much gum as it will take up. The 
ground of white varinsh may of itself be made 
of this varnish, by giving 2 or 3 coats of it, but 
when used it should be diluted with pure tur- 
pentine. Although this varnish is not brittle, 
it is liable to be indented with strokes, and it 






292 Japanning. 



will not bear to be polished, but if well laid on 
it will not need to be laid on afterward ; it also 
takes some time to dry. Heat applied to all 
oils, however, darkens their color, and oil var- 
nishes for white grow very yellow if not ex- 
posed to a full clear light. 

Yellow Japan Grounds.— 1. King's yellow may 
be used, and the effect will be heightened by 
dissolving powdered turmeric root in the spirits 
of wine, of which the upper or polishing coat is 
made, which spirits of wine must be strained 
from off the dregs before the seed lac is added 
to it to form the varnish. 

2. If turmeric be dissolved in the spirit of wine 
and strained through a cloth and then mixed 
with pure seed lac varnish, it makes a good 
yellow japan. Saffron will answer for the same 
purpose in the same way, but the brightest yel- 
low ground is made by primary coat of pure 
chrome yellow, and coated successively with 
the varnish. 

3. Dutch pink is used for a kind of cheap 
yellow japan ground. If a little dragon's blood 
be added to the varnish for yellow japan, a most 
beautiful and rich salmon colored varnish is. 
the result, and by these two mixtures all the 
shades of flesh colored japans are produced. 

Aniline, Colors for.— Many of the clear var- 
nishes and oils may be colored directly with 
some of the aniline dyes by mixing the coloring 
material with the solvent used. These dyes do 
not hold their colors very well at high temper- 
atures. 

Black.— 1. Burnt umber, 8 oz.; true asphal turn, 
3 or4oz.; boiled linseed oil, 1 gal.; grind the- 
umber with a liitle of the oil, add it to the as- 
phaltum, previously dissolved in a small quan- 
tity of the oil by heat; mix, add the remainder 
of the oil, boil, cool and thin with a sufficient 
quantity of oil of turpentine. Flexible. 

2. Shellac, 1 oz.; wood naphtha, 4 oz.; lamp- 
black to color; dissolve. Inflexible. Both are 
used for leather. 

Carriage Japan.— Forty gal. raw linseed oil, 
40 lb. litharge, 20 lb. red lead, 10 lb. black oxide 
of manganese, 2 lb. white gum shellac. Set the 
oil over the Are and bring to the boiling point; 
add by degrees litharge and red lead alterna- 
tively and slowly; add the gum, and when this 
is melted put in the manganese, and keep the 
whole in rapid motion from the time the oil is 
200° Fah. until the making is finished. When 
the mixture is cool enough to bear the finger 
in a moment add from 20 to 30 gal. spirits of 
turpentine. 

Imitation of Japanning.— The peculiar glossy 
surface on the so-called japan trays can only be 
given by practice, but a near imitation may be 
effected as follows : Mix ivory black with melted 
size, apply the mixture quite hot to the box, or 
any other wooden article that it may be desired 
to treat in this manner; when dry, sand paper 
the box, then give another coat of black; when 
this second coat is dry, bring to smoothness 
with sand paper, at the same time taking care 
not to remove the stain, so that the light wood 
below is exposed. Now procure 1 lb. of black 
japan and 1 gill of turpentine; mix enough of 
the black japan for present use with turpen- 
tine, of which only sufficient should be used to 
make the japan fluid enough to run from the 
brush. A fine haired paint brush should be 
employed. If properly done one coat will be 
sufficient. The box will look nearly equal to the 
japan goods. Dry the varnished box in a warm 
room free from dust. 

To Japan Old Tea Trays.— First clean them 
thoroughly with soap arid water and a little 
rotten stone; then dry them by wiping and ex- 
posure at the fire. Now get some good copal 
varnish, mix with it some bronze powder, and 
apply with a brush to the denuded parts. After 
which set the tea tray in an oven at a 
heat of from 212° to 300° F. until the varnish 
is dry. Two coats will make it equal to new. 

Japan Flow for Tin.— Spirits of turpentine, 
3 qts.; balsam of tolu, 3 oz.; linseed oil, M pt.> 



Javclle. 



293 



Jewels. 



acetate of lead, 3 oz.; balsam of fir, 3 oz.; gum 
sandarac, 1)4 lb. Put all these materials, except 
the turpentine, in a suitable vessel, place over 
a slow fire at first, then increase the heat until 
they are melted. When a little cool, stir in the 
turpentine, and strain. This japan is trans- 
parent, but may be colored if desired. 

2. Melt 50 lb. Naples asphaltum and 8 lb. dark 
gum anime ; boil for about two hours in 12 gal. 
linseed oil: then melt 12 lb. dark gum amber, 
and boil it with 2 gal. linseed oil ; add this to 
the other, and add driers. Boil for about 2 
hours, or until the mass, when cooled, may be 
rolled into little pellets. Withdraw the heat, 
and thin down with 30 gal. turpentine. During 
the boiling the mass must be constantly stirred 
to prevent boiling over. 

3. Japan for Tin Lantern.— The following are 
the proportions for black japan: Asphaltum, 
1% oz.; boiled linseed oil, 4 pt.; burnt umber, 4 
•oz. Heat till well mixed, and when cool add 
turpentine till of a proper consistence. 

Japan, The Tortoise Shell. — Tortoise shell 
japan is extremely pretty, and comparatively 
•easy to manipulate. The work is first coated 
with a japan made by boiling 2 pt. linseed oil, 
to which J4 lb. umber has been added, till it be- 
comes thickened ; the mixture is then strained 
and further boiled till it becomes Of a pitchy 
consistency. This is mixed with turpentine to 
a workable consistency, and then applied. On 
a thoroughly dry coating of this japan lay a 
quantity of vermilion spots to represent the 
clear portions of the shell. The vermilion 
japan is made by adding vermilion to shellac 
varnish; it should be laid on thinly and dried. 
The whole surface is then finally coated with a 
thin layer of the above described brown japan, 
still further diluted with turpentine. A long 
course of stoving will be necessary to thor- 
oughly harden the japanning. 

Japan, Transparent. — Prep. Oil of turpen- 
tine, 8 oz.: oil of lavender, 6 oz.; camphor 1 
drm.; bruised copal, 2 oz. Dissolve. Used for 
japanning tin ; quick-drying copal varnish is 
usually substituted. 

Japan Varnishes. See Varnishes. 

Javelle Water. See Waters. 

Jet, Cement for. See Cements. 

Jet, to Clean. See Cleansing. 

Jet Working.— 1. Small chisels of ordinary 
shape are used in turning jet on a lathe. The 
action is more of a scrape than a distinct cut. 
A knife the size of a penknife, with the point 
beveled off and then set like a chisel, is used in 
carving jet. Jet is first polished on a revolving 
wooden Avheel with rotten stone and water, and 
then finished off on a board covered with stout 
leather — often porpoise hide — impregnated 
with rouge or lampblack mixed with a very 
small quantity of oil. 

2. The tools used for tuiming jet are beveled 
from both sides like a turner's soft wood chisel, 
only they are held with the edge horizontal 
and scrape rather than cut. Their edges are 
very thin and keen. A small gouge, also bev- 
eled from both sides, is used for roughing out. 
For polishing use first fine emery cloth, then 
charcoal dust and soft soap on a flannel. Finish 
with the same', only adding more soft soap. 
Sometimes rotten stone on the hand or flannel 
is used as a finish. No heat is required. 

Jewels, Artificial. — The base used in 
making artificial gems is strass, obtained by 
melting together 6 drm. carbonate of soda, 2 
drm. burnt borax, 1 drm. saltpeter, 3 drm. 
minium and l^j oz. purest white sand. To im- 
itate in color the following minerals, add to 
the strass the ingredients named in connection 
with each gem : Sapphire, 10 grn. carbonate of 
cobalt; opal, 10 grn. oxide of cobalt, 15 grn. 
oxide of manganese, and from 20 to 30 grn. 
protoxide of iron; amethyst, 4 to 5 grn. carbon- 
ate or peroxide of manganese; gold topaz, 30 



grn. oxide of uranium; emerald, 20 grn. pro- 
toxide of iron and 10 grn. carbonate of copper. 

Jewels. Imitation.— The following are 
some of the very latest recipes for making 
imitation stones. The coloring substances 
are the following oxides : Oold, for 
purple (purpura cassia); silver, for yellowish 
green; copper, for bright green; iron, for pale 
red; cobalt, for blue; tin, for white; manganese, 
in small quantity to make the glass devoid of 
color; in a larger, to give it an amethyst color; 
in great quantity, to make it black and 
opaque; antimony, for reddish hyacinth color. 

To prepare the mass for the body proceed as 
follows: Pure flint or rock crystal is heated 
white, cooled in water, pulverized and sifted 
with a silk sieve, thereupon exposed to the 
action of muriatic acid for several hours, wash- 
ed, dried and again sifted. Of this substance 
five different bases are prepared : 

For the first base— 1^ parts of the flint or 
rock crystal powder; 2% parts white lead in 
scales, % part saltpeter, $4 part borax, J^ part 
white arsenic. 

. For the second base— 1 part prepared flint, 2^£ 
parts white lead, 34 part cream of tartar, J4 
part calcined borax. 

For the third base-1 part prepared rock crys- 
tal, 2 parts red lead, y& part saltpeter, J^ part 
cream of tartar; pulverize the mixture, melt it 
three times, and after every melting pour into 
cold water. This for the three preceding bases. 

For the fourth base— 1 part prepared rock 
crystal, 3 parts calcined borax, 1 part cream of 
tartar; melt, pour the mass into lukewarm 
water, add an even amount of red lead (minium) 
and repeat the melting and cooling twice. 

For the fifth base— Take 1 part prepared rock 
crystal and 3 parts cream of tartar, melt in a 
crucible, dissolve the mass in warm water and 
add nitric acid as long as a boiling takes place; 
it is then carefully washed, dried, and 1% parts 
white lead are added. To 1]4 parts of this mix- 
ture add ^jj parts calcined borax, next melt and 
pour into cold water. This makes, when ^ part 
saltpeter is added, a handsome crystal glass, 
which, without further addition, makes the 
artificial diamond called Strass, from its in- 
ventor. 

The following are recipes for imitations of 
precious stones. 

For Yellow Diamond.— 16 oz. of fourth base; 
24 grn. horn silver; 10 grn. antimony. 

Sapphire.— 25 oz. of fifth base; 2 drm., 46 grn. 
cobalt. 

Oriental Ruby.—l oz. of fifth base, and a mix- 
ture of 2 drm., 48 grn. purple of gold, and the 
same quantity of sulphuret of antimony and 
fusible manganese, and 2 oz. of rock crystal; or, 
20 oz. of the flint base, y% oz. fusible manganese, 
and 2 oz. rock crystal. 

Balay Ruby.—IQ oz. of fifth base, and the pre- 
ceding coloring substance, lessened by one- 
fourth; or, 20 oz. flint base, same coloring mass, 
but less manganese by one- fourth. 

Oriental Topaz.— 24 oz. of first or third base; 

5 drm. black antimony. 

Brazilian Topaz.— 24 oz. of second or third 
base; 1 oz., 24 grn. black antimony; 8 grn. pur- 
pura cassia (purple of gold). 

Saxonian Topaz.— 24 oz. of first or third base ; 

6 drm. black antimony. 

A methyst.— 24 oz. of fifth base; 4 drm. man- 
ganese; 4 grn. purple of gold. 

Emerald.— 15 oz. of any one base; 1 drm. blue 
carbonate of copper; 6 grn. antimony; or, 1 oz. 
of second base; 20 oz. black antimony; 4 grn. 
cobalt. 

Beryl.— 2i oz. of third base ; 96 grn. black an- 
timony; 4 grn. cobalt. 

Common Opal.— I oz. of third base; 2 grn. 
loadstone; 20 grn. of some absorbing earth. 

For the imitation of pearls, thin balls of glass 
are used, which by an addition of a small quan- 
tity of potash and oxide of lead, receive a 
bluish glittering sheen, and tie inner sides of 



Joints. 



294 



Knots. 



which are covered with the scales of a small 
river fish (Cyprinus alburnus). To make these 
scales pliable and adhesive, they are steeped for 
some time in spirits of ammonia in which a 
small amount of isinglass has been dissolved. 
Messrs. Savary & Mosbach exhibit some which, 
being solid, are in all respects equal to the 
Roman. 

Gems, Artificial.— P. Weiskopf gives in the 
Diamant the following formulae for the frit or 
mass used in Bohemia for making imitations of 
some of the precious stones : 

Imitation Agates.— 10 kilos quartz, 17 kilos 
red lead, 32 kilos potash, 2'2 kilos borax, and 0*1 
kilo arsenic. The quantity of chloride of gold 
added is equal to that obtained from 0*4 of a 
ducat. 

Agate Glass.— 10 parts of broken glass is 
melted, and to it are added 015 part suboxide 
of copper, the same quantity of the oxides of 
chromium and of manganese, 0*02 part each of 
oxide of cobalt and nitrate of silver, 0'01 part 
oxide of uranium, 0*4 part red argols, 0'3 part 
bone meal. Each oxide is added alone, and at 
intervals of ten minutes. After heating the 
mixture for an hour, - 3 or 0*4 part of fine soot 
is put in. 

Red Marble.— SO parts of sand, 40 parts of 
potash, 10 parts of lime, 2 parts of table salt, 1 
part of saltpeter, and 01 part of arsenic. The 
mixture is melted, and then 25 parts of subox- 
ide of copper and 1 part of saltpeter mixed in. 

Joints, Cement for. See Cements, 

Julep, Mint. —This is made precisely in the 
same manner as sherry cobbler, except that you 
use brandy instead of wine, and you add to 
your fruits three or four sprigs of fresh spear- 
mint. Decorate the top with sprigs of mint in- 
stead of flowers. 

Jute.— A variety of bast fiber now often 
mixed with or substituted for cotton. 
Jute, to Bleach. See Bleaching. 
Jute, to Dye. See Dyeing. 

Kalsomine. — Prepared kalsomine can be 
readily purchased at any large paint store, but 
some of our readers may wish to prepare their 
own kalsomine. The following rules are given 
for the purpose of enabling them to do so : 

Soak 1 lb. of white glue overnight, then dis- 
solve it in boiling water and add 20 lb. of 
Paris white, diluting with water until the mix- 
ture is of the consistency of rich milk. To 
this any tint can be given that is desired. 

iilac— Add to the kalsomine 2 parts of Prus- 
sian blue and 1 part of vermilion, stirring the 
mixture thoroughly and taking care to avoid 
too high a color. 

Brown.— Burnt umber. 

Gray.— Raw umber, with a trifling amount of 
lampblack. 

Rose.— Three parts of vermilion and 1 part of 
red lead, added in very small quantities until a 
delicate shade is produced. * 

Lavender. — Make a light blue and tint it 
slightly with vermilion. 

Straw.— Chrome yellow, with a touch of 
Spanish brown. 

Buff.— Two parts of spruce, or Indian yellow, 
and one part of burnt sienna. 

Blue.— A small quantity of Prussian blue will 
give a soft azure tint. Dark blue is never de- 
sirable. 

Delicate tints in the foregoing varieties of 
colors are always agreeable and tasteful, and 
so great care must be taken that they are not 
too vivid. The tints will always appear 
brighter than in the kalsomine pot, and this 
fact must be kept in mind when adding the 
coloring powders. 

Kalydor.— A name given to several nos- 
trums extensively advertised in Europe and 
America, and pretending to possess extraordin- 
ary power of beautifying the skin. 



Rowland's Kalydor.— This is said to resemble 
Gowland's lotion, but it is got up in a more 
pleasing and showy style. 

Kamptulicon.— A mixture of cork and 
caoutchouc. The cork is ground fine and 
mixed with caoutchouc by a somewhat com- 
plicated process. It is used for a floor cover- 
ing and also for cushions of presses, etc. 

Kaolin.— Term rather loosely applied to 
the clays used in making porcelains. Ordinary 
kaolin is the result of the decomposition of 
aluminous minerals. 

Kelp.— The ash obtained by incinerating 
the sea weeds on the British coasts. It is- 
weaker in alkali than soda ash and even than 
barilla, and is employed by alkali manufac- 
turers to mix off strong soda ash. 

Kerosene, to Deodorize.— By agitation 
for several days with powdered chloride of 
calcium, the disagreeable odor of the oil may 
be removed, but the oil cannot be completely 
deodorized. 

Kerosene, to Remove. See Cleansing. 

Keys, to Fit.— When it is not convenient 
to take a lock apart to fit a new key, the key 
blank should be smoked over a candle inserted 
in the keyhole and pressed firmly against the 
opposing wards of the lock. The indentations 
in the smoked portion made by the wards will 
show where to file. 

Kid Gloves, to Clean. See Cleansing. 

Kid Gloves, to Dye. See Dyeing. 

Kieselguhr.— Kieselguhr is an infusorial 
earth which is principally used in the manu- 
facture of dynamite. It is a white powder,, 
and, as it consists of the skeletons of diatoms* 
is of a siliceous character and well adapted for 
making polishing soap. Deposits of it are 
found in Aberdeenshire. 

Killing Agents. See Microscopy. 

Kindlings.— 1. Save the corn cobs for 
kindlings, especially if wood is not going to be 
plentiful next winter. To prepare them, melt 
together 60 parts resin and 40 parts tar. Dip in 
the cobs and dry on sheet metal heated to 
about the temperature of boiling water. 

2. Dip the wood in melted resin. The fol- 
lowing composition is sometimes used : 60 parts 
melted resin and 40 parts tar, in. which the 
wood is dipped for a moment. Or, take 1 qt. 
of tar and 3 lb. of resin, melt them, then cool; 
mix as much sawdust with a little charcoal 
added as can be worked in. Spread out on a 
board and when cold break up into lumps the 
size of a hickory nut, and you will have enough 
kindling to last a good while. See also Fire 
Kindlers. 

Kingston's Metal. See Alloys. 

Kirch wasser.— A spirituous liquor dis- 
tilled in Germany from bruised cherries. See 
Liquors. 

Knifeboard.— A common knifeboard cov- 
ered with thick buff leather, on which is put 
emery, 1 part; crocus root, 3 parts, in very fine 
powder; mixed into a thick paste, with a small 
amount of lard in sweet oil, and spread on the 
leather to the thickness of a quarter, gives a 
superior edge and polish to knives, and will 
not wear the knives so much as the common 
method of brick dust on a board. 

Knots, to Bore through.— To bore a 
hole easily through a hemlock or other knot, 
wet your auger in turpentine. 

Knots.— The knots represented on the fol- 
lowing page of engravings are as follows : 



1. Simple overhand 

knot. 

2. Slip-knot seized. 

3. Single bow-knot. 

4. Square or ruf-knot. 

5. Square bow-knot. 

6. Weaver^ knot. 



10, 



German or figure- 

of-8 knot. 
Two half - hitches, 

or artificer's knot. 
D o u ble artifice r 's 

knot. 
Simple galley-knot. 



Knots. 



295 



Koumiss, 




11. Capstan, or pro- 
longed knot. 
13. Bowline-knot. 

13. Rolling-hitch. 

14. Clove-hitch. 

15. Blackwall-hitch. 

16. Timber-hitch. 

17. Bowline on a bight. 

18. Running bowline. 

19. Catspaw. 

20. Doubled running- 

knot. 

21. Double knot. 

22. Sixfold knot. 

23. Boat-knot. 

24. Lark's head. 

25. Lark's head. 

26. Simple boat-knot. 

27. Loop-knot. 

28. Double Flemish 

knot. 

29. Running-knot 

checked. 

30. Crossed running- 

knot. 

31. Lashing-knot. 

32. Rosette. 

33. Chain-knot. 

34. Double chain-knot. 



Knots. 

35. Double running- 

knot, with check- 
knot. 

36. Double twist-knot. 

37. Builder's knot. 

38. Double Flemish 

knot. 

39. English knot. 

40. Shortening-knot. 

41. Shortening-knot. 

42. Sheep-shank. 

43. Dog-shank. 

44. Mooring-knot. 

45. Mooring-knot. 

46. Mooring-knot. 

47. Pigtail worked on 

the end of a rope. 

48. Shroud-knot. 

49. A bend or knot 

used by sailors in 
making fast to a 
spar or a bucket 
handle before cast- 
ing overboard; it 
will not run. Also 
used by horsemen 
for a loop around 
the jaw of a colt 
in breaking; the 



running end, after passing over the 
head of the animal and through the 
loop, will not jam therein. 

50. A granny's knot. 

51. A weaver's knot. 
The principle of a knot is, that no two 

parts which would move in the same di- 
rection if the rope were to slip, should 
lie alongside of and touching each other. 
— From Scientific American Reference 
Handbook. 

Kola Wine. See Wines. 

Koumiss.— 1. Fill a qt. champagne 
bottle up to the neck with pure milk ; 
add two tablespoonfuls of white sugar, 
after dissolving the same in alittle water 
over a Lot fire ; add also a quarter of a 
two cent cake of compressed yeast. Then 
tie the cork on the bottle securely, and 
shake the mixture well; place it in a room 
of the temperature of 50° to 95° Fahren- 
heit for six hours, and finally in the ice 
box overnight. Drink in such quantities 
as the stomach may require. Be sure 
that the milk is pure; that the bottle is 
sound; that the yeast is fresh; to open 
the mixture in the morning with great 
care, on account of its effervescent prop- 
erties; not to drink it at all if there is 
any curdle or thickening part resembling 
cheese, as this indicates that the ferment- 
ation has been prolonged beyond the 
proper time. 

2. To a qt. of new milk add a sixth 
part of water, and to this mixture add, 
as a ferment, an eighth part of the sourest 
buttermilk that can be got. In future 
preparations, a similar quantity of old 
koumiss will better answer the purpose 
of a ferment. Cover the vessel with a 
cloth, and allow to stand in a place of 
moderate warmth for twenty-four hours, 
when a thick substance will be found col- 
lected at the top. Stir well until this 
substance is thoroughly mixed with the 
liquid portion beneath, and allow to 
stand for twenty -four hours more, when, 
having tilled a bottle two-thirds full, and 
again thoroughly mixed by shaking, the 
preparation, now called koumiss, may 
be used at once, or the bottle tightly 
corked and kept in a cool place for fu- 
ture use. Always shake the bottle well 
before using. 

3. Dilute the milk with one-sixth part 
of hot water, and, while still tepid, add 
one-eighth of very sour (but otherwise 

good) buttermilk. Put it into a wide jug, 
cover with a clean cloth, and let stand in a 
warmish place (about 75° Far.) for twenty- 
four hours; stir up well, and leave for 
another twenty-four hours. Then beat thor- 
oughly together, and pour from jug to jug 
till perfectly smooth and creamy. It is now 
still koumiss, and may be drunk at once. 
To make it sparkling, which is generally 
preferred, put it into champagne or soda- 
water bottles; do not quite fill them, well secure 
the corks, and lay down in a cool cellar. It will 
then keep for six or eight weeks, though it be- 
comes increasingly acid. To mature some for 
drinking quickly, it is as well to keep a bottle 
or two to start with in some warmer place, and 
from time to time shake vigorously. With this 
treatment it should, in about three days, be- 
come sufficiently effervescent to spurt freely 
through a champagne tap, which must be used 
for drawing it off as required. Later on, when 
very frothy and acid, it is more pleasant to 
drink if a little sweetened water (or milk and 
water) is first put into the glass. Shake the 
bottle, and hold it inverted well into the 
tumbler before turning the tap. Having made 
one lot of koumiss as above, you can use some 
of that instead of buttermilk as a ferment for 
a second lot, and so on five or six times in sue- 



Labels. 



296 



Lacquering. 



cession; after which it will be found advisable 
to begin again as at first. Mare's milk is the 
best for koumiss; then ass's milk. Cow's milk 
may be made more like them by adding a little 
sugar of milk (or even loaf sugar) with the hot 
water before fermenting. But perhaps the 
chief drawback to cow's milk is that the cream 
separates permanently, whereas that of mare's 
milk will remix. Hence use partially skimmed 
milk, for if there is much cream it only forms 
little lumps of butter, which are apt to clog the 
tap, or are left behind in the bottle. 

Kraft's Alloy. See Alloys. 

Kustitien's Metal. See Alloys. 

Kyanizing. See Wood, Preservation 
of. 

Labels for Bottles. See Bottles. 

Labels, Cements for. See Cements. 

Labels, Enamel for. See Enameling. 

Labels, Garden, to Preserve. See 
Wood, Preservation of. 

Labels, Paper, for Glass Bottles.-These 
will last as long as glass if they are covered 
with egg albumen, and then exposed to the ac- 
tion of steam until the albumen coagulates. If 
they are now dried in a temperature of 212° F., 
the albumen will become hard and clear, and 
oils or acids will not affect them. 

Labels, Glue for. See Glues. 

Labels, Insoluble.— Lay a coat of strained 
white of egg over the label, and immediately 
put the vessel in the upper portion of a com- 
mon steam pan, or otherwise expose it to a 
gentle heat till the albumen coagulates and 
turns opaque, and then take it out and dry it 
in an oven, at a heat of about212° F.; the opaque 
white film will then become hard and trans- 
parent, and resist the action of oils, spirits and 
water. (Chem., hi., 158.) The labels on bottles 
containing acids or alkaline solutions, should be 
either etched upon the glass by fluoric acid or 
be written with incorrodible ink. 

Labels, Paste for. See Pastes. 

Labels, Plant.— Common lead pencil on 
zinc labels are almost indelible and become 
more distinct with age.— Chloride of platinum 
solution, and better, sulphate of copper, may 
be used, and are perhaps somewhat more dis- 
tinct. 

Labels, Wooden, to Preserve.— 1. Thor- 
oughly soak labels in iron sulphate, then lay 
them, after they are dry, in lime water. 

2. The following method of preserving wood- 
en labels that are to be used on trees or in ex- 
posed places is recommended: Thoroughly soak 
the pieces of wood in a strong solution of sul- 
phate of iron; then lay them, after they are 
dry, in lime water. This causes the formation 
of sulphate of lime, a very insoluble salt, in 
the wood. The rapid destruction of the labels 
by the weather is thus prevented. Bast, mats, 
twine and other substances used in tying or 
covering up trees and plants, when treated in 
the same manner, are similarly preserved. At 
a recent meeting of a horticultural society in 
Berlin wooden labels, thus treated, were shown, 
. which had been constantly exposed to the 
* weather during two years without being af- 
fected thereby. 

Labels, Zinc, Garden.— For zinc plates, 
use with quill pens only. 1. Dissolve muriate of 
ammonia and crude sal ammoniac in strong 
vinegar. 2. For large labels, dip your pen in 
concentrated sulphuric acid, and write on the 
zinc, previously greased; a sharp point of cop- 
per wire is better than the pen; quench in 
water; wasn thoroughly from fluid when your 
writing is plain enough. 3. Dissolve about 
seventy-five cents' worth of chloride of pla- 
tinum in hot distilled water, adding a very few 
drops of aqua regia. The liquid should be of a 
pale amber color; enough for hundreds of labels. 



Labarraque's Solution.— 

Chloride of lime 2 oz. 

Carbonate of soda. . . 4 oz. 

Water. 40 oz. 

Mix the chloride of lime with 30 oz. of the 
water, and dissolve the carbonate of soda in 
the remainder. Mix, boil and filter. 

Lac, to Bleacb. See Bleaching. 

Laces, to Wash. See Cleansing. 

Lace, Gold, to Clean. See Cleansing. 

Lacto-Pepsin.— Milk sugar, 60 oz.; pepsin, 
12 oz.; pancreatine, 9 oz.; vegetable ptyalin 
(diastase), 6 drm.; lactic acid, 7Mj drm.; hydro- 
chloric acid, 7^i drm. Used for dyspepsia. 

Lactose Tonic, for Dispensing.— To 1 
gal. of sirup add from 2 to 3 oz. of sugar of 
milk. Flavor to taste. 

Lacquering.— The following receipts for 
lacquers are arranged as nearly as possible in 
alphabetical order: 

Lacquering Brass.— 1. Be sure there is no oil 
or grease on the brass ; do not touch the work 
with the fingers, hold it with spring tongs or a 
taper stick in some of the holes. 

2. Always handle with a piece of clean cloth. 

3. Heat the work so hot that the brush will 
smoke when applied, but avoid overheating, as 
it burns the lacquer. 

4. It is well to fasten a small wire across the 
lacquer cup, from side to side, to scrape any 
superfluous lacquer. The brush should have 
the ends of the hairs all exactly even. If not 
so, trim the ends with sharp scissors. 

5. Scrape the brush as dry as possible on the 
wire, making a flat, smooth point at the same 
time. 

6. Use the very tip of the brush to lacquer 
with, and carry a steady hand. 

7. Put on at least two coats. It is well (to 
make a very durable coat) to blaze off after each 
coat with a spirit lamp or Bunsen burner, 
taking care not to overheat and burn the 
lacquer. 

8. If the lacquer is too thick, it will look 
gummy on the work. If too thin, it will show 
prismatic colors. In the first case, add a little 
alcohol; in the latter, set the cup on the stove 
and evaporate some. 

9. A good deal of cheap work, like lamp burn- 
ers, is dipped. Use a bath of nitric and sul- 
phuric acids, equal parts, dip work, hung on 
wire, into acid for a moment, remove, rinse in 
cold water thoroughly, dip in hot water, re- 
move, put in alcohol, rinse around, then dip 
momentarily in lacquer, shaking vigorously on 
removing to throw off extra lacquer and lay on 
a warm metal plate till dry, let cool, and it is 
done. 

10. Avoid handling lacquered work until cold. 
Cleaning and Belacquering Brass Chandeliers. 

—You, of course, know everything depends 
upon having the brassworkfree from grease or < 
dirt. Unless you are very careful on this point 
you will never get the work a good color. Per- 
haps the better way for you to accomplish what 
you want will be to boil the brass parts in a 
strong solution of pear lash until apparently 
clean, then place them into a vessel containing 
a solution of aquafortis, about one of acid to 
three or four of water ; let them remain in this 
solution for an hour or so, afterward washing 
them well, and scouring, if necessary, with 
sand until every part is clean; then make up a 
solution of equal parts of nitric and sulphuric 
acids, and add to it about one-third part extra 
of nitric acid, having zinc dissolved in it in the 
proportion of about one zinc to three acid. When 
boiling dip the articles in until they have the 
color you require; twenty to thirty seconds 
will be ample. Then swill well in plenty of 
water, and place all the parts in fine sawdust 
until dry. When dry you can rub up with soft 
rags and a leather, and when just too hot to hold, 
lacquer the whole of the parts that will be at 



Lacquering. 



397 



Lacquering. 



all exposed. When going through the process 
above, take care not to handle any of the 
brasswork ; and above all, do all the work out 
of doors, or in a place with a large chimney, to 
take away any fumes of nitrous acid, which are 
most deleterious to the lungs.— W. J. Lancaster, 
in English Mechanic. 

To Relacquer Brass.— The English Mechanic 
gives the following receipt : Strong sulphuric 
acid, 2 parts ; water, lpart ; red fuming nitrous 
acid, 1 part. These must be mixed in the open 
air, as the gas evolved on mixing the nitrous 
acid with the vitriol and water is of a suffocat- 
ing character; this will pass off in the course of 
an hour or so, during which time the mixture 
may be occasionally stirred with a glass rod. 
The bright, gilded effect produced on the brass 
by this mixture is so good that any one trying 
it will not return to the use of nitric acid. The 
subsequent washing, drying and lacquering 
cannot be done too soon after the dipping, as 
the articles tarnish rapidly if kept unlacquered. 

Lacquering Instruments. — Clean the brass 
work of instruments by boiling in caustic soda 
water if convenient, otherwise soak in alcohol 
and wipe. For aluminum lacquer, dissolve 
bleached shellac in the best, or %% alcohol. 
Heat all work to about 212°F. before lacquering 
use a broad camel's hair brush, work quickly 
and place the work in a hot oven or over a 
spirit lamp for a few minutes, to glaze the sur- 
face of the lacquer. To deaden the gloss on in- 
strument work: Clean perfectly free from 
grease with soda water, rinse, and dip in a bath 
of nitric acid, 1 part; water, 4 parts; for from 
two to five seconds; rinse off the acid in hot 
water, dip again i'n hot soda water and in hot 
clean water to leave the surface perfectly free 
from acid. Dry in sawdust. Color lacquers 
Avith dragon's blood and saffron to the required 
depth. 

Lacquering Instrument.— Have your lacquer 
in jar, with wire across top; this is to squeeze 
on all surplus from brush; this must be rubbed 
clean now and then to keep from clogging. Do 
not make brasswork hot, but warm till the 
steam or sweat disappears. The rich color is 
got by putting on successive coats and warm- 
ing between each. Do not try to do this in one 
operation, and so lay it on too thick. Hold 
brush between finger and thumb of right hand, 
and apply lacquer by light feather strokes. 
Suitable holders should be made for round 
work, terminals, etc., whereby they can be 
twisted round between finger and thumb of 
left hand. If you make work too hot, lacquer 
will turn brown and have to be washed off; this 
can be done with spirit, or work left in strong 
solution of soda overnight. Brushes should be 
of soft camel hair, flat, and trimmed on a 
board with sharp knife to a thin, straight edge. 
A good brush is half the battle. If these get 
hard, press on hot iron plate, and then dip in 
lacquer, when they will be in nice working 
order. 

Materials for Lacquering. — 

The lacquer = shellac 4- alcohol. 
Other substances f Turpentine, spirits of. 
J " varnish. 

A 1 Mastic varnish. 

I Canada balsam. 

B Pyro-acetic ether. 

f Dragon's blood. 

C =red -j Annatto. 

L Red sanders. 
f Turmeric. 
I Gamboge. 
D = yellow ....-{ Saffron. 
Sandarac. 
t Cape aloes. 

Lacquer, Directions for Making.— Mix the in- 
gredients and let the vessel containing them 
stand in the sun, or in a place slightly warmed, 
three or four days, shaking it frequently till 
the gum is dissolved, after which let it settle 
from twenty-four to forty-eight hours, when 



the clear liquid may be poured off for use. 
Pulverized glass is sometimes used in making 
lacquer, to carry down the impurities. 

Amber and Elemi Lacquer.— Amber, 4 parts; 
elemi, 1 part; Venice turpentine, 1 part; oil of 
turpentine, 12 parts. This makes a very beau- 
tiful and lasting lacquer. 

Lacquer, Bookbinders.— 1. Dissolve on a water 
bath 180 parts of shellac, 1 part of camphor, 1 
part loaf sugar in 1,500 parts of alcohol of 66$. 
Filter through blotting paper, distill off }4 the 
alcohol, add while warm a very little oil of 
cinnamon or oil of cloves. 

2. Parisian Bookbinders' Lacquer.— Shellac, 
180 parts; camphor, 1 part; loaf sugar, 1 part; 
alcohol of 66$, 1,500 parts. Filter the solution. 
Distill off Y% the alcohol. Add a trace of oil of 
almonds. 

Lacquers for Brass.— 1. Seed lac, dragon's 
blood, annatto, and gamboge, each 4 oz.; saf- 
fron, 1 oz.; alcohol, 10 pt. 

2. Turmeric, 1 lb.; annatto, 2 oz.; shellac and 
gnm juniper, each 12 oz.; alcohol, 12 oz. 

3. Seed lac, 6 oz.; dragon's blood, 40 grn.; am- 
ber and copal triturated in a mortar, 2 oz.; ex- 
tract of red sanders, }£ drm.; Oriental saffron, 
36 grn.; coarsely powdered glass, 4 oz.; absolute 
alcohol, 40 oz. Very fine. 

4. Seed lac, 3 oz.; amber and gamboge, each 2 
oz.; extract of red sanders, $& drm.; dragon's 
biood, 1 drm.; saffron, % drm.; alcohol, 2 pt. 
4 oz. 

5. Turmeric, 6 drm.; saffron, 15 grn.; hot alco- 
hol, 1 pt.; draw the tincture and add: Gamboge, 
6 drm.; gum sandarac and gum elemi, each 2 oz.; 
dragon's blood and seed lac, each 1 oz. 

6. Alcohol, 1 pt.; turmeric, 1 oz.; annatto and 
saffron, 2 drm. each. Agitate frequently for a 
week, filter into a clean bottle, and add seed 
lac, 3 oz. Let stand, with occasional agitation, 
for about 2 weeks. 

7. Gamboge, }4 oz.; aloes, 1% oz.; shellac, fine, 
8 oz.; alcohol, 1 gal. — Sci. Am. 

8. Put 3 oz. seed lac, 2 drm. dragon's blood, 
and 1 oz. turmeric powder into 1 pt. alcohol. 
Let the whole remain for 14 days; but during 
that time agitate the bottle once a day at least. 
When properly combined, strain the liquid 
through muslin, when it is ready for use. 

9. To 5 oz. alcohol add gamboge enough to 
give a bright yellow color, and 3 oz. seed lac in 
fine powder. Put in sand bath till dissolved. 

10. Ground turmeric, as sold, 1 oz.; saffron and 
Spanish annatto, each 2 drm.; highly rectified 
alcohol, 1 pt. Place them in a moderate heat, 
shaking occasionally for several days; then 
add 3 oz. good seed lac, roughly powdered; 
shake occasionally until the lac is dissolved. If 
a deep orange lacquer is required, increase the 
quantity of annatto; if a bright yellow, de- 
crease it. Lay it on with a brush (warm), like 
you would paint. One or more coats, if nec- 
essary. Avoid using too much seed lac, as it 
has a tendency to prevent the lacquer lying 
evenly. 

11. Pale gold lacquer is best for microscope; 
be sure and get the best quality and see that 
the things are sufficiently hot before put- 
ting on the lacquer; heat after lacquering, and 
it will stand well. Damp will affect the best 
lacquering. 

12. 3 is the best for optical work. If it comes 
off, either the metal was not clean when ap- 
plied or else it was put on cold. The metal 
should be heated to just such a point that it 
dries as fast as the brush passes over it. Work 
is often spoiled in lacquering. Circular things 
may be done in the lathe, going quite slow, and 
working a good body by going over several 
times. 

13. In preparing brass for the colorless or 
nearly colorless lacquer, the goods, after being 
annealed, pickled, scoured and washed, are 
either dipped for an instant in pure commer- 
cial nitric acid, washed in clear water, and 
dried in sawdust, or immersed in a mixture of 
1 part of nitric acid with 4 parts of water, till a 



Lacquering. 



Lacquering. 



white curd covers the surface, at which 
moment the goods are withdrawn, washed in 
clear water and dried in sawdust. In the first 
case,the brass will be bright; in the latter, a dead 
flat, which is usually relieved by burnishing the 
prominent parts. Then the goods are dipped 
for an instant in commercial nitric acid, and 
well washed in water containing argol, to pre- 
serve the color till lacquered, and dried in 
warm sawdust. So prepared, the goods are 
heated on a plate and varnished. The varnish 
used is one of spirit, consisting, in its simple 
form, of 1 oz. shellac dissolved in 1 pt. alcohol. 
To this simple varnish are added such coloring 
substances as red sanders, dragon's blood and 
annatto, for imparting richness of color. To 
lower the tone of color, turmeric, gamboge, 
saffron, Cape aloes, and sandarac are used. 
The first group reddens, the second yellows the 
varnish; while a mixture of the two gives a 
pleasing orange, and various tints can be got 
by suitable mixtures. 



dragon's blood and turmeric to produce the de- 
sired color. 

2. For ornaments bronzed with gold colored 
bronze, paint the articles, of cast iron, with 
white paint, which is white lead and oil; when 
hard dry, varnish with copal varnish; when 
sticky dry, dust the bronze powder over it; and 
when hard dry, brush off all the superfluous 
bronze with a earners hair brush. To protect 
it from the dust and from soiling, coat the 
bronze surface, when thoroughly dry, with 
spirit copal varnish. 

Chinese Lacquer Work. — Chinese lacquer 
work is done over tin foil, and consists of a 
mixture of 2 parts of copal, and 1 part of shel- 
lac, melted together. When fluid, there are 
added 2 parts of boiled linseed oil; and, after 
the vessel containing this mixture has been 
taken from the fire, there are gradually added 
10 parts of oil of turpentine. If color is re- 
quired, gum guttae (or gamboge), dissolved in 
oil of turpentine, yields yellow; and dragon's 



















Table oi 


Lacquers 


• 










o 

© 
02 

oz. 
4 
1 
1 
1 
1 
2 
2 
5 

3 
3 
1 

3 
3 
3 


6 ■ 

dr. 
t 


a 

o3 
w 

'cS 

w 

o3 

'S 

o3 

o 
dr. 

'(" 

•r • 


Solutions. 


Reds. 


Yellows. 






o 

O 

o 

< 
pt. 

1 
1 
1 
1 

2 
2 
1 
3 

1 
4 
1 
1 

1 
1 


© 
,d 

H 
.2 

© 
o 

i - 
O 
H 

>> 
Ph 

OZ. 


© 

d 

'■& 

© 

ft 
u 
d 
H 

«H 

o 
ft 

OQ 

dr. 


■d , 

03 ' 

'8 

u 
o3 

> 
© 
d 

•|H 
PI 

© 
ft 
u 

2 

OZ. 


© 

d 
a* 
© 

o3 
© 

Ph 

© 

ft 

a 

02 
P t. 


o 
o 

w 

d 
o 

be 
03 
Fh 

P 

dr. 


p 

+3 

c3 

d 
d 

< 
dr. 


w 

u 
© 

■a 

a 
a 

gr. 


6 
© 

a 

3 

H 
dr. 


© 


a 

03 

dr. 


d 


m 

03 
02 

dr. 


© 


© 
ft 

03 
O 

dr. 


© 

03 
03 

d 

03 
02 

dr. 




No. 

1 


Strong simple. 


2 


















Simple pale. 


3 


















1 

a 

16 

"2 

5 

6 


"i 


.3. 

'4 


*8 
8 


Fine pale. 


4 
















1 
32 


Fine pale. 


5 

6 










1 
1 


1 

8 


— 


Fine pale. 
Pale gold. 


7 










Pale yellow. 


■ 8 


30 
















Pale yellow— (Ross's.) 


9 
10 






1 




1 

2 


.... 


4 
16 
64 
20 
16 

1 
10 


2 


'2 


14 
5 


Full yellow, 
Gold. 


11 
12 






p 






Gold- 
Gold. 


13 




30 




1 


4 
4 

40 
8 
8 

20 






Deep gold. 


14 


'32' 

24 


12 


Deep gold. 


15 
16 




— 


... 


'27' 


Deep gold. 
Red. 


17 


1 
15 












1 


Red. 


18 


30 


30 


6 








60 
4 


"l 


10 




Tin lacquer. 


19 


"T" 




1 




.... 


Green, for bronze. 



The union of red with yellow produces a fine orange color, dr. = drachm ; gr. = grain. 



Lacquer, for Dipped Brass.— Alcohol, proof 
specific gravity not less than ninety-five one- 
hundredth s, 2 gal.; seed lac, 1 lb.; gum copal, 
1 oz.; English saffron, 1 oz.; annatto, 1 oz. 

Lacquer, Gold Colored, for Brass not Dip- 
ped.— Alcohol, 4 gal.; turmeric, 3 lb.; gamboge, 
3oz.; gum sandarac, 71b.; shellac, 1)4 lb.; tur- 
pentine varnish, 1 pt. 

Lacquer, for Bronzed Brass.— To 1 pt. of the 
above lacquer, add gamboge, 1 oz.; and after 
mixing it, add an equal quantity of the first 
lacquer. 

Lacquer, Gold Colored for Dipped Brass.— 
Alcohol, 36 oz.; seed lac, 6 oz.; amber, 2 oz.; gum 
gutta, 2 oz.; red sandal wood, 24 grn.; dragon's 
blood, 60 grn.; Oriental saffron, 36 grn.; pul- 
verized glass, 4 oz. 

Bronze Lacquers.— 1. To make a bronze lac- 
quer, dissolve % lb. shellac and J^ lb. sandarac 
in 3 qt. alcohol, and add enough extract of 



blood, dissolved in the same liquid, yields 
red. 

Colorless Lacquer.— For a colorless lacquer dis- 
solve bleached shellac in pure alcohol, settle 
and decant. Make the lacquer very thin. The 
usual lacquer for brass is made with ordinary 
shellac and alcohol made very thin, settled and 
decanted. 

2. Mastic, 5 parts ; amber, 5 parts ; sandarac, 
10 parts; shellac, 10 part£; alcohol, 100 parts. 

Color for Lacquer.— Alcohol 1 pt.; annatto 2 oz. 

Combmakers' 1 Lacquer.— Flemi and mastic, 1 
part of each; shellac, 5 parts; strong alcohol, 
20 parts. 

Copper Plates, Lacquer for.— Camphor and 
mastic, 6 parts of each; sandarac and shellac 
(bleached), 15 parts of each, strong alcohol, 200 
to 250 parts. 

Lacquer for Copper.— Mastic, 8 parts: cam- 
phor, 6 parts; sandarac, 15 parts; shellac 
(bleached), 15 parts; alcohol, 40 parts. 



Lacquering. 



299 



Lacquering. 



Lacquer of Drawings.— Dammar, 45 parts, 
dissolved in 270 parts of acetone; mix 60 parts 
of this solution with 45 parts of thickly fluid 
collodion. 

Lacquer, Elastic— Thirty parts of lime slaked 
with 40 parts of water. Add while the lime is 
warm, 100 parts melted unvulcanized rubber. 
The lacquer is in form of a paste when cold. 
Apply it warm. 

Floors, Lacquer for. — Rosin, 2 parts; red shel- 
lac, 4 parts; Venice turpentine, 1 part; strong 
alcohol, 20 parts. 

Glossy Lacquer.— This is a popular and very* 
useful lacquer: amber, 1 part; copal, 2 parts; 
seed lac, 3 parts; mastic, 3 parts ; sandarac, 3 
parts; shellac, 5 parts; Venice turpentine, 2 
parts; strong- alcohol, 50 parts. 

Gold Lacquers. — 1. Pale lac in grains, gamboge, 
dragon's blood, and annatto, each 12Hj oz.; saf- 
fron, 334 oz. Each gum is dissolved separately 
in 5 pt. alcohol, and the annatto and saffron 
are separately infused in a like quantity of al- 
cohol. The ingredients are mixed to form any 
particular tint desired. Turmeric (ground), 1 
lb.; alcohol, 2 gal.; macerate for one week, 
strain by expression, and add gamboge, iy± oz.; 
pale shellac, M lb.; gum sandarac, 3J^ lb. 
Strain, and add turpentine varnish, 1 qt. Other 
lacquers are prepared in a similar way from 
alcohol and shellac, a solution of the coloring 
ingredients, as dragon's blood, gamboge etc., 
being kept on hand, and added to produce any 
requierd tint. 

2. Two parts seed lac, 4 parts sandarac, 4 
parts elemi, 40 parts alcohol. Alcoholic solu- 
tion of gamboge and dragon's blood, or fuch- 
sin, picric acid, Martin's yellow, and coralline, 
are separately prepared, and added to the above 
in quantities ascertained by trial to impart the 
desired color. To remove the marks left by 
the brush, and to impart luster, the varnish, 
after drying, is polished. This is effected by 
first rubbing with powdered pumice and water, 
and next with an oiled rag and tripoli, until 
the desired polish is produced; the surface is 
afterward dried with a soft linen cloth; any 
greasiness is removed by means of powdered 
starch, and the process is finished by rubbing 
with the hand. Great care must be taken that 
the surface to which varnish is applied be free 
from grease or smoke, which prevents all oil 
varnish from drying. 

3. Turmeric, 1 drm.; gamboge, 1 drm.; oil of 
turpentine, 2 pt.; shellac, 5 oz.; gum sandarac, 
5oz.; dragon's blood, 7 drm.; thin mastic var- 
nish, 8 oz. Digest with occasional agitation for 
fourteen days in a warm place, then set aside 
to fine, and pour off the clear. 

4. Dissolve gum lac in 90$ alcohol. 

5. One lb. ground turmeric, 1% oz. ground 
gamboge, 3 lb. ground gum sandarac, 1 lb. 
ground shellac (bleached), 2 gal. alcohol, 3 pt. 
turpentine varnish. Put the whole in a suitable 
vessel, cork ciose, and agitate until dissolved. 

6. One gal. methylated spirits of wine, 10 oz. 
. seedlac, bruised, and y% oz. red sanders; dissolve 

and strain. 

7. A gold lac, remarkable for its great hard- 
ness and beautiful color, on being analyzed by 
Dr. R. Kayser, at Nuremberg, gave as its constit- 
uents picric acid and boracic acid. Thereupon a 
clear shellac solution was mixed with picric 
acid and about y%% crystallized boracic acid, each 
being previously dissolved in alcohol, and the 
resulting lac possessed all the advantages of 
the former one. 

Green Lacquer.— Turmeric, 18 oz.; shellac, 15 
oz.; gum sandarac, 1 oz. ; gum, elemi, 3 oz.; 
gamboge, 3 oz.; methylated spirits, 8 gal.; ex- 
pose to gentle heat. After straining, add 1% 
gal. spirit to the sediment, and treat as before. 

Harness Lacquer.— Dissolve 8 parts shellac, 20 
parts sandarac, and 10 parts mastic in 1,000 
parts alcohol. 

High Colored Lacquer.— 2 qt. spirits of wine, 
2J4 oz. shellac, 2 oz. gum sandarac, ]4 oz. gum 



elemi; mix and keep gently warmed for two or 
three days; strain, color with dragon's bleod to 
taste, and thin with 1 qt. 90$ alcohol. 

Iron, Lacquer for.—l. Asphaltum, 10 parts: 
resin, 3 parts; lampblack, 1 part; petroleum, 25 
parts. 

2. Twelve parts amber, 12 parts turpentine, 2 
parts resin, 2 parts asphaltum, 6 parts drying 
oil. 

3. Three lb. asphaltum, ^ lb. shellac, 1 gal. 
turpentine. 

Lacquer for Bright Iron Work.— Litharge, 434 
parts; boiled linseed oil, 64J4 parts; white lead 
in oil, 9 parts; pulverized resin, 21 parts. Add 
the litharge to the oil, and let it simmer for 
about three hours over a moderate fire; strain, 
and add the resin and white lead. Let it remain 
at a gentle heat until the resin is dissolved. 

Linseed Oil and Caoutchouc Lacquer.— Six lb. 
of caoutchouc is swelled in 3 lb. ether and ren- 
dered fluid by heating; 3 lb. linseed oil and 3 lb. 
oil of turpentine are then added ; these oils 
must be warm when added. 

Matt Lacquer. — This is sometimes called mat- 
tolein. Dissolve 30 parts of sandarac and 7 
parts of mastic in 320 parts of ether, and add 
100 to 200 parts benzine. The more added the 
coarser will be the grain. 

Sheet Metal, Lacquer for.— Asphaltum, 5 parts; 
colophony, 3 parts; oil of turpentine varnish 
(see varnishes), 10 parts; oil of turpentine, 14 
parts. 

Metallic Surfaces, Lacquering. — Following are 
miscellaneous recipes for lacquering metallic 
surfaces of all kinds : 

For gold: 1 gal. alcohol, y>, lb. turmeric; mace- 
rate for a week, then filter and add 2 oz. gam- 
boge, 6 oz. shellac, 1% lb. gum sandarac; dis- 
solve in warm bath and add 1 qt. common tur- 
pentine varnish. For red lacquer use m lb. 
annatto instead of the turmeric and 8 oz. drag- 
on's blood instead of the gamboge. 

2. Pale: Alcohol, 8 oz.; turmeric, 4 drm.; 
dragon's blood, 4 scr. ; red sanders, 1 scr.; hay 
saffron, 2 scr.; shellac, 1 oz.; gum sandarac, 2 
drm.; gum mastic, 2 drm.; Canada balsam, 2 
drm.; dissolve and add 1J4 drm. of spirits of 
turpentine. 

3. The following is an excellent lacquer for 
brass: Seed lac, 12 oz.; copal, 4 oz.; dragon's 
blood, 80 grn.; extract of red sanders wood, 50 
grn.; saffron, 70 grn.; pounded glass, y% lb.; 
alcohol, 2 qt. This is very durable. 

4. Pale: One gal. methylated alcohol, 5 oz. 
shellac, 4 oz. gum sandarac, and 1 oz. gum 
elemi; mix in a tin flask and expose to a gentle 
heat for a day or two; then strain off and add 
y^ gal. spirit to the sediment and treat as be- 
fore. 

5. Pale gold : One gal. methylated alcohol, 
10 oz. seed lac bruised, and y% oz. red sanders; 
dissolve and strain. 

6. A paste is made of finely pulverized quartz, 
carbonate of potash (or oxide of lead) and 
water, according to the color required. A 
thin coat of this is applied with a brush to the 
object, which is then placed in a muffle and 
heated to 1,495° F. (811° C). The articles emerge 
covered with a sort of polished glass which re- 
sists blows, and which does not split nor scale 
off, while it serves perfectly to protect the 
metal against oxidation. 

7. Petroleum essence, 1 lb.; boiled linseed oil, 
J4 lb.; to be mixed cold. Metallic plates pre- 
pared for lithography, etc., are brushed over 
with this varnish (applied cold); when dried by 
heating it has a golden yellow tint.— Bui. Soc. 
Chim. 

8. Green Varnish for Metals.— Finely pulver- 
ized gum sandarac or mastic (the latter, how- 
ever, is too expensive for some uses), is dis- 
solved in strong potash lye until it will dissolve 
no more. The solution is diluted with water, 
and precipitated with a solution of a copper 
salt, either sulphate or acetate. This green 
precipitate is washed, dried and dissolved in oil 
of turpentine, producing a line green varnislx 



Lacquering, 



300 



Lacquering. 



which does not change under the effect of light, 
and will be especially useful for ornamental 
iron work. — Industrie Blatter. 

9. Green Transparent Varnish.— Grind a small 
quantity of Chinese blue with double the quan- 
tity of finely powdered chromate of potash (it 
requires most elaborate grinding); add a suffi- 
cient quantity of copal varnish thinned with 
turpentine. The tone may be altered by more 
or less of one or the other ingredients. 

10. Green Bronze Liquid. — One qt. strong vine- 
gar, J^ oz. mineral green, J*£ oz. raw umber, y% 
oz. sal ammoniac, ^ oz. gum arabic, 2 oz. French 
berries, )4, o z - copperas; dissolve the whole in a 
pipkin over a gentle fire, allow to cool and then 
filter. 

11. Green Lacquer.— Mix 5 oz. shellac, 6 oz. 
tnrmeric, 4 oz. gum sandarac and 1 oz. each 
gum elemi and gum gamboge in 1 gal. methy- 
lated spirits; expose to gentle heat, strain, add 
^ gal. spirit to the sediment and treat as be- 
fore. 

12. Gold Colored Lacquer for Brass "Watch 
Cases, etc.— 6 oz seed lac, 2 oz. amber, 2 oz. gam- 
boge, 24 grn. extract of red sanders wood in 
water, 60 grn. dragon's blood, 36 grn. oriental 
saffron, 4 oz. powdered glass, 36 oz. pure alco- 
hol. The seed lac, amber, gamboge and dragon's 
blood must be pounded very fine on porphyry 
or clean marble and mixed with the pounded 
glass. Over this mixture is poured the tinct- 
ure formed by infusing the saffron and the 
.sanders wood extract in the alcohol for 24 
hours, then straining. Metallic articles that 
are to be covered with this varnish are heated, 
and, if they admit of it, immersed in packets. 

13. For philosophical instruments: 1% oz. 
gamboge, 4 oz. sandarac, 4 oz. elemi, 2 oz. best 
dragon's blood, 13^ oz. terra merita [terra mer- 
ita is the root of an Indian plant; it is of a red 
color and much used in dyeing; in varnishing 
it is only employed in the form of a tinct- 
ure, and is particuarly well adapted for the 
mixture of those coloring parts which con- 
tribute tne most toward giving- metals the 
color of gold; in choosing it, be careful to 
observe that it is sound and compact], 
-4 grn. oriental saffron, 2 oz. seed lac, 6 oz. 
pounded glass, 40 oz. pure alcohol. The drag- 
on's blood, gum elemi, seed lac and gamboge 
■are all pounded and mixed with the glass. Over 
them is poured the tincture obtained by infus- 
ing the saffron and terra merita in the alcohol 
for 24 hours. This tincture, before being poured 
•over the dragon's blood, etc., should be strained 
through a piece of clean linen cloth and 
strongly squeezed, if the dragon's blood gives 
too high a color, the quantity may be les- 
sened, according to circumstances. The same 
is the case with the other coloring matters. 
This lacquer has a very good effect when ap- 
plied to many cast or moulded articles used in 
ornamenting furniture. 

Pale Lacquer. — 1 gal. of methylated alcohol 
■5 oz. of shellac, 4 oz. of gum sandarac and 
1 oz. of gum elemi; mix in a tin flask and expose 
to a gentle heat for a day or two, then strain 
off and add Yq gallon of spirit to the sediment 
and treat as before. 

Philosophical Instruments, Lacquer for.— Take 
% oz. of gum guttas (or gamboge), 2 oz. of gum 
sandarac, 2 oz. of gum elemi, 1 oz. of dragon's 
blood, 1 oz. of seed lac, 2 grn. of oriental saffron, 
and 20 oz. of pure alcohol. The tincture of saf- 
fron is obtained by infusing in alcohol for 
twenty-four hours or exposing to the heat of 
the sun in summer. The tincture must be 
strained through a piece of clean linen cloth 
and ought to be strongly squeezed. This tinc- 
ture is poured over the dragon's blood, the gum 
■elemi, the seed lac and the gum guttae, all 
pounded 

Photographs, Lacquer for.— Dissolve 1 oz. of 
•dammar in 6 oz. of acetone. Apply several times. 

Resin, Lacquer. — Asphaltum, 1 part; rosin, 4 
parts; oil of turpentine, 2 parts: linseed oil var- 
nish, 3 parts. 



Spirit Lacquer, for Lacquering Wax Tapers- 
Mastic, 40 parts; sandarac, 400 parts. Place 
these articles in a fine sieve and suspend the 
sieve in a vessel containing 960 parts of alcohol 
of 96$, so that the resins will be just covered 
with the alcohol. When the resins are dis- 
solved, which will be in about twenty-four 
hours, filter. 

Leather, Black Lacquer /or.^Bed shellac, 6 
parts; J part each of Venice turpentine, castor 
oil and sandarac, 30 parts strong alcohol and 1 
part of nigrosine. 

Leather, Cheap Lacquer for.— Twenty-three 
parts of black pitch are made into a solution 
with the aid of 69 parts of benzole and 8 parts 
of turpentine are added 

Terra Cotta, Lacquer for.— Mastic, 1 part; 
shellac, 10 parts; Venice turpentine, 3 parts; 
20 parts strong alcohol. 

Lacquer, Pale Tin.— Strongest alcohol, 4 oz.; 
powdered turmeric, 2 drm.; hay saffron, 1 
scruple; dragon's blood, in powder, 2 scruples; 
red sanders, Yz scruple. Infuse this mixture 
in the cold for forty-eight hours, pour off the 
clear and strain the rest; then add powdered 
shellac, }4 oz.; sandarac, ldrm.; mastic, 1 drm.; 
Canada balsam, 1 drm. Dissolve this in the 
cold by frequent agitation, laying the bottle on 
its side to present a greater surface to the 
alcohol. When dissolved add 40 drops of spirit 
of turpentine. — Science Record, 187k. 

Gold Lacquer for Tin Plate.— Clean the tin 
plate carefully and apply the following mix- 
ture with a brush : Dark copal lacquer, 3 parts; 
linseed oil, 1J4 parts. Dry the plates. The lac- 
quer will not crack or lose its luster if the tin 
plates are bent or hammered. 

Tin Plate, Lacquer f or. — 1. Alcohol, 12 oz.; tur- 
meric, 6 drm.; saffron, 3 scruples; sandarac, 3 
drm.; Canada balsam, 3 drm.; mastic, 3 drm. 
When dissolved, add oil of turpentine, 120 
minims. 

2. Alcohol, 1 qt.; shellac, 4 oz.; red sanders, 1 
oz.; turmeric, 2 oz. Shake frequently for 
twenty-four hours, and bottle. Various colors 
can be given to the lacquer by adding Prussian 
blue, lakes, etc. 

3. Use as a body shellac or gum sandarac var- 
nish. To make it adhere, add to it y% part 
boracic acid to 1,000 parts lacquer. Color with 
suitable pigments, such as gamboge, Prussian 
blue or carmine. Aniline colors may be used, 
but tend to fade. Excellent results may be at- 
tained by adding a little castor oil, which makes 
the lacquer much tougher. 

4. Red, for Tinware.— Put 3 oz. seed lac and 2 
drm. aniline, color of shade to suit, into 1 pt. 
well rectified spirits. Let the whole remain 
for fourteen days, but during that time agitate 
the bottle once a day at least. When properly 
combined, strain the liquid through muslin. 

Lacquer for Steel.— Pure mastic, 8 parts ; cam- 
phor, 4 parts; sandarac, 12 parts; elemi, 4 parts. 
Dissolve in pure alcohol; filter. Use the lac- 
quer cold. It will be clear and transparent 
when dry. 

^Lacquer for Tinfoil.— Alcohol, lj^qt.; shellac, 
10J^> oz. Dissolve the shellac in the alcohol and 
filter. Prevent the evaporation of the alcohol 
as much as possible. Add to this shellac var- 
nish, 5J4 oz. best white gum elemi and 21 drm. 
Venetian turpentine. Let this mixture stand 
in a warm place; stir it frequently. Filter; 
press out the remainder, and add to the filtrate. 
This varnish may be colored if desired. 

Tools, Lacquer for. — The* tools must be cleaned 
and polished so as to be absolutely free from 
grease. They are next slightly warmed and 
varnished with a solution of seed lac or shellac 
in alcohol. The success of the operation de- 
pends on the clearness of the surface. A finger 
touch before varnishing will affect the finish. 

Tamer's Lacquer.— Gum elemi, 4 parts; shel- 
lac (bleached), 20 parts; Venice turpentine, 4 
parts; strong alcohol, 60 parts. 

A Universal Lacquer which is equally good 
for paper, metal, wood, glass, etc., and which 



Lactate. 



301 



Lard. 



admits of being colored with any aniline dye 
soluble in alcohol, is, according to Del und Fett 
Industrie, prepared as follows : Bleached shel- 
lac, 60 grn.; manila copal (freshly powdered), 60 
grn.; and gum mastic, 60 grn., is mixed with 1 
kg. alcohol of 93 to 95#, a small quantity of 
coarsely powdered glass added, and the whole 
left to stand for eight to fourteen days, fre- 
quently shaking; 1 grn. boracic acid is then 
added, and the mixture filtered. 

Wall Paper, Lacquer for.— Equal parts of 
borax and shellac are dissolved in ten times 
their weight of alcohol ; strain, and give two 
coats. For a very light colored paper use 
sandarac instead of shellac. Paper treated 
with this lacquer can be washed with water, 
and even with soap, if necessary. 

Wax Lacquer.— White wax, 2 parts; benzol, 3 
parts. 

Wood, Lacquer for.— Five parts each of mas- 
tic, sandarac, elemi, seed lac and bone black; 
10 parts of shellac; dissolve in 100 parts of al- 
cohol. 

Zapon — This is manufactured at Short Hills, 
N. J. This splendid lacquer is probably a solu- 
tion of celluloid in amyl acetate and aceton 
(proportions unknown). It can be bent with- 
out breaking. It can be washed and affords a 
perfect protection to the metal. It should be 
procured of the maker. J. Car butt, of Wayne 
Junction, Pa., furnishes a varnish called Roxy- 
line, which is also very useful in metal work- 
ing, though intended especially for photo- 
graphic use. It is probably a solution of cellu- 
loid in fusel oil. 

Zinc, Lacquer for.— A good lacquer consists 
of alcohol, 8 oz.; gamboge, 1 oz.; shellac, 3oz.; 
annatto, 1 oz.; solution of 3 oz. of seed lac in 1 
pt. alcohol. When dissolved, add J4 oz. Venice 
turpentine and J4 oz. dragon's blood to make it 
dark. Keep in warm place for four or five 
days. 

Lactate.— A salt of lactic acid. A lactate 
yields large quantities of carbonic oxide gas. 

Ladies' Own.— Alcohol, 90$, 2 qt.; otto 
of roses 10 drops; essence of thyme, J4 oz.; 
essence of neroli, Yg oz.; essence vanilla, J4 oz.; 
essence of bergamot, % oz.; orange flower 
water, 3 oz. 

Lagging;, for Steam Pipes.— Impure or 
second grade paper pulp mixed with Fuller's 
earth makes an excellent lagging for steam 
pipes. See Boiler Covering. 

Lake.— Animal or vegetable coloring mat- 
ter, precipitated in combination with oxide of 
tin or alumina, usually the latter. The term 
was formerly restricted to red preparations of 
this kind, but is now. indiscriminately applied 
to all compounds of alumina and coloring mat- 
ter. Lakes are made— 

1. By adding a solution of alum, either alone 
or saturated with potash, to an infusion or de- 
coction of the coloring substance, and after 
agitation precipitating the mixture with a solu- 
tion of carbonate of potash. 

2. By precipitating a decoction or infusion 
of the coloring substance made with a weak al- 
kaline lye, by adding a solution of alum. 

3. By agitating recently precipitated alumina 
with a solution of the coloring matter until the 
liquid becomes nearly decolored, or the alumina 
acquires a sufficiently dark tint.— Cooley. 

Lakes. See Pigments. 

Lamp Bulbs, Ineandescent, to Tint. 
—The following is due to Mr. Arthur S. Huey, 
of Minneapolis : 

1. Prepare the glass by thoroughly washing 
in soap and water and drying. Then dip in 
bath, made by beating up the whites of two 
eggs in V/% lb. or pt. of water and filtering, and 
hang up to dry. Dissolve the aniline color in 
photographer's common collodion. 

2. Red or blue aniline will form clear solu- 
tions, while the green solution will require 
filtering. 



3. Yellow aniline forms a handsome color, but 
the surface of the glass presents a frosted ap- 
pearance after the application. 

4. Violet and purple colors may be obtained 
by combining red and blue in different quanti- 
ties. When the solution is ready, dip the pre- 
pared glass bulbs therein, hang up to dry, and 
finally pass a current through the bulb for half 
an hour, that the heat thus generated may har- 
den the coating of the collodion, or place in a 
current of air. 

5. The preparation can easily be removed with 
alcohol or sulphuric ether, but is not affected 
by water. Experience has shown that the best 
results are obtained by not using too much ani- 
line. Make the color light rather than deep, 
and apply two or three coats. 

Lamps. — The Management of Petroleum- 
Lamps.— la view of the numerous fatal and 
other accidents caused by petroleum lamps, the 
Metropolitan Board of Works, London, Eng- 
land, have issued the following suggestions as 
to the construction and management of such 
lamps, which are founded on recommendations 
made by Sir Frederick Abel and Mr. Boverton 
Redwood, chemist of the Petroleum Associa- 
tion, after investigating the causes of lamp 
accidents : 

1. That portion of the wick which is in the oil 
reservoir should be inclosed in a tube of thin 
sheet metal, open at the bottom, or in a cylin- 
der of fine wire gauze, such as is used in miners' 
safety lamps (28 meshes to 1 in.). 

2. The oil reservoir should be of metal, rather 
than of china or glass. 

3. The oil reservoir should have no feeding 
place nor opening other than the opening into 
which the upper part of the lamp is screwed. 

4. Every lamp should have a proper extin- 
guishing apparatus. 

5. Every lamp should have a broad and heav T v 
base. 

6. Wicks should be soft and not tightly 
plaited. 

7. Wicks should be dried at the fire before 
being put into lamps. 

8. Wicks should be only just long enough to 
reach the bottom of *he oil reservoir. 

9. Wicks should be so wide that they quite fill 
the wickholder without having to be squeezed 
into it. 

10. Wicks should be soaked with oil before 
being lit. 

11. The reservoir should be quite filled with 
oil every time before using the lamp. 

12. The lamp should be kept thoroughly clean, 
all oil should be carefully wiped off, and all 
charred wick and dirt removed before lighting. 

13. When the lamp is lit, the wick should be 
at first turned down, and then slowly raised. 

14. Lamps which have no extinguishing ap- 
paratus should be put out as follows : The wick 
should be turned down until there is only a 
small flickering flame, and a sharp puff of 
breath should then be sent across the top of the 
chimney, but not down it. 

15. Cans or bottles used for oil should be free 
from water and dirt, and should be kept thor- 
oughly closed. 

The suggestions apply to ordinary mineral oil 
lamps, such as are generally used, and not to 
benzoline or spirit lamps. 

Lances. See Pyroteclmy. 

Lantern Slides. See Photography. 

Laps, to Charge with Diamond 
Dust.— Mix the diamond dust with good olive 
oil or lard oil, with one-quarter best kerosene 
oil added to thin and make it spread freely. 
Use a small iron wire flattened a little at the 
end like a spatula; dip in the diamond dust, and 
hold against the edge of the wheel. It requires 
very little to do the work. 

Lard. — Lard, to Prepare. — In preparing 
lard for the market, it should first be cut into 
pieces about the size of a walnut, and these 



Lard. 



302 



Leather. 



should be allowed to stand in water for half an 
hour. Then work the material with the hands 
in five or six successive portions of water. 
Next pour off the water, melt the lard in a 
water bath, and strain through fine linen. In 
the first straining, it will be impossible to get 
rid of all the water ; so that after cooling and 
draining, it will be necessary to remelt the lard 
and finally to filter it through paper in a warm 
closet. 

Lard, to Keep Sweet.— Even during the warm- 
est weather lard can be kept sweet by the fol- 
lowing plan: When rendering (melting) it, 
throw into each kettle a handful of fresh slip- 
pery elm bark. No further preparation is 
necessary. No salt must be added to it at any 
time. The jars in which the lard is to be kept 
must be thoroughly cleansed. 

Lard, Making.— 1. Cut the fat up into pieces 
2 in. square; fill a vessel holding about 3 gal. 
with the pieces; put in a pint of boiled lye, 
made from oak and hickory ashes, and strained 
before using; boil gently over a slow fire, un- 
til the cracklings have turned brown; strain 
and set aside to cool. By the above process 
you will get more lard, a better article, and 
whiter than by any other process. 

2. Cleanliness is the great point in treating 
lard. The fat is freed from all adhering fleshy 
or discolored matter by cutting. It is then cut 
up into small pieces and washed until the 
water runs off clear. It is next melted by 
direct fire or steam coil until it becomes per- 
fectly clear. It is run through close linen 
filters into the barrels, in which it is stirred 
until white and opaque, but only thickly fluid. 
The great point is when to cease stirring. It 
is then cooled and tightlv covered. Air makes 
it rancid. 

Lard, to Try.— This operation is very sim- 
ple. Set a large kettle over a fire in some 
sheltered place, out of doors, on a still day. It 
will cook much quicker in large quantities. 
Put into the kettle, while the lard is cold, a little 
saleratus, say one tablespoonful to every 
201b.; stir almost constantly when nearly done, 
till the scraps are brown or crisp, or until the 
steam ceases to rise, then there is no danger of 
its moulding; strain out into pans, and the first 
will be ready to empty into crocks when the 
last is strained. 

Latitude.— Rule for finding the latitude 
and departure of a course when the distance 
and bearing are given. Latitude= length of 
course x cosine of bearing. Departure= length 
of course X sine of bearing. 

Launches.— The following table gives the 
sizes of steam launches built by Yarrow and 
Hedley, of London, who make them a specialty, 
and build hundreds of boats for use in all parts 
of the world 



(Length of 


Beam. 


Horse power 


Draught of 


launch. 




(indicated). 


water. 


23 ft. 


5 ft. 3 in. 


5 


2 ft. * 


30 ft. 


6 ft. 


7 


2 ft. 3 in. 


37 ft. 


6 ft. 6 in. 


12 


2 ft. 6 in. 


43 ft. 


8 ft. 


16 


2 ft. 9 in. 


50 ft. 


9 ft. 6 in. 


30 


3 ft. 



Laundry. See Cleansing. 

Lavender, Conserve of. — Take of — 

Lavender flowers (fresh) 1 part. 

Lump sugar (powdered) 3 parts. 

Beat them together in a marble mortar to a 
smooth paste. Similar conserves are prepared 
from other fragrant flowers and leaves, par- 
ticularly those having a sweet or agreeable 
taste, in which case only twice their weight of 
sugar is usually employed. They are used to 
sweeten the breath, but lozenges and pastilles 
are much more convenient for the purpose. 

Lavender Water. See AVaters. 



Lead, to Protect against Corrosion. — 

Prof. Emerson Reynolds describes a process for 
the protection of lead against corrosion, which 
consists in coating it with a film of sulphide of 
lead. He recommends the following method : 
Take 16 grm. of solid caustic soda, dissolve 
it in 1*75 liters of water, and add to the liquid 
17 grm. of nitrate of lead, or an equivalent of 
other lead salt, with 250 cubic centimeters of 
water; raise the temperature of the mixture 
to 90° C. If sufficient lead salt has been added 
the liquid will remain somewhat turbid after 
heating, and must then be rapidly strained or 
filtered through asbestos, glass wool, or other 
suitable material, into a convenient vessel. 
The filtered liquid is then well mixed with 100 
cubic centimeters of hot water, containing in 
solution 4 grm. of sulpho-urea or thio-carba- 
mide. If the temperature of the mixture be 
maintained at about 70° C, deposition of sul- 
phide of lead or galena, in the form of a fine 
adherent film or layer, quickly takes place on 
any object immersed in or covered with the 
liquid, provided the object be in a perfectly 
clean condition and suitable for the purpose. 

Lead Pipe, to Protect.— The Revue In- 
dustrielle says that the interior of a lead pipe 
can be covered with an incrustation of sul- 
phide of lead by making a warm concentrated 
solution of sulphide of potash flow through it 
for ten or fifteen minutes. Pipes thus treated 
seem to be covered with grayish varnish, which 
prevents the water flowing through them from 
acting upon the lead. 

Lead, to Prevent from Exploding.— 

When pouring melted lead around a damp or 
wet joint, it will often explode or blow out. 
This may be prevented by putting a piece of 
resin the size of the end of a man's thumb into 
the ladle and let it melt before pouring. 

Lead Plates, to Join. — The edges are 
brought together, hammered down into a 
channel cut out of wood and secured with a 
few tacks. The hollow is then scraped clean 
with a scraper, rubbed over with tallow, and a 
stream of hot lead is poured into it, the sur- 
face being afterward smoothed with a hot 
plumber's iron. 

Lead, Sugar of.— Another name for lead 
acetate. It is very poisonous and is exten- 
sively used in dyeing, etc. 

Lead Tree.— Ingredients: Sugar of lead, 
34 oz. ; zinc fastened to a wire (copper or brass) 
twisted in the form of a spiral spring. From 
the center suspend a small porcelain doll with 
wire twisted around it. Place the lead acetate 
in a bottle of water, shake well, then thrust 
zinc and appendages into it and cork securely. 
In a few days the tree will begin to grow, and 
produce a most beautiful effect. 

Leather. See also Belting and Tan- 
ning. 

Leather, Artificial— 1. The leather scraps are 
first steeped in weak lime water, and then 
ground fine in ordinary rag-engines as used by 
paper makers. The leather is then mixed with 
about half of good manilla rope, colored with 
Venetian red, and is now ready to be made into 
either leather board, shoe shanks, heels, or 
stiffenings for heels and toes. The boards are 
made on an ordinary cylinder board machine, 
and can be made up to y% in. thick and more. 
The shoe shanks are stamped to the proper 
shape and size on two machines, and then 
dried. The stiffenings and toes are cut by a 
machine from the leather board, and then 
turned and formed to shape and size by an- 
other machine, and dried. 

2. Leather scrap is shredded, and is then 
mixed with strong liquid ammonia, which 
forms a gelatinous mass. It is soluble in water, 
and has no elasticity until it is mixed with 
India rubber, dissolved in bisulphide of carbon, 
and well kneaded, when it is also rendered 



Leather. 



G03 



Leather. 



waterproof. It is then ready for putting in 
heel blocks or moulds. Proportion : 



For soles 
For heels 



Rubber. 



25 

25 



Ammonia. 

67 

80 



Leather. 

67 parts. 
80 parts. 



Artificial Leather for Lithographers' Rollers.— 
Glue, 40 parts; saltpeter, 6 parts; sirup, 40 
pa^is; sugar, 6 parts; water, 10 parts; chrome 
yeLow, 2 parts ; oil of almonds, 2 parts. Melt 
a~±d pour around a core, about % in. less in 
diameter than the mould. Take from the 
mould when cool, and put for 10 hours in a 
solution composed of 2 parts sulphate of alu- 
mina, 20 parts water, 2 parts potash. Dry in 
the air four or five days. 

Leather, Blacking for. See Blacking. 

Belts, to Lace. See also Belting. 

A correspondent in the Scientific American 
says : I send you a sample of belt lacing which 
I am using in my factory. It is far superior to 
any other way of lacing. It runs smoother on 
small pulleys, as it bends to fit them, lo lace 
it, commence in middle or either side. If in 




middle divide the string into equal lengths ; if 
on edge, same as sketch, by fastening one end 
and running across and back. You will readily 
see its advantages. I suggest it so others may 
be benefited. 

Leather Boards. — A very hard variety of 
boards is manufactured partly from leather 
clippings. The leather for this purpose is cut 
into small pieces like rags, reduced in the 
engine with about the same quantity of bag- 
ging and waste paper, and made into boards on 
a cylinder in the ordinary manner. The boards 
acquire the appearance, and to some extent 
the properties, of leather. The material re- 
quires considerable time for washing and 
grinding, and size is unnecessary in its manu- 
facture. 

Leather, Bronzing for. See Bronzing. 
Leather, Cement for. See Cements. 
Leather, to Dye. See Dyeing. 
Leather, Gilding on. See Gilding. 

Leather, Glue for. See Glues. 
Leather, to Harden. — Ordinary hemlock 
tanned sole leather may be said to be hardened 
without any material alteration of its nature 
by the following treatment. Prepare a bath 
as follows : 

Slaked lime % lb. 

Sal soda 2 lb. 

Water J^ gal. 

Boil together cool, and add— 

Slaked lime ^ lb. 

Water V* gal.. 



Put the leather into this for three days, then 
remove and put it into a bath of — 

Slaked lime 3 lb. 

Water \% gal. 

and let it soak in this for from two days in 
summer to three days— or even four days — in 
winter. When taken out of this, pass through 
water heated to about 180° F., and then pass 
bet vveen heavily weighted rolls, or if a denser 
material is demanded, press in a hydraulic 
press. When subjected to the latter, a product 
nearly as hard as vulcanite is obtained, but one 
still possessing the appearance and nature of 
leather quite distinctly. 

Leather, Imitation of (Soren-Sorensons). — 
Prepared from leather waste and caoutchouc. 
The leather is first freed from all foreign sub- 
stances, then by machinery converted into a 
fibrous, homogeneous material. Then it is 
treated by ammoniacal liquor. This forms a 
gelatinous compound which may be pressed in 
moulds or rolled out in plates. This compound 
is stiff and hard, but not elastic, and soluble in 
water. It is mixed with caoutchouc to give it 
elasticity and make it insoluble in water. The 
caoutchouc is washed, dried, cut up in small 
pieces, dissolved in oil of turpentine and mixed 
with the leather. The mixture is kneaded and 
then pressed in moulds. 

Leather Imitation.— A mixture recommended 
consists of 16 parts gelatine and 5 parts gly- 
cerine. A coloring matter is then added as 
may be required— caoutchouc to give elasticity, 
and boiled linseed oil to render the whole suffi- 
ciently flexible. This composition is spread 
upon linen while hot, printed with any pat- 
tern desired. The surface is then treated with 
a solution of alum, sulphate of iron, copper, or 
zinc. These saline solutions may likewise be 
mixed with the composition before it is spread 
on the linen. The surface is lastly varnished, 
and may be bronzed or gilt. Another compo- 
sition is obtained by boiling linseed oil with 
quicklime and borax, which forms a liquid 
that, on cooling, becomes a thick paste. It is 
then mixed with rasped cork and more quick- 
lime. 

See also Artificial Leather above. 

Leather, Lacquers for. See Lacquers. 

Leather (Patent), to Cover the Cracks.— Use 
the following: Take J^lb. molasses or sugar, 
1 oz. gum arabic,and 2 lb. ivory black; boil them 
well together, then let the vessel stand until 
quite cooled; after which bottle off. This is an 
excellent reviver, and may be used as a black- 
ing in the ordinary way, no brushes for polish- 
ing being required. 

The first coats of the japan for patent leather 
are made with linseed oil and Prussian blue, 
boiled together for some hours; the last coat 
or varnish, with linseed oil and lampblack, 
similarly boiled. Each coat is separately dried 
at a temperature of 160° to 180° F. (71° to 82° C), 
and rubbed on the leather by the hand, the 
skin being nailed on to the surface of a board. 
As the process is a very delicate one, and re- 
quires special knowledge in each part of the 
operation, it would be useless for any one to 
attempt to produce japanned leather, except 
as an experiment, for his own amusement, 
without serving an apprenticeship to the 

Paste for Preserving the Gloss of Patent Leather 
and to Prevent Cracking.— Melt wax with a lit- 
tle oil of turpentine, olive oil and lard. Mix 
thoroughly together. When cool it should be 
a thick paste. Vaseline is excellent. Allow it to 
remain on one half hour, then dry with Canton 
flannel. 

Leather, to Polish. See Polishing. 

Leather Preservative.— For leather preserva- 
tives that are waterproof : 

Beeswax 18 parts. 

Spermaceti 6 parts. 

Oil turpentine 66 parts. 



Leather. 



304 



Leaves. 



Asphalt varnish 5 parts. 

Borax, powdered 1 part. 

"Vine twig, black 5 parts. 

Prussian blue. 2 parts. 

Nitro benzol 1 part. 

Melt the wax, add powdered borax and stir till 
a kind of jelly has formed. In another pan 
melt spermaceti, add the asphalt varnish, pre- 
viously mixed with oil of turpentine, stir 
well, and add to the wax. Lastly, add the 
color, previously rubbed smooth with a little 
of the mass. Perfume with nitro benzol and 
pour into boxes. Apply in small quantities, 
wipe with a cloth, and brush. Use only once a 
week. 

Leather, to Preserve.— 1. Equal parts of mut- 
ton fat and linseed oil, mixed with ^ their 
weight of Venice turpentine, and melted to- 
gether in an earthen pipkin, will produce a 
dubbing which is very efficacious in preserving 
leather when exposed to wet or snow, etc. It 
should be applied when the leather is quite dry 
and warm. 2. Many other formulae exist for 
dubbing, but all contain essentially the same 
ingredients, 3. A solution of 1 oz. solid par- 
afflne in 1 pt. light naphtha, to which 6 drops 
sweet oil have been added, is put cold on the 
soles, until they absorb no more. One dress- 
ing will do for the uppers. This process vastly 
increases the tensile strength of every stitch; 
and, while not removing the natural moisture 
of the leather, decidedly waterproofs the boot. 
A sole lasts two months longer when so treated. 
4. There is nothing like castor oil for preserv- 
ing leather. Applied once a month, or once 
or twice a week in snowy weather, it not only 
keeps the leather soft, but makes it water- 
proof. Copal varnish is the best thing to ap- 
ply to the soles; but the latter should be thor- 
oughly dry, and if they have been worn, they 
should be previously roughed on the surface 
before applying the varnish. Linseed oil is 

}>erhaps better than nothing, but it rots the 
eather; hence the objection to dubbings and 
other mix ups of mutton suet, linseed oil, etc. 
The very best thing for waterproofing soles is 
Szerelmey's freestone liquid; three or four 
coats of this render the sole perfectly water- 
proof, and more durable. With regard to 
castor oil, it may further be said that it does 
not prevent a polish being produced on the 
boots, and that leather so treated is avoided 
by rats, if even its proportion be only }4 to % 
tallow. 5. Long continued observation shows 
that harness and other leather exposed to the 
action of ammonia, continually given off in 
stables, become weak and rotten sooner than 
ordinary leather. Even when care is taken to 
protect them with grease this takes place. 
The addition of a small quantity of glycerine 
to the oil or fat employed in greasing such kind 
of leather has been recommended to keep it 
always pliable and soft. 

Leather Bags, to Restore. — Wash over with a 
strong hot decoction of logwood, and if the 
color does not please, go over afterward with 
solution of green copperas. 

Leather, Varnish for. See Varnishes. 

Leaves, Artificial. — Usually of the fine 
glossy silk stuff known as taffeta. The taffeta 
is dyed of the proper green in the piece before 
cutting out. It is then stretched out to dry, 
and afterward further prepared with gum 
arabic on one side, to represent the glossy up- 
per surface of the leaves, and with starch on 
the other, to give the velvety appearance of 
the under side. The latter preparation, colored 
to suit the exact shade of green to be given to 
the leaf, must be just of the proper consistence, 
making the leaf neither too stiff nor too limp, 
while it gives the proper kind of under surf ace. 
Where the leaf requires a marked degree of 
this velvet texture, it is given by the nap of 
Cloth, reduced to a fine powder and properly 
tinted. A little gum is lightly passed over the 
surface, and when partly dry this powder is 



dusted over the surface, the superfluous portion 
being shaken off. For giving to the leaf the 
appearance of nature, by representing the 
veins and indentations which they always ex- 
hibit, various gauffering tools are made use of. 

Leaves, to Bleach. See Bleaching. 

Leaves, to Copy.— Take a piece of thin muslin* 
and wrap it tightly round a ball of cotton wool 
as big as an orange. This forms a dabber, and 
should have something to hold it by. Then 
squeeze on to the corner of a half sheet of 
foolscap a little color from a tube of oil paint. 
Take up a very little color on the dabber, and 
work it about on the center of the paper for 
some time, till the dabber is evenly covered with 
athin coating. A little oil can be used to dilute 
or moisten the color if necessary. Then put 
your leaf down on the paper and dab some 
color evenly over both sides. Place it then be- 
tween the pages of a folded sheet of paper (un- 
glazed is best), and rub the paper above it well 
all over with the finger. Open the sheet, re- 
move the leaf, and you will have an impression 
of each side of the leaf. Any color may be 
used. Burnt or raw sienna works the most 
satisfactorily.— See Leaves, to Print. 

Leaves, Preserving.— 1. They may, after press- 
ing, be dipped in melted beeswax; the same 
may be applied solid to the surface and be 
melted with a hot smoothing iron; or they 
may be varnished with dammar varnish or 
Canada balsam. Varnishing is objectionable 
on account of time required for drying. 

2. It depends somewhat upon the season 
when the leaves develop their greatest beauty 
and variety of tints. Sumac and the leaves of 
similar plants or trees are usually gathered 
early in October. Maple, alder, oak, linden, 
etc., are now at their best. To preserve the 
leaves they should be thoroughly dried as soon 
as possible after gathering and trimming. A 
simple method of drying the leaves expedi- 
tiously is the following : Spread the leaves and 
press in a suitable pan with alternate layers of 
fine sifted dry sand heated as hot as the hand 
can bear and set aside to cool. When the sand 
has cooled the leaves may be removed, smooth- 
ed under a hot iron, dipped for a moment in 
clear French spirit varnish, and allowed to dry 
in the air. 

3. Melted paraffine and wax are sometimes 
preferred to the varnish. 

4. The following is another way : Spread seve« 
ral thicknesses of fine wrapping paper on the 
ironing table; arrange the leaves of the spray, 
picking off those which do not add to its beau- 
ty, and lay it out smooth. Pass a warm flat 
iron over a cake of wax and then over the 
leaves— first on one side and then on the other. 
Then place the sprays between sheets of bibu- 
lous paper, and put under pressure between 
two flat boards, for several weeks, changing 
the paper several times. 

To Make Skeleton Leaves.— Place the leaves 
in a little rain water, to which a trace of yeast 
has been added. Allow the fermentation to 
proceed until the membranous portion be- 
comes soft and easily washed away in a stream 
of water. They are bleached by dipping for 
a few minutes in a strong aqueous, solution of 
sulphurous acid gas, or exposing them (while 
moist) in a box filled with the vapor of burn- 
ing sulphur. 

3. How to Make Skeleton Leaves and Crystal- 
lized Grasses.— These pleasing preparations for 
household adornment may be made as follows: 
There is a slow and quick method; the former is 
by procuring the natural decomposition of the 
pulpy substance of the leaf by exposure to light 
in a dish of water; the quick method is by the use 
of a weak alkaline destructive solution of 
which soda and lime are the active agents. By 
the slow method one may proceed as follows: 
The leaves are laid out smoothly in a pan or 
dish, and covered with rain water 2 or 3 in. deep, 
and are held down by means of sheets of glass 



Leaves. 



305 



Leave*. 






resting 1 on small stones at the corners, by which 
they are prevented from pressing too closely 
on the leaves They are exposed to the sunlight 
in a warm window. In two or three weeks 
they are examined, and all those that have be- 
come soft and pulpy are removed to another 
dish to be cleaned. The rest are left until 
they, too, become soft. The softened leaves 
are carefully removed one by one by being 
floated on to a small sheet of glass; the pulp is 
pressed out by means of a small stiff painters' 
brush or a tooth brush, used by tapping up and 
down, and not by a sweeping motion. This 
breaks up the pulp only, which is washed away 
by pouring water upon it from a small pitcher. 
To make this convenient, . the glass may be 
placed on two wooden bars resting on the edges 
of a deep dish, with a towel under it to catch the 
splashings. 

4. The quick method is as follows : Four oz. sal 
soda are dissolved in 1 qt. hot water, 2 oz. quick- 
time ^are added, and the whole boiled for twenty 
minutes. The solution is cooled and strained. 
The leaves are then boiled in this for one hour, 
or until the pulp is easily removed, when it is 
washed off as already mentioned. The fibers 
remain, leaving a perfect skeleton or frame- 
work of the leaf. This is bleached by exposure 
to a solution of 1 tablespoonful of chloride of 
lime in 1 qt. water, strained clear from sedi- 
ment. The skeletons are placed in a dish, cov- 
ered with this solution and kept in a dark closet 
for two days, watching in the meantime that 
the fibers are not softened too much and thus 
injured. After bleaching, the leaves are steeped 
in clear soft water for a day, and then floated 
off upon a card and placed between soft napkins 
until dry. They are then ready to be finally 
pressed, bent, curled or arranged in bouquets or 
groups. 

Crystallized Grasses.— 5. Crystallized grasses 
and sprays are made as follows : Thebunches are 
first arranged in a suitable manner, tied and 
secured; a solution of 4 oz. alum to 1 qt. boiling 
water is made, and when this has cooled to 
about 90° or blood heat, the bunch of grass and 
leaves is suspended in it, in a deep jar, from a 
rod placed across the mouth of it; as the liquid 
cools crystals of alum are deposited upon every 
spray, the finer and smaller the weaker the so- 
lution is made. This deposit of crystals occurs 
in the cooling liquid, because hot water dis- 
solves more alum than cold water, and as the 
water cools the excess of alum forms crystals 
which attach themselves to any fibrous matter 
in contact with it more readily than to any- 
thing else. These crystals enlarge by accretion 
constantly, as long as there is an excess of alum 
in the solution. AVhen the supply is exhausted 
the solution is warmed and more alum is dis- 
solved in it; it is returned to the jar and the 
bunch of grasses is replaced. When sufficiently 
covered with crystals it is taken out and dried 
and is finished.— N. Y. Times. 

Leaf Prints, How to Make.— Several years 
ago I devised a method of taking leaf prints 
of marked beauty, and a specimen of the work 
recently sent to Dr. Gray elicited the reply: 
" It is a new way. Better send account of it to 
Botanical Gazette," etc. I do so, prompted by 
the belief that the method may be of actual 
usefulness to the botanist as well as a refining 
recreation for those who love nature on general 
principles. 

There will be needed for the work : 1. A small 
ink roller, such as printers use for inking type. 
2. A quantity of green printer's ink. 3. A pane 
of stout window glass (the larger the better), 
fastened securely to an evenly planed board 
twice the size of the glass. A small quantity 
of the ink is put on the glass and spread with a 
knife, after which it is distributed evenly by 
going over in all directions with the ink roller. 
When this has been carefully done, the leaf to 
be copied is laid on a piece of waste paper and 
inked by applying the roller once or twice with 



moderate pressure. This leaves a film of ink 
on the veins and network of the leaf, and by 
placing it on a piece of blank paper and apply- 
ing considerable pressure for a few moments 
the work is done, and when the leaf is lifted 
from the paper the impress remains with all its 
delicate tracery, faithful in color and outline 
to the original. 

To get the best results, however, several 
points must be carefully noted. Get a 54 or % 
lb. of dark green ink, which is put up in col- 
lapsible tubes, costing from fifty cents to $2 a 
pound, according to quality. As sold it is in- 
variably too thick for this purpose and should 
be thinned by adding several drops of balsam 
copaiba to as much ink as may be taken on a 
salt spoon. 

Much depends on the proper consistency of 
the ink. In inking the leaf is apt to curl on the 
roller, but it should part readily from it. In 
case it sticks tightly the ink is too thick. Take 
care that the ink is evenly distributed on the 
glass and roller, as it is essential that each part 
of the leaf receives an equal coating of ink. If 
the leaf is large, ink it part by part, keeping 
the roller supplied frequently. A roller 3 in. 
long, costing forty cents, will answer for all 
small leaves and branches of plants. Clean the 
roller with benzine after using. If the leaf is 
finely veined the lower surface makes the bet- 
ter print, but if the veins are coarse and large 
the upper surface may be used. If the speci- 
men is fleshy or brittle, allow it to wilt until it 
becomes more pliable, or, if necessary, it may 
be pressed and dried first. In most cases the 
best copy is obtained after taking one or two 
impressions, as the leaf takes the ink better 
after several applications. A good quality of 
unsized paper that is made slightly damp by 
putting in a cellar several hours before using 
is best for general work, but in other cases 
well sized paper will take a copy that will allow 
a foliotype (may I coin the word ?) to bear in- 
spection side by side with a good lithograph. I 
find a copying press very valuable in making 
the impression, especially if the leaf is at all 
coriaceous. If it be soft it should be covered 
with a few thicknesses of newspaper. If it is 
irregular in thickness, paper may be laid over 
the thin parts, so that equal pressure is re- 
ceived. This is necessary with all leaves that 
have thick stems. If the leaf or branch is very 
irregular or delicate or in the absence of a press 
of any kind, the specimen may be covered with 
several layers of paper and held in place with 
one hand while the pressure is applied with the 
thumb or palm, of the other hand as requir- 
ed. 

These particulars are as complete as practi- 
cable. Experiment will lead to many improve- 
ments in details. Employ tact and neatness, 
and you will be surprised at the result. For 
illustrating monographs and similar papers 
where the number is too limited to warrant an 
expensive lithograph, for identifying a rare 
specimen, or as an adjunct to an herbarium 
combining portability, unalterability and 
beauty withal, the method seems particularly 
fitted. But aside from this, others may find a 
delightful and instructive recreation in tak- 
ing prints of the entire flora of the old farm, 
the trees of a certain grove, the native annuals 
of a county, the ferns of a State, or any other 
special field that seems most inviting. Such 
copies may be taken in a blank book suited to 
the purpose, or, better, take them on single 
sheets of uniform size, as in this way imperfect 
copies may be thrown out, and when the work 
is completed they may be named, classified and 
bound, making a volume of real value and 
worthy of just pride. I would esteem it a 
favor as well as a pleasure to hear personally 
from any one who may employ this method in 
any way the coming season concerning the 
progress of their work, with its attendant im- 
perfections and successes.— Horace 31. Engle, in 
Botanical Gazette. 



Lemonade. 



306 



Lightning Rods. 



Leclanche Batteries. See Batteries, 
Leclanche. 

Lemarquand's Alloy. See Alloys. 

Lemonade.— 1. Peel off the yellow rinds 
from one dozen bright fresh lemons, taking- 
care that none of the rind is detached but the 
yellow zest— that portion in which the cells are 
placed containing the essential oil of the fruit. 
Put these rinds into an earthen vessel, pour 
over them one pint of boiling water, and set 
aside in a warm situation to infuse. Express 
the juice from 2 dozen lemons, strain it into a 
porcelain bowl, and add 2 lb. of fine white 
sugar, 3 qt. water and the infusion from the 
peels. Stir all well together until the sugar is 
completely dissolved. Now sample, and if re- 
quired add more acid or more sugar ; take care 
not to have it too watery ; make it rich with 
plenty of fruit juice and sugar. 

2. To the juice of 6 lemons and the yellow 
rind of 2 lemons, and ]4 lb. of sugar and 1 qt. of 
water. Ice the lemonade. Water may be added 
according to taste afterward. 

Artificial Lemonade.— 3. Loaf sugar, 2 lb.; tar- 
taric acid, % oz.; essence of lemon, 30 drops; 
essence of almonds, 20 drops. Dissolve the tar- 
taric acid in 2 pt. hot water, add the sugar and 
lastly the lemon and almond ; stir well, cover 
with a cloth, and leave until cold ; put 2 table- 
spoonfuls into a tumbler, and fill up with cold 
water. This.drink, it is said, will be found 
much more refeshing and more palatable than 
either ginger beer or lemonade, and costs only 
30 cents for 10 pt. The addition of a very little 
bicarbonate of potash to each tumblerful just 
before drinking will give a wholesome efferves- 
cing drink.— Scientific American. 

4. Lemonade, Milk.— Dissolve % lb. loaf sugar 
in 1 pt. boiling water, and mix with 1 gill lemon 
juice and 1 gill sherry; then add 3 gills cold 
milk. Stir the whole well together and then 
strain it. 

5. Take f ou lemons, pare the rind as thin as 
possible; squeeze them into 1 qt. water, add y% 
lb. fine sugar; let it stand two or three hours, 
and pass it through a jelly bag. 

6. Another, Effervescing (without a Machine). 
—Put into each bottle 2 drm. sugar, 2 drops 
essence of lemon, \4 drm. bicarbonate potash, 
and water to fill the bottle; then drop in 35 or 
40 grn. of citric or tartaric acid in crystals, and 
cork immediately, placing the bottles in a cool 
place, or preferably, in iced water. 

7. Mr. Bartlett recommends 2 scruples ses- 
quicarbonate of soda, 2 drm. sugar, 4 drops 
essence of lemon and J^pt. water; lastly, 8 drm. 
tartartic acid in crystals. Care must be taken 
to avoid accidents from the bursting of the 
bottles. 

8. Another form is : Into a soda water bottle 
nearly filled with water, put 1 oz. sugar, 2 drops 
essence of lemon (dropped on the sugar), 20 grn. 
bicarbonate of potash in crystals; and, lastly, 
30 to 40 grn. of citric acid, also in crystals. Cork 
immediately. ». 

9. Lemonade Powder.— Take 1 oz. crystallized 
citric acid, rub it fine, and mix thoroughly with 
1 lb. dry pulverized white sugar, put in a single 
drop of oil of lemon peel to flavor it and mix 
well; preserve in bottles for future use. In 
place of citric acid you may take tartaric acid. 

Lemon Beer. See Beers. 

Lemon Juice, Artificial.— Succus Limo- 
nium Factitius.— 1. Citric or tartaric acid, 2M 
oz.; gum, }£ oz.; pieces of fresh lemon peel, % 
oz.; loaf sugar, 2 oz.; boiling water, lqt.; macer- 
ate with occasional agitation till cold and 
strain. Excellent. 

2. Water, 1 pt.; sugar, 1 oz.; essence of lemon, 
30 drops; pure acetic acid to acidulate. In- 
ferior. Both are used to make lemonade. 

Length, Measures of. See Appendix. 
Lenses, to Cement. See Cements. 
Lenses, Rust on. See Cleansing. 



Lenses, to Separate. — Place in cold 
water, heat until the water gets hot and the 
balsam has melted. 

Letters, Porcelain, Cement for. See 
Cements. 

Levigation.— The process of reducing sub- 
stances to fine powder by making them into a 
Easte with water and grinding the mass on a 
ard, smooth stone or slab, with a conical piece 
of stone having a flat, smooth under surface, 
called a muller. Levigation is resorted to in 
the preparation of paints on a small scale and 
in the elutriation of powder. The term is also, 
sometimes, incorrectly applied to the length- 
ened trituration of a substance in a marble or 
Wedgwood ware mortar. 

Leys.— Ley is an aqueous solution of caustic 
soda or potassa, by the agency of which the 
chemical decomposition of the fat and its con- 
version to soap are effected. Caustic soda is a 
commercial commodity, but it may happen 
that the soapmaker will have to prepare his. 
own leys. Reduce the soda or potassa into 
small pieces, mix it with slaked lime, let it 
stand twenty-four hours and then leach it out 
with water. For this purpose large tanks are 
used, having a perforated floor, placed from 2 
to 4 in. above the bottom and covered with a 
layer of straw, on which is poured the mixture 
of lime with the alkali. A faucet is inserted 
between this perforated floor and the bottom, 
by means of which the liquor can be drawn off. 
The leys prepared in this way are never per- 
fectly caustic. 

Lice, on Cattle.— Take 1 pt. fish oil, pour 
it on the animal gradually, from the back of 
the horns to the root of the tail. To cure the 
cow itch or scratches : Paint the pastern joint 
weD with white lead and oil; any kind of vege- 
table or animal oil will answer. Keep the cow 
haltered so she cannot lick her feet or go into 
water for one week. One application of each 
remedy is sufficient. On using the oil for lice 
I have seen a cow in seven days' time shed her 
coat and in fourteen days 1 time a new and 
beautiful coat of hair in its place; took on fat 
so very fast that in thirty days' time she was 
ready to kill for beef, and good beef at that. 
This in all was thirty days from the time she 
had been served with the dose of oil on her 
back. , She had the prettiest coat of hair I ever 
saw on an animal's back. We keep our dogs 
well greased with tanner's oil, to kill fleas and 
keep off flies in summer time.— G. B. 

Lice, to Destroy Chicken.— Last sum- 
mer our hen house was so infested with this 
vermin that the sitting hens died on their 
nests. One afternoon I noticed the martins 
carrying to their box— which was on a pole 
above the hennery— some green leaves. Watch- 
ing them I found that they were getting the 
leaves of the male persimmon. I gathered 
some of the leaves, threw them into the nests 
on the hen house floor, and in less than one 
hour the house was free from the vermin. To 
boil the leaves and sprinkle with the decoction 
will be as effective.— Southern Cultivator. 

Lice, Plant. See Aphides. 

Lice, on Turkeys.— Put a tablespoonful 
of sulphur in the nest as soon as hens or tur- 
keys are set. The heat of the fowls causes the 
fumes of the sulphur to penetrate every part 
of their bodies, every louse is killed, and, as all 
nits are hatched within ten days, when the 
mother leaves the nest with her brood she ia 
perfectly free from nits or lice. 

Licorice Lozenges.— Take lump sugar, 
100 parts; licorice, 150 parts; powdered starch, 
40 parts; mucilage to fix. 

Lightning Rods. Code of Rules for the 
Erection of Lightning Conductors.— The fol- 
lowing rules, from the Report of Lightning 
Rod Conference, 1882, published by Messrs. E. 
&F.'N. Spon, have been abstracted under the 



Lightning Rods. 



307 



Liniments. 



directions of Major V. D. Majendie, H. M. Chief 
Inspector of Explosives, and sent by the Explo- 
sives Department of the Home Office to the 
occupiers of factories, magazines, or stores of 
explosive materials, and to the police authori- 
ties. Reasons based on practical and theoretical 
evidence are given at length in the report for 
each rule and recommendation : 

1. Material of Bod.— Copper, weighing not 
less than 6 oz. per foot run, the electrical con- 
ductivity of which is not less than 90$ of that 
of pure copper, either in the form of rod, tape 
or rope of stout wires, no individual wire being 
less than No. 12 B. W. G. (0*109 inch). Iron 
may be used, but should not weigh less than 2J4 
lb. per foot run. 

2. Joints.— Every joint, besides being well 
cleaned and screwed, scarfed or riveted, should 
be thoroughly soldered. 

3. Form of Points.— The point of the upper 
terminal of the conductor should not have a 
sharper angle than 90°. A foot below the ex- 
treme point a copper ring should be screwed 
and soldered on to the upper terminal, in which 
ring should be fitted three or four sharp copper 
points, each about 6 in. long. It is desirable 
that these points should be so platinized, gilded 
or nickel plated as to resist oxidation. 

4. Number and Height of Upper Terminals.— 
The number of conductors or upper terminals 
required will depend upon the size of the build- 
ing, the material of which it is constructed, and 
the comparative height above ground of the 
several parts. No general rule can be given 
for this, except that it may be assumed that 
the space protected by a conductor is, as a rule, 
a cone, the radius of whose base is equal to the 
height of the conductor from the ground. 

5. Curvatures.— The rod should not be bent 
abruptly round sharp corners. In no case 
should the length of a curve be more than half 
as long again as its chord. A hole should be 
drilled in string courses or other projecting 
masonry, when possible, to allow the rod to 
pass freely through it. 

6. Insulators.— The conductor should not be 
kept from the building by glass or other insula- 
tors, but attached to it by fastenings of the 
same metal as the conductor itself is com- 
posed of. 

7. Fixing.— Conductors should preferentially 
be taken down the side of the building which is 
most exposed to rain. They should be held 
firmly, but the holdfasts should not be driven 
in so tightly as to pinch the conductor or pre- 
vent contraction and expansion due to changes 
of temperature. 

8. Other Metal Work.— All metallic spouts, 
gutters, iron doors and other masses of metal 
about the building should be electrically con- 
nected with the conductor. 

9. Earth Connection.— It is most desirable 
that, whenever possible, the lower extremity 
of the coductor should be buried in perma- 
nently damp soil. Hence proximity to rain 
water pipes and to drains or other water is de- 
sirable. It is a very good plan to bifurcate the 
conductor close below the surface of the 
ground, and to adopt two of the following 
methods for securing the escape of the light- 
ning into the earth : 1. A strip of copper tape 
may be led from the bottom of the rod to a 
gas or water main— not merely to a leaden pipe 
—if such exist near enough and be soldered -to 
it. 2. A tape may be soldered to a sheet of cop- 
per, 3 ft. x 3 ft. x T a 6 in. thick, buried in per- 
manently wet earth and surrounded by cinders 
or coke. 3. Many yards of copper tape may be 
laid in a trench filled with coke, having not 
less than 18 square feet of copper exposed. 

10. Protection from Theft, etc.— In cases where 
there is any likelihood of the copper being 
stolen or injured it should be protected by be- 
ing inclosed in an iron gas pipe reaching ten 
feet— if there is room— above ground and some 
distance into the ground. 



11. Painting.— Iron conductors, galvanized or 
not, should be painted. It is optional with cop- 
per ones. 

12. Inspection.— When the conductor is finally 
fixed it should, in all cases, be examined and 
tested by a qualified person, and this should be 
done in the case of new buildings after all work 
on them is finished. 

Periodical examination and testing, should 
opportunities otter, are also very desirable, 
especially when iron earth connections are 
employed. 

Lightning Rods, to Protect from Rust.— Three 
parts graphite with 12 parts sulphide of lead 
and 2 parts of sulphide of zinc. These are then 

Eulverized and 45 parts linseed oil varnish, 
eated, are added. The lightning rods for 
metal roofs, etc., that are to be protected from 
oxidation should then be painted with this. 

Lightning Eradicator. See Cleans- 
ing. 

Lights, Colored. See Pyrotecliny. 

Lignine.— (Woody Fiber.)— The fibrous part 
of wood and of the stalks and leaves of vege- 
tables. It remains when wood has been suc- 
cessively extracted with ether, alcohol, water, 
dilute acids, and dilute alkalies. y 

Lima Wood.— A variety of soft red wood, 
generally considered superior to the ordinary 
peachwood, though less rich in coloring matter 
than the Pernambuco variety. In its uses and 
properties it agrees with Brazil wood. 

Lime Wash (Colored).— Add to the lime 
wash a strong solution of sulphate of magnesia, 
and color to suit with Vandyke brown. 

Lime "Water.— To make lime water, agi- 
tate an ounce of pure caustic lime in a pint 
bottle nearly filled with water and after the 
lime has subsided decant the clear liquid. Keep 
in well stoppered bottle. 

Lime, Vienna.— This is used for polishing. 
It is prepared from dolomite. The dolomite is 
burned, slaked and glowed. For use rub the 
articles with alcohol and apply the lime. Keep 
the lime in a well stoppered bottle. 

Linctus.— A medicine thick as honey, in- 
tended to be licked from a spoon. 

Linen, to Dye. See Dyeing. 

Linen, to Wash andiron. See Cleans- 
ing. (Linen and Shirts,) 

Liniments and Embrocations.— These 

are fluid or semi-fluid preparations designed 
f or'external use, and may be applied with gentle 
friction with the hand, or by wetting lint or a 
cloth with them and laying them upon the 
part. It is generally well to cover them when 
thus applied, to prevent evaporation. The 
term embrocation is applied to some of the 
more liquid preparations of this class. 

Camphorated Liniment of Ammonia : 

1. Oliveoil 3fl.oz. 

Camphor (cut small) ^ oz. 

Dissolve by a gentle heat, and when cold, add— 

Ammonia (0*960) 1 fl. oz. 

as before. Preferred in painful sprains, bruises, 
chilblains, etc., to the simple liniment. 

Another good formula is— 

2. Soap liniment 2 fl. oz. 

Olive oil 2 fl. drm. 

Ammonia (0*960) , 2fl. drm. 

Mix. 

Camphor Liniment: 

Camphor 1 oz. 

Olive oil 4 fl. oz. 

Dissolve by a gentle heat. As a friction, stim- 
ulant, anodyne and resolvent ; in sprains, 
bruises, chilblains, rheumatic pains, glandular 
enlargements, etc. 



Linseed. 



308 



Liquors. 



Compound Camphor Liniment : 

Camphor 2)4, oz. 

Oil of lavender (English). ... 1 fl. drm. 
Rectified spirit .17 fl. oz. 

Dissolve, then add of — 

Ammonia (0'882-0'880) 3 fl. oz. 

and shake them until mixed. It is powerfully 
stimulant, rubefacient and counter irritant. A 
piece of folded linen wetted with it applied to 
the part, and then covered with a towel and 
pressed with the hand, will generally relieve 
superficial pains. It is commonly sold for 
Ward's Essence for the Headache. 

Soap Liniment — Opodeldoc : 

Castile soap (white; cut small) 2)4 oz. 

Camphor (small) 134 oz. 

Oil of rosemary (English) ... 3 fl. drm. 

Rectified spirit 18 fl. oz. 

Distilled water 2 fl. oz. 

Mix, and digest with occasional agitation, at a 
temperature not exceeding 70° F., until all are 
dissolved. The above proportions are those of 
the new Br. Ph. The product is a very beauti- 
ful article. That of the shops is usually very 
weak and inferior, being generally made with 
crude soft soap and a mixture of equal parts 
of rectified spirit and water. 

Linseed Oil. See Oils. 

Linseed Meal l*oultice.— Linseed meal, 
4 oz.; olive oil, 3^fl. oz.; mix, and add, gradually 
and constanly stirring, of boiling water, )4 pt. 
This is the formula of the new British Ph. Emol- 
lient, soothing and calefacient. Used to pro- 
mote the suppuration and ripening of tumors, 
to allay pain, inflammation, irritation, etc.; 
applied warm. This is the common emollient 
and suppurative poultice of both private and 
hospital surgeons. 

Lint.— Next to cotton, the vegetable fiber 
most extensively used for textile fabrics is 
flax, the Latin name of which is linum ; hence 
come the names of linen and lint. The fibers 
of cotton and flax, viewed under a microscope, 
will be found to be different; the fiber of cot- 
ton is angular, or bladed, while that of flax 
(linen) is perfectly round and smooth. It is 
this difference in their natural formation that 
constitutes the superiority of linen over cot- 
ton as a material for dressing wounds, or as a 
fabric, for clothing the body. Lint is the un- 
woven fiber of linen. By wear, and much 
washing, which it necessarily undergoes, linen 
becomes softer than when new. It undergoes a 
partial decay, and the much prized linen even- 
tually becomes rag. In this state it is fit only 
to be converted into paper or lint. Lint is, in 
fact, the woolly fiber of old linen, thrown or 
slightly felted together (as manufacturers term 
it), into the material form so named. The flax 
plant yields not only linen by means of its 
fiber, but it also, by expression, gives a valua- 
ble oil from its seeds, known in commerce as 
linseed oil. The residue, after the oil is* ex- 
pressed, is called linseed cake, and is excellent 
food for cattle. Each product of the flax plant, 
both in peace and in war, has its value either 
as linen, linseed, or lint. 

Lipowitz's Alloy. See Alloys (Fu- 
sible). 
Lip Salves. See Salves. 

Liquefaction.- Is the conversion of a solid 
into the liquid state, either by heat (fusion), the 
aDsorption of moisture from the air (deliques- 
cence), or by the action of some fluid (solution). 
Certain gases also may be liquefied by means 
of cold and pressure. 

Liqueurs (Fr.) See Liquors. 

Liquid Glues. See Glues, 

Liquid Measures. See Appendix. 

Liquors, Alkaline, to Remove Stains 
trade by.— Try a little ammonia or the juice 



of a lemon. If the color is destroyed, nothing 
can be done. 
Liquors (Liqueurs) and Cordials. — 

Many of the following receipts for liqueurs and 
cordials come from the " Brewer and Distil- 
ler." By J. Gardner, F. C. S., but the majority 
of the receipts were specially translated from 
the French. 

Liquors and cordials are stimulating bevera- 
ges, formed of weak spirit, aromatized and 
sweetened. The manufacture of liqueurs con- 
stitutes the trade of the compounder, rectifier, 
or liqueurist. 

The materials employed in the preparation of 
liquors or cordials are rain or distilled water, 
white sugar, clean flavorless spirit, and flavor- 
ing ingredients. To these may be added the 
substances employed as finings, when artificial 
clarification is had recourse to. 

The utensils and apparatus required in the 
business are those ordinarily found in the wine 
and spirit cellar ; together with a copper still, 
furnished with a pewter head and a pewter 
worm or condenser, when the method by distil- 
lation is pursued. A barrel, hogshead, or rum 
puncheon, sawn in two, or simply unheaded, as 
the case may demand, forms an excellent vessel 
for the solution of the sugar ; and two or three 
fluted funnels, with some good white flannel, 
will occasionally be found useful for filtering 
the aromatic essences used for flavoring. Great 
care is taken to insure the whole of the uten- 
sils, etc., being perfectly clean, sweet, and well 
seasoned, in order that they may neither stain 
nor flavor the substances placed in contact 
with them. 

French liqueurists dististinguish their li- 
queurs as " eaux " and " extraits," or liqueurs 
which, though sweetened, are entirely devoid 
of viscidity ; and " baumes," " cremes," and 
" huiles," which contain sufficient sugar to im- 
part to them a sirupy consistence ; usually 
"■cremes" contain less alcohol than "huiles." 

The French names are retained in the re- 
ceipts. Where it is not possible to make the 
liquors by distillation, the receipts which say 
by essences should be chosen. O. p. means over 
proof, u. p. means under proof. (See Alcoliol.) 
The abbreviations of the metric system should 
not be forgotten, 1.= liter ;gr. = gramme; k.= 
kilogramme. It should be remembered the art 
of the liquorist can only be obtained by long 
practice; still with ordinary care very good re- 
sults can be obtained. Do not get the liquors 
too aromatic. This is the fault of most ama- 
teurs. All liquors should be bottled and labeled 
with neat labels, and the top sealed with wax or 
tinfoil. 

Absinthe.— 1. From the tops of Absinthium 
majus, 4 lb.; tops of Absinthium minus, 2 lb.; 
angelica root. Calamus aromaticus, Chinese 
aniseed, and leaves of dittany of Crete, of each 
15 grn.; brandy or spirit at 12 u. p., 4 gal.; mace- 
rate for ten days, then add water, 1 gal.; distill 
4 gal. by a gentle heat, and dissolve in the dis- 
tilled spirit crushed white sugar, 2 lb. 

2. Spirit of wormwood, 172 parts ; best sugar, 
125 parts; orange flower water, 13)4 parts; 
water, 125 parts. Dissolve the sugar in the 
water, and then add the orange flower water ; 
thoroughly mix in the sirup the white of one 
egg. Next add the wormwood spirit, and heat 
the mixture very gently over a water bath, so 
as just to coagulate the albumen ; immediately 
remove the liquid from the fire and filter. 

Creme d' Absinthe.— (By Essences.)— Essence 
absinthe, 0*60 gr.; essence of English mint, 0"60 
gc; essence of anise, 3gr.; essence of fennel, 0'80 
gr.; alcohol, etc., same as Chartreuse. 

Absinthe of Montpellier.—Jj&rge absinthe 
(dried), k. 0'250 ; green anise, k. 0*600 ; fennel, k. 
0*400 ; coriander, k. 0"100; angelica seed, k. 0*50; 
alcohol at 85° 9*5 1. Digest the ingredients for 
twelve hours with alcohol, then add 4*5 J. of 
water, then distill 9"5 1. of perfumed spirit, 
Color as follows: dried hyssop (herb and flowers), 
k. 0*75 ; dried melisse (balm), k. 0*75 ; small ab- 



Liquor*. 



309 



Liquor*. 



sinthe, k. 0*100. The small absinthe is broken 
in small pieces, the hyssop and melisse are re- 
duced to powder in a mortar. Digest the whole 
of the perfumed spirit at a low temperature. 
Allow it to cool. To this colored liquor add 5*5 1. 
of perfumed spirits, and reduce to 74° with 0'5 
I. of water to produce 10 liters of the product. 

Absinthe of Lyons.— Large absinthe, dried, 
0*300 k.; green anise, 0.8 k.; fennel, 0*4 k.; an- 
gelica seeds, 0*050 k.: coloring, lemon balm, 0*1 
k.; dried absinthe (small), 0*1 k.; hyssop (herb 
and flowers) 0*05 k.; dried veronica, 05 k* 

Ageing Liquor.— Twenty lb. caustic soda at 
60° Tw., 20 lb. white arsenic in powder. Boil 
until all the arsenic is dissolved. Make a solution 
of 3 lb. of chlorate of potash in 4 gal. of water ; 
add the first liquor until it stands at 28° Tw. 

Alkermes.— This liqueur is highly esteemed in 
some parts of the South of Europe. 

1. Bay leaves and mace, of each 1 lb.; nut- 
megs and cinnamon, of each 2 oz.; cloves 1 oz., 
all bruised ; cognac brandy, 3J4 gal.; macerate 
for three weeks, frequently shaking, then dis- 
till over 3 gal., and add of clarified spirit of 
kermes, 18 lb.; orange flower water, 1 pt.; mix 
well and bottle. This is the original formula 
for the Alkermes de Santa Maria Novella, 
which is much valued. 

2. Spice as last; British brandy, 4 gal.; water, 
1 gal.; macerate as before, and drawover 4 gal.; 
to which add, of sirup, 2 gal., and sweet spirit 
of niter, 34 Pt. Cassia is often used for cinna- 
mon. Inferior to the last. 

Alkermes, de Florence. (By Essences.)— Ess. of 
calamus, 0*30 gr.; ess. of cloves, 0*50 gr.; ess. of 
Ceylon cinnamon, 0*20 gr.; ess. of roses, 0*40 gr.; 
extract of jasmine, 3 gr.; extract of anise, 3 gr.; 
alcohol, same as for chartreuse. Color with 
cochineal. 

Crime d' Ananas.— Bananas, 800 gr.; alcohol, 
41. Crust and infuse the bananas for a week 
in alcohol, then pass the liqueur through a silk 
strainer, pour melted sugar into 2*20 1. of water, 
add 0*050 1. of an infusion of vanilla. Color yel- 
low with caramel. 

Aniseed Cordial.— 1. From aniseed, 2 oz., or 
essential oil, iy 2 dr., and sugar, 3 lb. per gal. It 
should not be weaker than about 45 u. p., as at 
lower strengths it is impossible to produce a 
full-flavored article without its being milky or 
liable to become so. 

2. Anisette de Bordeaux. — 1. Foreign.— Ani- 
seed, 4 oz.; coriander and sweet fennel seeds, 
bruised, of each loz.; rectified spirit, y^ gal.; 
water, 3 qts.; macerate for five or six days, 
then draw over 7 pt., and add of lump sugar 
2^ lb. 

2. English.— Oil of aniseed, 15 drops; oil of 
cassia and caraway, of each 6 drops ; rub them 
with a little sugar and then dissolve in spirit 45 
u. p., 3 qt., by well shaking them together; 
filter, if necessary, and dissolve in the clear 
liquid, 1% lb. of sugar. 

Anisette. (By Essences.)— 1. Ess. Chinese (star) 
anise, 7 gr.; ess. anise, 2 gr.; ess. of fennel, 0*80 
gr.; ess. of coriander, 0"10 gr.; ess. of sassafras, 
0*60 gr.; extract of orris, 6 gr.; extract of am- 
bergris, 0*80 gr. Alcohol, etc., same as char- 
treuse. 

2. Chinese anise, 5 gr.; essence anise, 2 gr.; 
essence of fennel, 060 gr.; essence of coriander, 
0*10 gr.; essence of sassafras, 0.40 gr.; extract of 
orris, 4 gr.; extract of ambergris, 0*60 gr.; alco- 
hol, 85°, 3*20 1.; water, 3*90 1.; sugar, 4*375 k. 

Aqua Reale.— Dissolve 2 fl. dr. oil of lemon; 
1V6 fl. dr. oil of orange peel ; 54 drops oil of cin- 
namon; 60 drops oil of cloves; 60 drops oil of 
mace; 4 fl. dr. vanilla essence; V/% fl. dr. amber- 
gris essence. Dissolve 13 lb. sugar in 2 gal. 
water, filter, and add to the above solution. 

Arrack.— A spirituous liquor procured by dis- 
tillation from palm wine, or a fermented infu- 
sion of rice. It is imported from the East 
Indies, and much used to make punch. When 
sliced pineapples are placed in arrack, and the 
spirit kept for some time, it acquires a most 



delicious flavor, and is thought to be un- 
rivaled for making nectarial punch. 

Arrack, Factitious. — Syn. Mock Arrack. 
Vauxhall Nectar.— Prep. Dissolve 23 gr. flow- 
ers of benzoin (benzoic acid) in 1 qt. good pale 
Jamaica rum. Sold for arrack. 

Balm of Molucca— From, mace, 1 drm.; cloves, 
y% oz.; clean spirit, 22 u. p., 1 gal.; infuse 
for a week in a well-corked carboy or jar, 
frequently shaking, color with burnt sugar q. 
s., and to the clear tincture add 4>£ lb. of lump 
sugar; dissolve in pure soft water, J^ gal. On 
the Continent this takes the place of the cloves 
of the English retailer. 

Crime des Barhades.—l. Lemons, sliced, 2 doz.; 
citrons, sliced, y% doz.; fresh balm leaves, 8 oz.; 
proof spirit, 4 gal.; digest for a fortnight, then 
express the liquor, strain, and add 2 gal. each 
of clarified sirup and pure water. 

2. The fresh peels of 3 oranges and 3 lemons; 
cassia bruised, 4 oz.; mace, pimento, and cloves, 
of each 1 drm.; rum, at proof, 2j^ gal. ; digest as 
before, distill over 2 gal., and add clarified sirup, 
1 gal. If wanted weaker, lower with clear soft 
water. 

Crime des Barbades.— Essence of cedrat, dis- 
tilled, 6 gr.; essence of Portugal, distilled, 3 
gr. ; essence of cinnamon, 0*40 gr. ; essence of 
cloves, 0*40 gr.; essence of nutmeg, 0*20 gr. 

Bead for Liquors.— Oil of vitriol, 2 oz.; sweet 
oil, 1 oz.; mixed in a glass bottle. One drop for 
1 qt. of liquor. 

Benedictine.— Cloves, 2 gr. ; nutmegs, 2 gr.; 
cinnamon, 3 gr. ; balm, peppermint, freshly- 
gathered angelica and genepi of the Alps, 25 
gr. ; calamus, 15 gr., cardamom (small), 50 gr.; 
arnica flowers, 8 gr. Break and crush the 
materials and macerate for 2 days in 4 1. of 
alcohol at 85°. Distill after having added 3 1. 
of water and draw out 4 1., after which add a 
cold sirup made with 4 k. of sugar and 2 1. of 
water. Bring up to 10 1., color, and filter. 

Bitters.— These have generally from 1 to 1)4 
lb. of sugar per gal. See Bitters in General 
Alphabet. 

Brandy.— Barrels, to give the Appearance of 
Age to.— Dissolve in 3 gal, water, 3 lb. sulphuric 
acid and 1 lb. sulphate of iron. Wash the bar- 
rels with it on the outside. 

Apple, Imitation.— Forty gal. cologne spirit, 
4 oz. apple brandy oil, cut in 1 pt. alcohol, 88$; 
6 oz. D. B. glycer'ne; )4 &ah sugar sirup. No 
coloring. 

Blackberry.— Forty gal. cologne spirit, 6 oz. 
blackberry oil, 2 gal. blackberry or cherry 
juice, y% Pt- © xt - blackberry, and 4 oz. sugar 
coloring, to color. 

Brandy, British.— Syn. Malt Brandy.— For a 
long time this liquor was distilled from spoiled 
wine and the dregs of wine, both British and 
foreign, mixed with beer bottoms, spoiled 
raisins, and similar substances. At the present 
day, spirit made from malt, potatoes, beet root 
and carrot is employed. Malt spirit is the best 
adapted for the manufacture of British brandy. 

We annex formulas : 

1. To 12 gal. of malt spirit at proof, add of 
water, 5 gal.; crude red tartar or winestone, 
previously dissolved in 1 gal. of boiling water, 
% lb.; acetic ether, 6 fl. oz.; French wine vine- 
gar^ qt.; French plums, bruised, 5 lb.; sherry 
bottoms, Y% gal.; mix these ingredients in a 
sherry or French brandy cask, and let them 
stand for about a month, frequently stirring 
the liquid with a stick; next draw over 
15 gal. of the mixture from a still furnished 
with an agitator. Put the distilled spirit into a 
clean, fresh emptied cognac brandy cask, and 
add of tincture of catechu, 1 pt.; oak shavings, 
1 lb.; and spirit coloring, % pt.; agitate occa- 
sionally for a few days, and then let it repose 
for a week, when it will be fit for use. This 
produces 15 gal. of brandy, 17 u. p. Age greatly 
improves it. 

2. Malt spirit, 99 gal.; red tartar dissolved in 
water, 7 lb.; acetic ether, y z gal.; wine vinegar, 



Liquors, 



310 



Liquors. 



5 gal.; bruised raisins or French plums, 14 lb.; 
bitter almond cake bruised and steeped for 
twenty-four hours in twice its weight of water, 
which must be used with it, 34 lb.; water, q. s.; 
macerate as before, and draw over, with a 
quick fire, 120 gal. To the distilled spirit add a 
few lb. of oak shavings, 2 lb. of powdered 
catechu made into a paste with hot water, and 
spirit coloring, q. s. ? and finish as in the last. 
Produces 120 gal. of spirit, fully 17 u. p. Equal 
in quality to the last. 

3. Clean spirit, 17 u. p., 100 gal.; nitrous ether, 

2 qt.; ground cassia buds, 4 oz.; bitter almond 
meal, 5 oz.; sliced orris root, 6; oz. cloves, in 
powder, 1 oz.; capsicum, 1% oz.; good vinegar, 

3 gal.; brandy coloring, 3 pt.; powdered 
catechu, 2 lb.; full flavored Jamaica rum, 2 gal. 
Mix in an empty cognac piece, and macerate 
for a fortnight, with occasional stirring. Pro- 
duces 106 gal., at 21 or 22 u. p. 

4. Malt spirit, 17 u. p., 100 gal.; catechu, 2 lb.; 
tincture of vanilla, }4 pt-; burnt sugar coloring, 

1 qt.; good rum, 3 gal.; acetic or nitrous ether, 

2 qt. Mix as the last. 

5. Clean spirit, 17 u. p., 89 gal.; - highly 
flavored cognac, 10 gal.; oil of cassia, 2 drm.; 
oil of bitter almonds, 3 drm.; catechu, in pow- 
der, 1 lb.; cream of tartar, previously dissolved 
in water, 134 lb.; concentrated acetic acid, y% 
gal.; sugar coloring, 2 to 3 pt.; good rum, 1 gal. 

To those of the above mixtures which are 
submitted to distillation, the French brandy 
coloring substance and catechu must be added 
after, not before, distillation. 

California.— Forty gal. cologne spirit ; 4 oz. 
husk essence; 34 ounce light oil of vine; J^ pal- 
largonic ether; 3 lb. wine sirup. Color with 
French brandy coloring. 

Brandy, Caraway.— A species of cordial com- 
monly prepared as follows: 1. Bruised cara- 
way seeds, 4 oz.; lump sugar, 2 lb.; British 
brandy, 1 gal.; macerate a fortnight, occasion- 
ally shaking the bottle. 

2. Sugar, 1 lb.: bruised caraways, 1 oz.; 3 bit- 
ter almonds, grated; spirit coloring, 1 oz.; plain 
spirit or gin, 22 u. p., y% gal. Infuse, etc., as 
balm of Molucca. The coloring is sometimes 
left out. 

Catawba. — Forty gal. cologne spirit ; 6 oz. 
catawba brandy oil, and 2 lb. wine sirup cut in 
1 qt. alcohol, 88$. Color with French brandy 
coloring. 

Cherry.— Forty gal. cologne spirit ; 6 oz. 
cherry brandy oil cut in 1 pt. alcohol, 88$ ; 2 
gal. cherry juice; 1 qt. sugar sirup; 1 pt. cherry 
extract, and 4 oz. sugar coloring, to color. 

Brandy, Cherry. — 1. Brandy and cherries 
crushed, of each 1 gal.; let them lie together 
for 3 days, then express the liquid and add 2 lb. 
lump sugar; in a week or two decant the clear 
portion for use. 

2. To the last add 1 qt. raspberry juice, and 
% pt. orange flower water.. Both the above are 
excellent. 

3. Molasses, 1 cwt.; spirit, 45 u. p., 41 *gal.; 
bitter almonds bruised, 1 lb., more or less to 
taste: cloves, 1 oz.; cassia, 2 oz.; macerate a 
month, frequently stirring. An article fre- 
quently sold as cherry brandy. 

4. German cherry juice, 15 gal.; pure rect. 
spirit, 20 gal.; sirup, 5 gal.; oil of bitter almonds, 
1 drm. 

5. Mash 8 lb. black cherries, without being 
stoned, 10 qt. 95$ alcohol. Macerate for 2 
weeks; press; add 5 lb. sugar dissolved in 2 gal. 
brandy. 

Brandy, Cider.— From cider and perry; also 
from the marc of apples and pears fermented. 
It is very largely manufactured in the United 
States and Canada. 

Brandy, Bantzic. — From rye, ground with 
the root of Calamus aromaticus. It has a 
mixed flavor of orris and cinnamon. 

Ginger. — Forty gal. cologne spirits; 1*4 lb. 
ginger brandy oil; 14 gal. sugar sirup; 6 oz. 
sugar coloring. 



Brandy, Lemon.— 1. Fresh lemons, sliced, 1 
doz.; brandy, 1 gal.; macerate for a week, press 
out the liquid, and add of lump sugar, 1 lb. 

2. Proof spirit, 7 gal.; essence of lemon, 3 
drm.; sugar, 5 lb.; tartaric acid, 1 oz.; dissolved 
in water; 2 gal. turmeric powder; of spirit col- 
oring, a dessertspoonful; macerate, etc., as 
No. 1. Sometimes boiling milk is added to the 
above, in the proportion of 1 qt. to every gal. 

Brandy, Malt. — Malt spirit, flavored with 
sweet spirits of niter and terra japonica, and 
colored with molasses, or spirit coloring. — See 
Brit. Brandy. 

New York Brandy.— Forty gal. cologne spi- 
rit or good rectified spirits ; 2 oz. New York 
brandy essence, 1 oz. prussic ether, dissolved in 

1 pt. alcohol, 88$. To improve, add 1^ pt. 
sugar sirup. Color with sugar coloring. 

Orange Brandy.— To every 3^ gal. of brandy 
allow Mpt. of Seville orange juice, 134 lb. loaf 
sugar. To bring out the full flavor of the 
orange peel, rub a few lumps of the sugar on 2 
or 3 unpared oranges, and put these lumps 
to the rest. Mix the brandy with the orange 
juice, strained, the rinds of six of the oranges, 
pared very thin, and the sugar. Let all stand in 
a closely covered jar for about three days, stir- 
ring it three or four times a day. "When clear it 
should be bottled and close corked for a year; 
it will then be ready for use, but will keep any 
length of time. This is a most excellent stom- 
achic when taken pure in small quantities; or, 
as the strength of the brandy is very little 
deteriorated by the other ingredients, it may 
be diluted with water. To be stirred every day 
for three days. Sufficient to make 2 qts.; make 
this in March. 

Brandy, Orange.— As lemon brandy, but sub- 
stituting oranges. 

Brandy, Pale.— This article has been already 
referred to. That of the ginshops and publi- 
cans is generally a spurious article, made by 
mixing together about equal parts of good 
brown French brandy, clean alcohol and soft 
water, and allowing the whole to stand un- 
til the next day to fine down. 

Brandy, Patent.— This is merely very clean 
malt spirit mixed with about one-seventh or 
less of its bulk of strongly flavored cognac and 
a little coloring. 

Brandy, Peach.— From peaches, by fermenta- 
tion and distillation. Much used in the United 
States. A cordial spirit under the same name 
is prepared as follows : 

1. From peaches, sliced and steeped in twice 
their weight of British brandy or malt spirit, 
as in making cherry brandy. 

2. Bitter almonds bruised, 3 oz.; proof spirit, 
10 gal.; water, 3 gal.; sugar, 5 or 6 lb.; orange 
flower water, 3^pt.; macerate for fourteen days. 
Add brandy coloring, if required darker. 

3. Dissolve 1 gal. of honey in water, add 7 gal. 
of alcohol, 1 gal. rum, 2 oz. of catechu bruised, 

2 oz. acetic ether; add ]4 lb. of bitter almonds; 
dissolved, 20 gal. water. 

4. Peach.— Forty gal. cologne spirit ; 34 lb. 
peach brandy oil ; 6 oz. glycerine: )4 gill sugar 
sirup. No coloring. 

Raspberry.— 1. Pour as much brandy over 
raspberries as will just cover them; let it stand 
for twenty- four hours, then drain it off and re- 
place it with a like quantity of fresh spirit; 
after twenty-four hours more, drain this off 
and replace it with water', lastly, drain well 
and press the raspberries quite dry. Next add 
sugar to the mixed liquors, in the proportion 
of 21b. to every gal., along with 34 pt. of orange 
flower water. 

2. Mix equal parts of mashed raspberries and 
brandy together, let them stand twenty-four 
hours, then press out the liquor. Sweeten as 
above and add a little cinnamon and cloves, if 
agreeable; lastly, strain. 

3. From raspberries, using the proportion 
given under cherry brandy. Sometimes a lit- 
tle cinnamon and cloves are added. The only 
addition, however, that really improves the 






Iaquors. 



311 



Liquors. 



-flavor or bouquet is a little orange flower; 
water, a very little essence of vanilla, or a sin- 
gle drop of essence of ambergris. 

Brandy, Shrub.— Brandy, 1 gal.; orange and 
lemon juice, of eachl pt.; the peel of 2 oranges; 
do. of 1 lemon; digest for twenty-four hours, 
strain and add of white sugar, 4 lb., dissolved in 
water, 5 pts. After a fortnight decant the clear 
liquid for use. 

Caraway Cordial.— This is generally made 
from the essential oil of caraway, with 2% lb. 
of sugar per gal. One fl. drm of the oil is com- 
monly reckoned equal to 34 lb. of the seed, 
The addition of a very little oil of cassia and 
about half as much of essence of lemon or of 
orange improves It. 

Creme de Cassis.— Infusion of currants, 4'20 
1.; spirit of raspberries, 0*50 1.; alcohol, at 85°, 
0'60 1.; white sugar, 5 k. ; water, 1*60 1. 

Creme de Celeri.— Essence of celery, 2 gr.; 
alcohol, 310 1.; water, 3*90 1.; sugar, 4'375 k. 

Cedrat Cordial.— From essence (oil) of cedrat, 
34 oz.; pure spirit (at proof), 1 gal.; dissolve, 
.add of water, 3 pt., agitate well; distill 3 qt., 
and add an equal measure of clarified sirup. A 
delicious liqueur. See Creme and Eau, further 
•on. 

Chartreuse. 



Ingredients. 



:}' 



China cinnamon 

Mace 

Lemon balm, dried 
Hyssop in flower 

tops 

Peppermint, dried 

-Thyme 

Balsime (bal. major), 

Genepi 

Arnica, flowers of . . . 
Balsam poplar, buds. 

Angelica, seeds 

Angelica, roots 

Coriander 

Cloves 

Aloes, socotrine 

Cardamom, small — 

Nutmegs 

Calamus 

Tonka beans 

Alcohol, at 85° 

"White sugar 



Green. Yellow. White. 



1-50 gr. 

1-50 gr. 

50 gr. 

25 gr. 

25 gr. 

3 gr. 

12-50 gr. 

25 gr. 

1 gr. 

1-50 gr. 

12-50 gr. 

6-25 gr. 



1'50 gr. 12-50 gr. 

1"50 gr. 3 gr. 

1 25 gr. 25 gr. 

12-50 gr. 13-50 gr. 

i i 



12-50 gr. 
1-50 gr. 



6-25 1. 
2-50 k. 



12-50 gr. 

3gr. 

150 gr. 

1-50 gr. 

•3gr. 

5 gr, 



4-25 1. 
2-50 k. 



12-50 gr. 



12-50 gr. 
3gr. 



3 gr. 



3 gr. 
1-50 gr. 
30 gr. 
I'M) gr. 
5-25 1. 
3-75 k. 



Digest in alcohol for twenty-four hours. 
Distill so as to obtain, nearly all the spirit. Re- 
peat the operation, if necessary, or add water 
to make 10 1. Color, and after reposing, fil- 
ter.— H. 

Chartreuse, by Essences.— Essence of lemon 
balm, 0*20 gr.; essence of hyssop, 0*20 gr.; essence 
of Angelica, 1 gr.; essence of English mint, 2 
gr.; essence of Chinese cinnamon, 0*20 gr.; 
essence of cloves, 0'20 gr.; essence of nutmegs, 
- 20 gr. Color yellow or green. Alcohol (85°), 
3 1.; sugar, 5*6 k.; water, 2*6 1.; for 10 1. 

Grande Chartreuse.— This renowned liqueur, 
made by the monks of the Monastery of the 
Grande Chartreuse, near Grenoble, is said to 
have the following composition; Essence of 
balm (flavored with lemon), 31 grn.; essence of 
hyssop, 31 grn.; essence of angelica, 23^ drm.; 
essence of English peppermint, 5 drm.; essence 
of nutmeg, 36 grn.; essence ot cloves, 31 grn.; 
rectified alcohol, 3J/2 pt.; sugar, q. s.; the whole 
being colored yellow or green, according to 
taste. Another writer states that it is com- 
posed of carnations, wormwood and the young 
buds of the pine tree, and that there are three 
kinds— white, yellow and green, each differing 
in strength. 

Cherry Cordial.— Mix 234 lb. cherry juice with 
1% qt. alcohol, 80$. Add 8 drops oil of cloves, y% 
lb. sugar, 1% qt. water. Filter. 

Cinnamon Cordial.— I. Proof spirits, 9 gal.; 
essential oil of cinnamon (cut in 1% qt. alcohol). 



3 drm.; clear soft water, 43^ gal.; simple sirup, 
2% gal. Agitate thoroughly and color if de- 
sired. 

2. This is seldom made with cinnamon, owing 
to its high price, but either with the essential 
oil or bark of cassia, with about 2 lb. of sugar 
to the gal. It is preferred colored, and therefore 
may be very well prepared by simple digestion. 
The addition of 5 or 6 drops each of essence of 
lemon and orange peel, with about a spoonful 
of essence of cardamoms per gal., improves it. 
One oz. oil of cinnamon is considered equal 
to 8 lb. of the buds or bark. One fl. drm. of the 
oil is enough for 2% gal. It is colored with 
burnt sugar. 

Cordial, Citron.— 1. Yellow rind of citron, 3 
lb.; orange peel, 1 lb.; nutmegs bruised, 2 oz.; 
proof spirit, 13 gal.; distill or macerate, add 
water sufficient and 2 lb. of fine lump sugar for 
every gallon of the cordial. 

2. From the oil or peel, with 3 lb. of sugar per 
gal., as above. 

3. Binds of yellow citrons, 3 lb.; orange peel, 
% lb.; bruised nutmegs, 1% oz.; proof spirits, 9 
gal. Digest for twelve days, filter and add 
clear soft water, 4V£ gal.; simple sirup, 2| gal. 
Agitate. Color if desired. 

Citronelle. — Syn. Eau de Barbades.— 1. From 
fresh orange peel, 2 oz.; fresh lemon peel, 4 oz.; 
cloves, % drm.; corianders and cinnamon, of 
eachl drm.; proof spirit, 4 pt.; digest for ten 
days; then add of water, 1 qt., and distill ]4, 
gal.; to the distilled essence add of white sugar, 
2 lb.; dissolved in water, 1 qt. 

2. Essence of orange, y% drm.; essence of 
lemon, 1 drm.; oil of cloves and cassia, of each 
10 drops; oil of coriander, 20 drops ; spirit, 58 
o. p., 5 pt.; agitate till dissolved, then add of 
distilled or clear soft water, 3 pt.; well mix, and 
filter it through blotting paper, if necessary. 
Lastly, add of sugar dissolved in water, q. s. 

Clair et. — Rossolis des Six Graines.— 1. From 
aniseed, fennel seed, coriander seed, caraway 
seed, dill seed and seeds of the candy carrot 
Athamantia cretensis (Linn.), of each bruised, 
1 oz.; proof spirit, }/% gal.; digest for a week, 
strain, and add of loaf sugar, 1 lb., dissolved in 
water, q. s. 

2. Eau-Clairette.— Another very old French 
form was, 3 oz. cinnamon, eau de vie, 1 pt., 
to which was added sugar and rose water. 

Cordial, Clove.— 1. Bruised cloves, 1 oz., or es- 
sential oil, 1 drm., to every 4 gal. proof spirit. 
If distilled it should be drawn over with a 
pretty quick fire. It is preferred of a very 
deep color, and is therefore strongly colored 
with poppy flowers or cochineal, or more com- 
monly with brandy coloring, or red sanders 
wood. It should have 3 lb. of sugar to the gal., 
and this need not be very fine. The addition of 
1 drm. of bruised pimento, or 5 drops of the 
oil for every oz. of cloves improves this cor- 
dial. 

2. Proof spirits, 9 gal.; essential oil of cloves 
(cut in alcohol), 1J<£ drm.; clear soft water, 43*£ 
gal.; simple sirup, 3 gal. Color dark with 
sugar coloring. Agitate thoroughly. 

Coffee Liqueur : 

Ground roasted coffee 112 parts. 

Diluted spirit 450 parts. 

Digest, express and filter. To 300 parts of the 
filtered liquid add— 

Tincture of vanilla 5 parts. 

Diluted spirit 150 parts. 

Simple sirup 225 parts. 

—Pharm.Zeit. 

Cognac— Forty gal. good spirits, distilled or 
rectified; 6 oz. oenantic ether; 1 oz. cognac 
brandy oil, dissolved in 1 qt. alcohol, 88$; 13^ 
lb. wine sirup. Color with sugar coloring. 

Coloring for Liqueurs.— Red: Cudbear, 400 
gr.; alcohoi, 85° 1 1. Macerate for five days, 
stirring frequently. Decant the liquid, treat 
the residue in the same manner, unite the two 
liquids and filter. 



Liquors. 



312 



Liquors. 



Yellow Color.— Saffron, 100 gr.; water, 1*5 1. 
Boil half the water and pour on the saffron. 
Cover tightly and macerate until the infusion 
is cold. Repeat the operation on the residue 
and mix the two liquids. Add 750 c. c. of alcohol 
at 85° and filter. 

Best white crushed or lump sugar, 6 lb.; 
water, % Pt. Boil until black. Remove from 
the fire, cool with water, stirring as the water 
is added. Used to color liquors from a light 
amber to a dark brown. For brandy, whisky, 
old rye, etc. 

Red Color.— Beet root, red sanders, or coch- 
ineal. 

Port Wine Color.— Extract of rhatany. 

The substances employed in France to color 
liqueurs are, for — 

Blue. — Sulphate of indigo, nearly neutralized 
with chalk and the juice of blue flowers and 
berries. 

Amber, Fawn and Brandy Color.— Burnt 
sugar or spirit coloring. 

Green.— Spinach or parsley leaves digested in 
spirit and mixtures of blue and yellow. 

Red.— Powdered cochineal or Brazil wood, 
either alone or mixed with a little alum. 

Violet. — Blue violet petals, litmus, or extract 
of logwood. 

Purple.— The same as violet, only deeper. 

Yellow.— An aqueous infusion of safflower or 
French berrjes and the tinctures of saffron and 
turmeric. 

Cordial.— Aromatized and sweetened spirit, 
employed as a beverage. Cordials are prepared 
by either infusing the aromatics in the spirit and 
drawing off the essence by distillation, which is 
then sweetened, or without distillation, by 
flavoring the spirit with essential oils, or simple 
digestion on the ingredients, adding sugar or 
sirup as before. Malt or molasses spirit is the 
kind usually employed, and for this purpose 
should be perfectly flavorless, as, if this be not 
the case, the quality of the cordial will be in- 
ferior. Rectified spirit of wine is generally the 
most free from flavor, and when reduced to a 
proper strength with water, forms the best and 
purest spirit for cordial liquors. 

Coriander Cordial.— From coriander seeds, as 
Cloves. A few sliced oranges improve it. 

Creme d'Anis. — As Aniseed cordial, only 
richer. 

Creme des Barbades.— As Citronelle, adding 
some of the juice of the oranges and an addi- 
tional pound of sugar per gallon. 

Creme de Cacao. — Infuse roasted Carac's 
nuts cut small, 1 lb., and vanilla, y& oz., 
in brandy, 1 gal., for eight days; strain and add 
of thick sirup 3 qt. 

Creme de Cedrat.— Huile de Cedrat. From 
spirit of citron, 1 pt.; spirit of cedrat, 1 qt.; 
proof spirit, 3 qt.; white sugar, 16 lb.; dissolved 
in pure soft water, 2 gal. 

Creme de Genepi des Alpes.— Genepi in flower, 
200 gr.; peppermint flowers, 100 gr.; balsam, 100 
gr.; angelica root, 50 gr.; galanga, 12*5 gr.; alco- 
hol at 85°, 4*25 1., white sugar, 3*75 k. General 
method, color green. Product 10 liters. 

Crime de Macarons.—l. From cloves, cinna- 
mon and mace, of each, bruised, 1 drm.; bitter 
almonds, blanched and beaten to a paste, 7 oz.; 
spirit, 17 u. p., 1 gal.; digest a week, filter and 
add of white sugar, 6 lb., dissolved in pure 
water, 2 qt. 

2. Clean spirit, at 24 u. p., sp. gr. 0*945, 2 gal.; 
bitter almonds, % lb.; cloves, cinnamon and 
mace, of each in coarse powder, 1*4 drm.; in- 
fuse for ten days, filter, and add of white 
sugar, 8 lb., dissolved in pure water, 1 gal.; 
lastly, give the liqueur a violet tint with infu- 
sion or tincture of litmus and cochineal. An 
agreeable, nutty flavored cordial, but, from 
containing so many bitter almonds, should 
only be drunk in small quantities at a time. 
The English use only one-half the, above quan- 
tity of almonds. 

Creme de Naphe.— From, sweetened spirit 60 
u. p., containing 3J^ lb. of sugar per gal., 7 qt.; 



foreign orange flower water, 1 qt. Very de- 
licious. 

Creme de Noyeau. See Noyeau. 

Creme d" 1 Orange.— From sliced oranges, 3 doz- 
en; rectified spirit, 2 gal.; digest for fourteen 
days; add, of lump sugar, 28 lb., previously dis- 
solved in water, 4J^ gal.; tincture of saffron, 
1)4, A- oz.; and orange flower water, 2 qt. 

Creme de Portugal.— Flavored with lemon, to 
which a little oil of bitter almonds is added. 

Curacoa — From sweetened spirit, at 56 u. p., 
containing 2>\& lb. of sugar per gal., flavored 
with a tincture made by digesting the oleo- 
saccharum prepared from Seville oranges, nine 
in number; cinnamon, 1 drm.; and mace, % 
drm. in rectified spirit, 1 pt. It is colored 
by digesting in it for a week or ten days,, 
Brazil wood in powder, 1 oz ; and afterward 
mellowing the color with burnt sugar, q. s. 

Curacoa {by Essences).— Essence of curacoa, 
distilled, 7 gr.; essence of Portugal, 2*50 gr.; es- 
sence of cloves, 5 gr. Bitter infusion of cura- 
coa, q. s.; alcohol, 3'10 1.; water, 3*90 1.; sugar, 
4*375 k. 

Delight of the Mandarins.— From spirit, 22 u. 
p., 1 gal.; pure soft water, ^ gal.; white sugar 
crushed small, 4^ lb.; Chinese aniseed and am- 
brette or musk seed, of each, bruised, }4 oz.; 
safflower, J4 oz.; digested together in a carboy 
or stone bottle capable of holding double, and 
agitated well every day for a fortnight. 

Eau de Cedrat.— Syn. cedrat water. As creme 
de cedrat, but using less sugar. 

Eau de Chasseurs. See Peppermint. 

Eau de Vie d" 1 Andeye.— Syn Eau de vie d'anis ; 
aniseed liqueur brandy; liqueur d'hendaye. 
From brandy or proof spirit, 1 gal.; sugar, % 
lb.; dissolved in aniseed water, 1 pt. This is 
sometimes flavored with fennel. 

Eau d" or Liqueur.— Put in a jar 1 oz. of cori- 
ander seeds, % oz. of cinnamon, }4 oz. of cloves, 
1 qt. of spirit of wine registering 60° by Gay 
Lussac's alcoholometer. Let the spices steep 
for twenty-four hours, then add 3 gills of sirup 
registering 24° on the saccharometer and filter 
the whole three times through a felt filtering- 
bag; add 2 sheets of gold leaf to the liqueur; 
shake it to divide the gold and bottle it. 

Eau de Vie de Dantzich (by Essences).— Essence 
Ceylon cinnamon, 40 grn.; essence China cinna- 
mon, 1*20 grn.; essence of coriander, 0*20 grn . ; 
essence of lemon (distilled), 0*80 grn.; alcohol, 
etc., the same as curacoa. 

Eau de Vie de Dantzick.— Ceylon cinnamon, 
25 grn.; cloves, 1*5 grn.; green anise, 12*5 grn.; 
celery seeds, 12*5 grn.; caraway seeds, 12*5 grn.; 
cumin seeds, 3 grn.; alcohol at 85°, 5 1.; white 
sugar, 2*5 k. General method without rectifi- 
cation. Product, 10 1. 

Fining for Cordials (Eggs).— Take the white of 
an egg with each 5 gal. of the cordial, beat up 
with alcohol and add gradually to the cordial. 

Fining with Potash.— For each 10 gal. of the 
cordial add 1 oz. of potassium carbonate dis- 
solved in 1 pt. of water, add gradually. 

Gin.— I. Clean corn spirit, at proof, 80 gal.; 
newly rectified oil of turpentine, 1 pt.; mix 
well by violent agitation, add culinary salt, 7 
or 81b., dissolved in Avater, 30 or 40 gal.; again 
well agitate and distill over 100 gal., or until the 
feints begin to rise. Product— 100 gal., 22 u. p., 
besides 2 gal. contained in the feints. If 100 
gal., 17 u. p., be required, 85 gal. of proof spirit, 
or its equivalent at any other strength, should 
be employed. 

2. Proof spirit, as above, 8 gal.; oil of turpen- 
tine, lto 1J4 oz.; salt, lib., dissolved in water, 3 
or 4 gal.; draw 10 gal., as before. 22 u. p. 

3. Clean corn spirit, 80 gal.; oil of turpentine, 
% to 1 pt.; pure oil of juniper, 1 oz. to 3 oz.; 
salt, 7 1b.; water, 35 gal., draw 100 gal. as above. 
22 u. p. 

4. To the last add oil of caraway, )4 oz., oil of 
sweet fennel, 34 oz.; distill as before. 



Liquors. 



313 



Liquors. 



5. To No. 3 add essential oil of almonds, 1 drm., 
or less; essence of lemon, 3 or 4 drm. ; distill as 
before. 

6. To No. 1 add creosote, lto2 drm., before 
distillation. 

7. To No. 3 add creosote, 1 to 2 drm., before 
distillation. 

8. Proof spirit, 80 gal.; oil of turpentine, >£ 
pt. ; oil of juniper, 3 oz.; creosote, 2 drm.; 
oranges and lemons, sliced, of each 9 in 
number, macerate for a week, and distill 100 gal. 
22 u. p. 

The oil of turpentine for this purpose should 
be of the best quality, and not that usually- 
vended for painting, which contains resin and 
fixed oil. Juniper berries, bitter almonds, and 
the aromatic seeds, may be used instead of the 
essential oils; but the latter are most conven- 
ient. Turpentine conveys a plain gin flavor, 
creosote imparts a certain degree of smokiness, 
lemon and other aromatics a creaminess, 
fullness, and richness. Gin may also be pre- 
pared by simple solution of the flavoring in 
the spirit, but is of course better for distilla- 
tion. 

Sweetened gin is made from unsweetened 
gin, 22 u. p., 95 gal.; lump sugar, 40 to 45 lb., 
dissolved in clear water, 3 gal.; mix well, and 
fine it down as above. Produces 100 gal., at 26 
u. p. This, as well as the last, is usually per- 
mitted at 22 or 24 u. p., which is also done when 
the gin has been further lowered with water so 
to be even 30 or 35 u. p.— Brewer and Distiller. 

Gold Cordial.— From angelica root, sliced, 1 
lb.; raisins, % lb-; coriander seeds, 2 oz.; cara- 
way seeds and cassia, of each V/% oz.; cloves, % 
oz.; figs and sliced licorice root, of each 4 oz.; 
proof spirit, 3 gal.; water, 1 gal.; digest 2 days, 
and distill 3 gal. by a gentle heat; to this add, of 
sugar, 9 lb., dissolved in rose water and clean 
soft water, of each 1 qt.; lastly, color the liquid 
by steeping in it 1*4 oz. of hay saffron. This 
cordial was once held in much esteem for its 
supposed medicinal virtues, the formula being 
mentioned by Arnold de Villeneuve. It de- 
rives its name from a small quantity of gold 
leaf being formerly added to it, which was sup- 
posed to add greatly to its remedial value. Un- 
til comparatively recent years, gold was credi- 
ted with extraordinary remedial powers. 

Cordial, Gout. — Rhubarb, senna, coriander 
seed, sweet fennel seed, and cochineal, of each 2 
oz.; licorice root and saffron, of each loz.; rai- 
sins, 2% lb.; rectified 90$ alcohol, 2 gal.; digest 
for fourteen days. Used in gout and rheu- 
matism. 

Hollands.— Geneva, Schiedam, Hollands Gin, 
Dutch Gin.— 1. The materials employed in the 
distilleries of Schiedam, in the preparation of 
this excellent spirit, are 2 parts of the best un- 
malted rye and 1 part of malted bigg, reduced 
to the state of coarse meal by grinding. About 
a barrel (36 gaL) cf water, at a temperature of 
from 162° to 168° Fah., is put into the mash tun 
for every lV£cwt. of meal, after which the malt 
is introduced and stirred, and lastly, the rye is 
added. Powerful agitation is next given to 
the magma till it becomes quite uniform, when 
the mash tun is covered over with canvas, and 
left in this state for two hours. Agitation is 
then again had recourse to, and the transpar- 
ent spent wash of a preceding mashing is add- 
ed, followed by as much cold water as will re- 
duce the temperature of the whole to about 85° 
Fah. The gravity of the wort at this point 
varies from 33 to 38 lb. A quantity of the best 
pressed Flanders yeast, equal to 1 lb. for every 
100 gal. of the mashed materials, is next stirred 
in, and the whole is fermented in the mash tun 
for about three days, or until the attenuation 
is from 7 to 4 lb. (sp„ gr. 1-007 to 1*004). During 
this time the yeast is occationally skimmed off 
the fermenting wort. The wash, with the 
grains, is then transferred to the still, and con- 
verted into low wines. To every 100 gal. of this 
liquid, 2 lb. of juniper berries (three to five 
years old), and about 1 lb. of salt, are added, 



and the whole is put into the low wine still, and 
the fine spirit drawn off by a gentle heat, one 
receiver only being employed. The product 
per quarter varies from 18 to 21 gal. of spirit, 2 
to 3 o. p. 

2. Best Hollands.— Hollands rectified to the 
strength of 24° Baume (sp. gr. 0*9125, or about 6 
o. p.). 

3. Dr. Thompson gives the following formu- 
la for preparing gin, Geneva or Hollands. He 
states it is one used by the Dutch manufactur- 
ers: One hundred and twelve lb. of barley 
malt and 228 lb. of rye meal are mashed with 
460 gal. of water, at 162° Fah. After infusing a 
sufficient time, cold water is added until the, 
gravity of the wort is reduced to 45 lb. per bar- 
rel. The whole is let into a fermenting back at 
80° Fah., }4 a gal. yeast is added, the tempera- 
ture rises to 90°, and the fermentation is over 
in forty-eight hours. The wash is attenuated 
until the specific gravity is about 12 or 15 lb. 
per barrel. Both the wash and grains are then 
put into the still; the low wines are distilled off, 
these are redistilled, and the production is rec- 
tified. A f ew juniper berries and some hops 
are used to commuicate a peculiar flavor to the 
spirit. 

4. English made. — From juniper berries (at 
least a year old and crushed in the hands), 31b.; 
rectified spirit, 1% gal. (or proof spirit, 2^ gal.); 
digest, with agitation, for a week, and tnen 
express the liquid ; after twenty-four hours' 
repose, decant the clear portion, add it to good 
corn spirit, at 2 or 3% over proof, 90 or 100 
gal.; and mix them well together. 

5. From juniper berries, 2\i, lb.; sweet fennel 
seed, 5 oz.; caraway seeds, 3J4 oz.; proof spirit,. 
2 gal., corn spirit, 90 or 100 gal. 

6. As the last, with the addition of Strasburg 
turpentine or Canadian balsam, 1 lb.— Brewer 
and Distiller. 

Huile d'Anis. See Crime d'Anis. 

Huile d'Annanas.—Five oz. rasped pineapple 
are macerated in 15 oz. 90$ alcohol for fifteen 
or twenty days, at the end of which time the 
liquid is decanted and filtered. It is then well 
shaken up with 15 oz., by weight, of clear sirup. 

Huile Liqueureuse.—l. De la Rose. From eau 
de rose, 1 part; simple sirup, 2 parts; mixed to- 
gether. 

2. Des Fleurs d'Orange.— From orange flower 
water and sirup, as No. 1. 

3. De Vanille.— From essence of vanilla, 1 
drm.; simple sirup, 1 pt. 

The above are kept in small decanters, and 
used to flavor water, grog, liqueurs, etc., instead 
of sugar or capillaire; also to perfume the 
breath. Other flavored sirups, for the same 
purpose, are prepared in a similar manner. 

Huile de Vanille.— Flavored with essence or 
tincture of vanilla. It is kept in a decanter* 
and used to flavor liqueurs, grog, etc. 

Huile de Venus.— From the flowers of the wild 
carrot, 2% oz., and sugar, 3 lb. to the gal. It is 
generally colored by infusing a little powdered 
cochineal in it. 

Liqueur Hugienique de Dessert (formula Ros- 
pail.)— Alcohol at 56°, 0*10 1.; angelica root, 3 gr.;, 
calamus, 0*20 1. ; myrrh, 0*20 gr.; cinnamon, 0*20; 
aloes, 0'20 gr.; cloves, 0*10 gr.; vanilla, 010 gr.; 
camphor, 0*050 gr.; white nutmegs, 0*025 gr.; saf- 
fron, 0*005 gr. The whole mixture is allowed to 
digest for several days in the sun in a well 
corked bottle. 

Jargonelle.— Sun- Jargonelle Cordial. Flavored 
with essence of jargonelle pear (acetate of amy!). 
Pineapple cordial and liqueurs from some other 
fruits are also prepared from the artificial fruit 
essences. 

Kirschwasser. — A spirituous liquid distilled in 
Germany and Switzerland from bruised cher- 
ries. From the rude manner in which it is ob- 
tained, and from the distillation of the cherry 
stones (which contain prussic acid) with the 
liquid, it has often a nauseous»taste, and is f re- 



Liquor*. 



314 



Liquors. 



quently poisonous. When properly made and 
sweetened it resembles noyeau. 

Huile de Kirschenwasser. — Essence of noyaux, 
4 gToi essence of neroli (Paris), 0*40 gr. 

Lemon Cordial.— Digest fresh and dried lemon 
peel, of each 2 oz., and fresh orange peel, 1 oz., 
in proof spirit, l gal., for a week; strain with 
expression, add of clear soft water q. s. to re- 
duce it to the desired strength, and lump sugar, 
3 lb. to the gal„ The addition of a little orange 
flower or rose water improves it. 

Jessamine Liqueur.— Pick M lb. of jessamine 
blossoms, and put them in a jar with 2 qt. of 
W% alcohol, registering 50° by Gay Lussac's 
alcoholometer; let the blossoms steep for two 
days; prepare 1)4 pt. of clarified sirup register- 
ing 30° on the saccharometer. Strain the jes- 
samine spirit, mix it with the cold sirup and 
filter it, with some paper, through a filtering 
bag. Continue pouring the liqueur through 
and through until it is quite clear, and bottle it 
for use. 

Lemon Cordial— Digest 2 oz. each of fresh 
and dried lemon peel and 1 oz. of fresh orange 
peel in 1 gal. of proof spirit for a week; strain 
with expression, add clear soft water to reduce 
it to the desired strength, and lump sugar, in 
the proportion of 2)4 lb. to 3 lb. to the gal. The 
addition of a little orange flower or rose water 
improves it. 

Essence of Lemon. — The rinds of 80 fresh 
lemons; alcohol at 85°, 12 1. Process the same as 
cedrat. 

Essence of Lemon, Concentrated.— Binds of 160 
fresh lemons; alcohol, same as above. Process 
same as cedrat. 

Liqueurs.— Dilute alcohol, aromatized and 
sweetened. The French liqueurists are pro- 
verbial for the superior quality, creamlike 
smoothness and delicate flavor of their cor- 
dials. 

Liquodilla. — Flavored with oranges and 
lemons, of each, sliced, 3 in number; with sugar 
2)4 lb. per gal. 

Lovage Cordial. — From the fresh roots of 
lovage, 1 oz. to the gal. A fourth of this quan- 
tity of the fresh roots of celery and sweet fen- 
nel are also commonly added. In some parts a 
little fresh valerian root and oil of savine are 
added before distillation. This cordial is much 
valued by the lower classes in some of the 
provinces for its stomachic and emmenagogue 
qualities. 

Maraschino (Marasequin) . —A delicate liqueur 
spirit distilled from a peculiar cherry growing 
in Dalmatia, and afterward sweetened with 
sugar. The best is from Zara, and is obtained 
from the marasca cherry only. In the middle 
of the last century the profits arising from the 
sale of this compound were so considerable that 
"the Senate of Venice, where it was principally 
manufactured, monopolized the trade in it. 
An inferior quality is distilled from a mixture 
of cherries and the juice of licorice root. *■ 

Maraschino (Zara), Imitation. — Essence of 
noyaux, 3 - 5 gr.; essence of neroli, 0*50 gr.; ex- 
tract of jasmine, 1 grn.; extract of vanilla, P50 
gr. 

Marasquin de Zara.— Essence of noyaux, 3'5 
gr.; essence of neroli, 0*5 gr.; extract of jas- 
mine, 1 gr. ; extract of vanilla, 1*5 gr.; al- 
cohol, etc., same as for chartreuse. 

Crime deMilleUeurs.— Essence of neroli, 5gr.; 
•essence of roses, 20 gr.; extract of jasmine, 2 
gr. ; extract of jonquil, 1'5 gr. ; extract of 
reseda, 2 gr. ; extract of tuberose, 2 gr. ; al- 
cohol, etc., same as for chartreuse. 

Mint Liqueur (Creme de Menthe).— Put 2 oz. 
of green mint into a jar, pour over 1 qt. of 
•90# alcohol, registering 50° by Gay Lussac's 
alcoholometer, and let it steep for eight days; 
add 3 gills of sirup registering 30° on the sac- 
charometer, mix it with some filtering paper 
and pour the whole into a filtering bag. When 
the liqueur is thus strained it should be per- 



fectly clear and limpid; bottle it and keep the 
bottles in a dry place. 

Mint Cordial. — Oil of peppermint, )4 oz.; 
sirup, 2}4 pt.; rectified spirits, 5 pt.; alcohol, )4 
pt. Color light green. 

Nectar.— The fabled drink of the mythologi- 
cal deities. — The name was formerly given to 
wine dulcified with honey ; it is now occasion- 
ally applied to other sweet and pleasant bever- 
ages of a stimulating character. The following 
liqueur is so called : Chopped raisins, 2 lb.; loaf 
sugar, 41b.; boiling water, 2 gal.; nix and stir 
frequently until cold, then add 2 lemons, sliced; 
proof spirit, brandy or rum, 3 pt.; macerate in 
a covered vessel for six or seven days, occa- 
sionally shaking ; next strain with pressure, 
and let the strained liquid stand in a cold place 
for a week to clear; lastly, decant the clear 
portion and bottle it. 

Noyau.— Creme de Noyou.— This is a pleasant 
nutty-tasted liquor; but, from the large pro- 
portion of prussic acid which it contains, it 
should be partaken of very moderately. 

1. Bitter almonds, bruised, 3 oz.; spirit, 22 u. 
p., 1 qt.; sugar, 1 lb. (dissolved in) water, % pt.; 
macerate for 10 days, frequently shaking the 
vessel; then allow it to repose for a few days, 
and decant the clear portion. 

2. As the last, but substituting apricot or 
peach kernels with the bruised shells for the 
almonds. 

3. To either of the above, add of coriander 
seed and ginger, of each, bruised, 1 drm.; mace 
and cinnamon, of each y% drm. 

4. Creme de Noyau de Martinique.— Loaf su- 
gar, 24 lb.; water 2}4 gal.; dissolve, add, of proof 
spirit, 5 gal.; orange flower water, 3 pt.; bitter 
almonds, bruised, 1 lb.; essence of lemons, 2 
drm. 

Oil of Cedrat. See Creme de Cedrat. 

Orange Cordial. — Like lemon cordial or 
creme d'orange, from fresh orange peel, )4 lb. 
to the gal. 

Orange Peel, Essence of.— Golden.— Fresh yel- 
low rind of orange, 4 oz.; rectified spirit, i*£ pt.; 
water, )4 Pt.; digest for a week, press, filter 
and add of sherry 1 qt. A pleasant liqueur. 

Parfait Amour.— Perfect Love.— 1. Flavored 
with the yellow rind of 4 lemons and a tea- 
spoonful of essence of vanilla to the gal., with 
sugar, 3 lb., and powdered cochineal, q. s. to 
color. , 

2. Sugar, 8)4 lb.; 9Q£ alcohol, 5J4 lb., dis- 
solved in 6 lb. water; essence of cloves, 1J4 oz.; 
essence of mace, 3 drm.; essence of lemon, 1 
drm.; colored rose. 

Peach Cordial.— Pour 3)4 gal. alcohol. 90$, Tr. 
over 2 lb. sliced peaches. Digest from 8 to 10 
days. Filter and add 3 gal. white wine, 15)4 lb. 
sugar dissolved in 3)4 qt. water. 

Peppermint. — Peppermint Cordial ; Sports- 
man's Cordial; Eau de Chasseurs.— This well- 
known compound is perhaps in greater demand 
in every part of the kingdom than all the 
other cordials put together. — 1. From pepper- 
mint water and gin or plain spirit, 22 u. p., of 
each 1 pt.; lump sugar, % lb. 

2. Wholesale.— English oil of peppermint, 5 
oz., is added to rectified spirits of wine, 3 pt.; 
and the mixture is agitated well together for 
some time in a corked bottle capable of hold- 
ing 4 pt. or more; it is then emptied into a cask 
having a capacity of upward of 100gal.,and86 
gal. of perfectly white and flavorless proof 
spirit is poured in, and the whole well agitated 
for ten minutes; a solution of the best double 
refined lump sugar, 2% cwt., in about 35 gal. 
pure filtered rain water, is then added, and the 
contents of the cask well rummaged up in the 
usual manner for at least fifteen minutes; suffi- 
cient clear rain water to make up the whole 
quantity to exactly one hundred gallons, and 
holding in solution 5 oz. alum, is next added, 
and the whole is again well agitated for at least 
a quarter of an hour, after which the cask is 
bunged down, and allowed to repose for a fort- 
night before it is broached for sale. 



Liquors, 



315 



Liquors. 



3. Pure proof spirits, W% gals.; essential oil of 
peppermint, 1*4 drm., cut first in 1J4 qt. strong- 
alcohol; pure soft water, 7^ gal.; simple sirup, 
2y 2 gal. Agitate, and if not clear add ty 2 drm. 
alum dissolved in 1J4 pt. rain water. Let it 
stand 10 days. 

Peppermint Water.— Pepperment flowers, 1 
k.; water, 4 1.; salt, 250 grammes; macerate, 
and draw off 2 liters. 

Pimento.— Syn. Pimento Cordial, Pimento 
Dram. — Rather strongly flavored with allspice 
or pimento. It has obtained a great repute in 
the West Indies in diarrhoea, cholera, and bowel 
complaints generally. 

Pineapple Cordial.— Pineapple extract, 3 oz.; 
extract of lemon, % oz.; sirup, V/o, gal.; recti- 
fied spirits, 2J4 gal. 

Pineapple Liqueur.— Take ]4 lb. of peeled 
pineapple, and cut it into slices ; boil 3 qt. of 
sirup until it registers 38° on the saccharome- 
ter; add the slices of pineapple, the juice of 4 
•oranges and the yellow peel of 2 oranges ; let it 
boil up, and pour the whole into a jar. Close 
the jar caref uhy, and let the pineapple infuse 
thus for two days. Strain the sirup through a 
hair sieve, mix with 1 qt. of 90% alcohol regis- 
tering 35° by Gay Lussac's alcoholometer, and 
filter the whole through a felt filtering bag 
Bottle the liqueur, and keep in a dry place. 

Quince Liqueur.— Grate a sufficient quantity 
•of quinces over a basin to obtain 2 lb. of pulp ; 
add 1 qt. of sirup registering 30° on the saccha- 
rometer; cover the basin, and let it remain 
thus for one day. Pour the contents of the 
basin into a filtering bag, add 1 pt. of 90% alco- 
hol, registering 35° by Gay Lussac's alcoholo- 
meter, to the strained sirup ; mix, and pour the 
whole again through a filtering bag and bottle 
the liqueur. 

Raspberry Cordial. — From raspberry brandy, 
sirup, and water, equal parts. A similar arti- 
cle is prepared by flavoring sweetened spirit 
with the artificial raspberry essence. 

Ratafia. — Originally a liqueur drunk at the 
ratification of an agreement or treaty. It is 
now the common generic name in France of 
liqueurs compounded of spirit, sugar, and the 
odoriferous and flavoring principles of vegeta- 
bles, more particularly of those containing the 
juices of recent fruits, or the kernels of apri- 
cots, cherries, or peaches. In its restricted 
sense this name is commonly understood as re- 
ferring to cherry brandy or peach brandy. 

The following list includes those ratafias 
which are commonly prepared by the French 
liquerists : 

Ratafia d" 1 Angelique — From angelica seeds, 1 
dr.; angelica stalks, 4 oz.; blanched bitter al- 
monds, bruised, 1 oz.; proof spirit or brandy, 
6 qt.; digest for 10 days, filter; add, of water, 1 
qt.; white sugar, 3^ lb.; mix well, and in a fort- 
night decant the clear portion through a piece 
of clean flannel. 

Ratafia d'Anis. See Aniseed Cordial. 

Ratafia de Baume de Tolu.— From balsam of 
tolu, 1 oz.; rectified spirit, 1 qt.; dissolve, add 
water, 3 pt.; filter, and further add of white 
sugar, iy 2 lb. 

Ratafia deBrou de Noix— From young wal- 
nuts with soft shells pricked or pierced, 60 in 
number ; brandy, 2 qt.; mace, cinnamon, and 
cloves, of each 15 gr.; digest for 8 weeks ; press, 
filter, add of white sugar, 1 lb., and keep it for 
some months before decanting it for use. 

Ratafia de Cacao.— Ratafia de Chocolat.— 
From Caracca cacao nuts, 1 lb.; West Indian 
•cacao nuts, y 2 lb., both roasted and bruised; 
proof spirit, 1 gal.; digest for 14 days, filter, and 
add, of white sugar, 2J/£ lb.; tincture of vanilla, 
Yz dr. (or a shred of vanilla maybe infused with 
the nuts in the spirit instead) ; lastly, decant in 
a month, and bottle it. 

Ratafia de Cafe.— I. From coffee, ground and 
roasted, 1 lb.; brandy or proof spirit, 1 gal.; 
sugar, 2 lb. dissolved in water, 1 qt.; as last. 



2. Coffee, 1 lb.; brandy, 6*4 lb.; macerate the 
coffee in the brandy for seven or eight days, 
and then distill over a water bath, and to the 
distillate add a very clear sirup, made by dis- 
solving 2J/£ lb. of the best sugar in 4 lb. of water. 
This liqueur has all the aroma and none of the 
bitterness of the coffee. 

Ratafia de Cassis.— From black currant juice, 
1 qt.; cinnamon, 1 dr.; cloves and peach kernels, 
of each, y 2 dr.; brandy, 1 gal.; white sugar, 3 
lb.; digest for a fortnight, and strain through 
flannel. 

Ratafia de Cerise.— From. Morello cherries, 
with their kernels, bruised, 8 lb.; brandy or 
proof spirit, 1 gal.; white sugar, 2 lb.; as last. 

Ratafia de Chocolat. — Ratafia' de cacao (see 
ante). 

Ratafia de Coings.— From quince juice, 3 qt.; 
bitter almonds, 3 dr.; cinnamon and coriander 
seeds, of each, 2 dr.; mace, y% dr.; cloves, 15 gr., 
all bruised ; rectified spirit, quite flavorless, y% 
gal.; digest for a week, Alter, and add of white 
sugar, 3)4 lb. 

Ratafia de Coings (Quinces).— Expressed juice 
of ripe quinces, 0*6 1.; spirit of cloves, 0'05 1.; al- 
cohol, at 0"85°, 2*51.; sugar, 1*25 k.; water, 61.; 
color yellow with caramel. 

Ratafia de Creme.— From creme de noyeau 
and sherry, of each J4 pint ; sirup, y 2 pt.; fresh 
cream, 1 pt.; beaten together. 

Ratafia de Curacoa. See Curagoa. 

Ratafia de Framboises.— Raspberry Cordial. — 
To 1J4 lb. of raspberry juice add J4 lb. of cherry 
juice; boil this with 2 lb. of sugar ; add 4 pt. of 
brandy, and let it macerate for a fortnight; 
filter. 

Ratafia de Framboises (Raspberries). — Infusion 
of raspberries, 3 1.; infusion of wild cherries, 1 
1.; alcohol, 85°, 1 1.^ sugar, 5 k.; water, P601. 

Ratafia de Genievre.— From juniper berries, 
each pricked with a fork, J4 lb.; caraway and 
coriander seed, of each, 40 gr.; finest malt spirit, 
22 u. p., 1 gal.; white sugar, 2 lb.; digest a week, 
and strain with expression. 

Ratafia de Grenoble.— From the small wild 
black cherry with the kernels bruised, 2 lb.; 
proof spirit, 1 gal.; white sugar, 3 lb.; citron 
peels, a few grains, as before. 

Ratafia de Grenoble, de Teyssere. — From cher- 
ries bruised with the stones, 1 qt.; rectified 
spirit, 2 qt.; mix, digest for forty-eight hours, 
then express the liquid, and heat it to boiling 
in a close vessel; when cold, add of sugar or 
sirup, q. s., together with some noyeau, to fla- 
vor, and a little sirup of the bay laurel, and of 
galangal; in three months decant and bottle it. 

Ratafia de Noyeau. — From peach or apricot 
kernels, bruised, 120 in number; proof spirit or 
brandy, 2 qt.; white sugar, 1 lb.; digest for a 
week, press and filter. 

Ratafia d'CE illets. —From clove pinks, without 
the white buds, 4 lb.; cinnamon and cloves, of 
each, 15 gr.; proof spirit, 1 gal.; macerate for 
ten days, express the tincture, filter, and add 
of white sugar, 2y% lb. 

Ratafia d'Ecorced' 'Orange. — Creme d'Orange. 

Ratafia d'Fleurs d* Orange.— From fresh orange 
petals, 2 lb.; proof spirit, 1 gal. ; white sugar, 
2^1b.; as last. Instead of orange flowers, 1 dr. 
oil of neroli may be used. 

Ratafia a la Provencale.— From striped pinks, 
1 lb.; brandy or proof spirit, 1 qt.; white sugar, 
% lb.; juice of strawberries, M Pt-; saffron, 20 
gr.; as before. 

Ratafia des Quatre Fruits.— From cherries, 30 
lb.; gooseberries, 15 lb.; raspberries, 8 lb.; black 
currants, 7 lb.; express the juice, and to each 
pint add, of white sugar, 6 oz.; cinnamon, 6 gr.; 
cloves and mace, of each, 3 gr. 

Ratafia Rouge.— From the juice of black cher- 
ries, 3 qt.; juices of strawberries and raspberries, 
eacn, 1 qt.; cinnamon, 1 dr.; mace and cloves, 
of each, 15 gr.; proof spirit or brandy, 2 gal.; 
white sugar, 7 lb.; macerate, etc., as before. 

Ratafia Sec— Take of the juice of gooseber- 
ries, 5 pt.; juices of cherries, strawberries, 



"Liquor*. 



316 



Iiitliofracteur. 



and raspberries, of each, 1 pt.; proof spirit, 6 
qt.; sugar, J lb.; as before. 

Ratafia a la Violette.—From orris powder, 3 
oz.; litmus, 4 oz.; rectified spirit, 2 gal.; digest 
for ten days, strain, and add of white sugar, 12 
lb., dissolved in soft water, 1 gal. 

Rhubarb Cordial.— Rinse gently 40 lb. best 
quality of rhubarb stalks in a 15 or 20 gal. tub. 
Add 4 gal. water, stir and squeeze the pulp with 
the hands so as to separate the juice. Let it 
rest for a few hours, strain, and press through 
a coarse cloth. The residue may have 1 gal. 
more of water pressed through it. Add 30 lb. 
loaf sugar, and after its solution, water to make 
it up to 10m> gal. Put in a tub covered with a 
blanket and some boards at 55° to 60° F. until it 
begins to ferment. Then put into a cask, a 
portion at a time, as its working decreases 
until aU is in. Let the scum as it works run 
out of the bung hole. When nearly through 
fermenting drive the bung, put in a spile, which 
is to be removed every few days until the barrel 
is sale from bursting. Use more or less sugar 
according to the strength and sweetness de- 
sired. 

Rose Cordial.-— Extract of rose, l oz.; sirup, 
2 qt.: rectified spirit, 3 qt. 

RosolL— Hose ieaves, 8% oz.; orange flower 
water, 4 pt.; Ceylon cinnamon, 124 gr.; cloves, 1 
oz.; macerate the rose leaves, the cinnamon, and 
the cloves in 17^ pt. spirit, and distill; and to the 
distillate add 15 oz. of sugar dissolved in 4 pt. 
orange flower water. 

Rosolio de Turin.— Essence of anise, 2*50 gr.; 
essence of fennel, 0*30 gr.; essence of bitter al- 
monds, 3 gr.; essence of roses, 0*60 gr.; essence 
of ambergris, 0'40 gr. Color with cochineal. 

Shrub. See Shrub. 

Sighs of Love—1. From proof spirit (flavored 
with otto of roses) and sirup in equal parts. 

2. From sugar, 6 lb.; pure soft water, q. s. to 
produce 1 gal. sirup, to which add, of eau de 
rose, 1 pt.; proof spirit, 7 pt. It is colored a 
pale pink by powdered cochineal. A very 
pleasant cordial. A drop or two, not more, of 
essence of ambergris or vanilla improves it. 

Straioberry Cordial.— 1. Proof spirit, 634 gal. 
strawberries, 10 qt.; digest for ten days, and 
draw off; add soft water, 3% gal.; simple sirup, 
234 gal. Agitate, and color if desired. 

2. Juice of fresh strawberries, 1J4 pt.; sirup, 3 
qt.; rectified spirit, 3 qt. Color with liquid 
carmine, q s. 

Tears of the Widow of Malabar— As balm of 
Molucca, but employing cloves bruised, y% oz.; 
mace shredded. 1 dr., and a teaspoonful of es- 
sence of vanilla for flavoring; 34 pt. of orange 
flower water is sometimes added. It is slightly 
colored with burnt sugar. 

Trappistine — Large absinthe, 40 gr.; angelica, 
40 gr.; mint, 80 gr.; cardamom, 40 gr.; balm, 30 
gr.; myrrh. 20 gr.; calamus, 20 gr.; cinnamon, 
4 gr.; cloves, 4 gr.; mace, 2gr.; alcohol at 85°, 
4'51.; white sugar, 3*750 k. Follow the method 
given for chartreuse. After two days of mac- 
eration, distill and rectify. Add sirup and 
color green or yellow. 

Usquebaugh.— Syn. Escubac. Literally, mad 
water, the Irish name of which whisky is a 
corruption. It is applied to a strong cordial 
spirit, much drank in Ireland, and made in the 
greatest perfection at Drogheda. 

1. Brandy or proof spirit, 3 gal.; dates with- 
out their kernels and raisins, of each, bruised, 
34 lb.; juniper berries, bruised, 1 oz.; mace and 
cloves, of each, % oz.; coriander and aniseed, of 
each, 34" oz.; cinnamon, 34 oz.; macerate, with 
frequent agitation, for fourteen days, then fil- 
ter and add of simple sirup, 1 gal. 

2. Pimento and caraways, of each 3oz.; mace, 
cloves and nutmegs, of each 2 oz.; aniseed, cori- 
anders and angelica root, of each 8 oz.; raisins, 
stoned and bruised, 14 lb.; proof spirit, 9 gal.; 
digest as before, then press, filter or clarify and 
add of simple sirup, q. s. Should it turn milky, 
add a little strong spirit or clarify it with alum 
or filter through magnesia. 



Usquebaugh is either colored yellow with 
saffron (about 34 oz. per gal.), or green with 
sap green (about 34 oz. per gal.); either being 
added to the other ingredients before macera- 
tion in the spirit. 

Vanilla Liqueur.— Two sticks of vanilla, 3 pt. 
of brandy or proof gin, 1 lb. of sugar. Break 
up the vanilla into the spirit, cork and let it 
infuse a fortnight. Boil the sugar in a quart 
of water to a clear sirup, then pour in the spirit 
and vanilla and simmer 10 minutes. Filter and 
bottle. 

Vanilla Cordial- -Put 134 oz. of vanilla beans 
in 3 qts. alcohol and 134 gallons of water. Mace- 
rate for a few days, then distill. Add to this 11 
lbs. of sugar. After it is dissolved, color with 
cochineal and filter. 

Huile de Vanille.— Infusion of vanilla, 0'80 1.; 
alcohol, at 85°, 2.401.; white sugar, 4'35k.; water, 
3-9 1. 

Vermouth.— As the celebrated Vermouth de 
Turin cannot be made in this country to ad- 
vantage, the receipt of Ollivero is given. Cor- 
iander, 500 gr.; rinds of bitter oranges, 250 gr.; 
orris root, powdered, 250 gr.; elder flowers, 
200 gr.; red cinchona, 150 gr.; calamus, 150 gr.; 
large absinthe, 125 gr.; holy thistle {Centaur -ea 
benedicto), 125 gr.; elecampane (roots), 125 gr.; 
little centuary, 125 gr.; germander, 125 gr.; 
Chinese cinnamon, 100 gr.; angelica (roots), 65 
gr.; nutmegs, 50 gr.; galanga, 50 gr.; cloves, 
50 gr.; cassiae, 30 gr.; white wine of Picardy, 
100 1. Digest for five or six days, draw off the 
liquor, size with fish glue, and allow to stand 
for fifteen days. 

Vermouth au Madere.— Large absinthe, 125 gr.; 
angelica roots, 60 gr.; holy thistle, 125 gr.; burg- 
wort, 125 gr.; veronica, 125 gr.; rosemary, 125 gr.; 
rhubarb, 30 gr.; red cinchona, 200 gr.; orris root, 
powdered, 250 gr.; infusion of curacoa, 25 centi- 
liters; common Madeira wine, 92 1.; raisin sirup, 
3 1.; cognac at 40°, 5 1. Digest for three days, 
draw off the clear, size with fish sounds; after 
eight days of rest, rock and size again before 
bottling. 

Vespetro by Essences.— Essence of anise, 3 gr.; 
essence of caraway, 2 gr.; essence of fennel, 0*60 
gr.; essence of coriander, 0'80 gr.; essence of 
lemon, distilled, 1 gr.; alcohol at 85°, 2'80 1.; 
water, 6*60 1.; sugar, 2'50 k. 

Whisky, Bourbon, Imitation of.—l. Nine gal. 
of proof spirit, 1 gal. Bourbon highly flavored, 
1 qt. malt whisky, 1 gill white vinegar, 1 gill 
sirup and 10 to 20 minims of cognac oil dis- 
solved in alcohol. Color with the aid of cara- 
mel. 

2. Forty gal. rectified whisky; 134 oz. Bour- 
bon oil dissolved in 1 pt. alcohol, 88$; 1 pt. white 
sugar sirup. 

3. Irish.— Forty gal. rectified whisky; 4 to 6 
oz. Irish whisky oil, dissolved in 1 pt. alcohol, 
88$ ; 1 lb. double refined glycerine. 

4. Monongahela.— Forty gal. rectified whisky; 
134 oz. Monongahela oil, dissolved in 1 pt. alco- 
hol, 88$; I pt. white sugar. 

5. Rye.— Forty gal. rectified whisky; 134 oz. 
rye oil, dissolved in 1 pt. alcohol 88$ ; 1 pt. white 
sugar sirup. 

6. Scotch.— Forty gal. rectified whisky ; 4 to 6 
oz. Scotch whisky oil, dissolved in 1 pt. alcohol 
88 %; 1 lb. double refined glycerine. 

7. Wheat.— Forty gal. rectified whisky; 134 oz. 
wheat whisky oil, dissolved in 1 pt. alcohol, 
188$; 34 oz. malt oil; 1 lb. double refined glycer- 
ine. 

Lisbon Water. See Waters. 

Litharge. — Lead monoxide or plumbic 
oxide. It is used in the manufacture of glass 
and for many other purposes. It is a heavy 
yellow powder; it melts at a red heat. It is 
sometimes called massicot. 

Lithofracteur.— Composed of 52 parts of 
nitro-glycerine, 30 parts of infusorial earth, 
12 parts of coal, 4 parts of saltpeter, 2 parts of 
sulphur. 

Lithographic Crayons. See Crayons. 



Lithographic. 



317 



Lubricants. 



Lithographic Ink. See Inks. 
Lithographic Paper. See Paper. 

Lithographic Stones, to Prepare.— 

Stones are prepared for chalk drawings by 
rubbing- two together, with a little silver sand 
and water between them, taking- care to sift 
the sand to prevent any large grains from 
getting in, by which the surface would be 
scratched. The upper stone is moved in small 
circles over the under one till the surface of 
each is sufficiently even, when they are washed, 
and common yellow sand substituted for the 
silver sand, by which means is procured a finer 
grain. They are then again washed clean, and 
wiped dry. It will be found that the upper 
stone is always of a finer grain than the under 
one. To prepare stones for writing or ink 
drawings, they are rubbed with brown sand, 
washed, and powdered pumice stone used in- 
stead; the stones are again washed, and each 
polished separately with a fine piece of pumice 
stone or water Ayr stone. Chalk can never be 
used on the stones prepared in this manner. 
The same process is followed in order to clean 
a stone that has already been used. 

Lithography, Varnishes for. See 
Varnishes. 

Lithophanie.— The name given to porce- 
lain biscuit ware. It is much used to make 
transparencies. The peculiarity of the manu- 
facture consists in having the biscuit of differ- 
ent thicknesses. The thickest parts intercept 
the light and form the shadows, while the thin 
forms the high lights. 

Litmus JSoluti on. —Digest 1 gramme solid 
litmus in 50 c.c. of water, filter and apply to 
unsized paper. Change the color if desired. 

Litmus Paper. See Paper, Test. 

Lixiviation.— The process by which the 
saline matter of such materials as ashes, min- 
erals, etc., is extracted by the aid of water. 
This solution is called a lye and sometimes a 
lixivium. 

Loam. —Mixture of brick, clay and old 
foundry sand. 

Logwood.— The most important of the dye 
woods obtained from Hasmatoxylum campe- 
chianum, a large tree growing on the coasts 
of the bays of Honduras and Campeachy, and 
in some of the Antilles, e. g., Jamaica and St. 
Domingo. The Campeachy growth is generally 
preferred. 

Lotions. See Cosmetics. 

Lubricants. See also Oils. 

General Information on Lubricants.— The gen- 
eral experience gained of various oils used for 
lubricating tends to the following results: 1. 
A mineral oil flashing below 300° F., 149° C, is 
unsafe, on account of causing Are. 

2. A mineral oil evaporating more than 5% in 
ten hours at 140° F., 60° C, is inadmissible, as 
the evaporation creates a viscous residue, or 
leaves the bearing dry. 

3. The most fluid oil that will remain in its 
place, fulfilling- other conditions, is the best for 
all light bearings at high speeds. 

4. The best oil is that which has the greatest 
adhesion to metallic surfaces and the least co- 
hesion in its OAvn particles. In this respect fine 
mineral oils are first, sperm oil second, neats- 
foot oil third, lard oil fourth. 

5 Consequently the finest mineral oils are 
best for light bearings and high velocities. 

6. The best animal oil co give body to fine 
mineral oils is sperm oil. 

7. Lard and neatsf oot oils may replace sperm 
oil when greater tenacity is required. 

8. The best mineral oil for cylinders is one 
having sp. gr. 0'893 at 60° F., 15^° C; evaporat- 
ing point 550° F., 288° C, and flashing point 
680° F., 360° C. 

9. The best mineral oil for heavy machinery 
has sp. gr. 0-880 at 60° F., 15J^° C; evaporating 



point 443° F., 229° C, and flashing point 518° F M 
269° C. 

10. The best mineral oil for light bearings and 
high velocities has sp. gr. 0*871 at 60° F., 15J^° C; 
evaporating point 424° F., 218° C, and flashing 
point 505° F., 262° C. 

11. Mineral oils alone are not suited for the 
heaviest machinery, on account of want of 
body and higher degree of inflammability. 

12. Well purified animal oils are applicable to 
very heavy machinery. 

13. Olive oil is foremost among vegetable oils, 
as it can be purified without the aid of mineral 
acids. 

14. The other vegetable oils admissible, but 
far inferior, stated in their order of merit, are 
gingelly, ground nut, colza, and cottonseed 
oils. 

15. No oil is admissible which has been puri- 
fied by means of mineral acids. 

Lubricants for Machinery, etc.—l. Common 
heavy shop and engine oils are commonly vari- 
able mixtures of heavy petroleum or paraffine 
oils, lard oil, whale or fish, palm and some- 
times cottonseed and resin oils. There are 
nearly as many of these composite oils in the 
market as there are dealers in such supplies. 
The following is one of them : 

Per cent. 

Petroleum 30 

Paraffine oil (crude), 20 

Lard oil 20 

Palm oil 9 

Cottonseed oil , 20 

99 

Solid or semi -solid unguents, such as mill and 
axle grease, etc., are prepared from a variety 
of substances. The following are the compo- 
sitions and methods of compounding a few of 
these : 

2. Frazer's axle grease is composed of par- 
tially saponified rosin oil, that is a rosin soap and 
rosin oil. In its preparation J^ gal. of No. 1 and 
2^ gal. of No. 4 rosin oil are saponified with a 
solution of y% lb. of sal soda dissolved in 3 pt. of 
water and 10 lb. of sifted lime. After standing 
for six hours or more this is drawn off from 
the sediment and thoroughly mixed with 1 gal. 
of No. 1, 3*4 gal. of No. 2 and 4% gal. of No. 3 
rosin oil. This rosin oil is obtained by the 
destructive distillation of common rosin, the 
products ranging from an extremely light to a 
heavy fluorescent oil or colophonic tar. 

3. Pitt's car, mill and axle grease is prepared 
as follows : 

Black oil or petroleum resi- 
duum 40 gal. 

Animal grease 50 lb. 

Rosin (powdered) .60 lb. 

Soda lye 2J4 gal. 

Salt, dissolved in a little water. . 5 lb. 

All but the lye are mixed together and 
heated to about 250° Fah. The lye is then 
gradually stirred in and in about twenty-four 
hours the compound is ready for use. 

4. Hendricks 1 lubricant is prepared from 
whale or fish oil, white lead and petroleum. 
The oil and white lead are, in about equal 
quantities, stirred and gradually heated to be- 
tween 350° Fah. and 400° Fah., then mixed 
with a sufficient quantity of the petroleum to 
reduce the mixture to the proper gravity. 

5. Munger's preparation consists of — 

Petroleum . ...lgal. 

Tallow 4 oz. 

Palm oil < .4 oz. 

Plumbago 6 oz. 

Soda 1 oz. 

These are mixed and heated to 180° Fah. for 
an hour or more, cooled, and, after twenty- 
four hours, well stirred together. 



Lubricants. 



318 



Lubricants. 



6, 7. A somewhat similar compound is pre- 
pared by Johnson as follows : 

Liquid. Solid. 
Petroleum (30° to 37° 

gravity) 1 gal. 1 gal. 

Crude paraffine 1 oz. 2 oz. 

Wax (myrtle, Japan and 

gambier) V/o oz. 7 oz. 

Bicarbonate of soda 1 oz. 1 oz. 

Powdered graphite... 3 to 5 oz. 8 oz. 

8. Maguire uses, for hot neck grease : 

Tallow 161b. 

Pish 601b. 

Soapstone 12 lb. 

Plumbago „ . . 9 lb. 

Saltpeter 21b. 

The fish (whole) is steamed, macerated and 
the jelly pressed through fine sieves for use 
with the other constituents. 

9. Chard's preparation for heavy bearings 
consist of— 

Petroleum (gravity 25°) 12 oz. 

Caoutchouc 2 oz. 

Sulphur 2 oz. 

Plumbago 4oz. 

Beeswax 4 oz. 

Sal soda 2 oz. 

The composition is stirred and heated to 140° 
Pah. for half an hour. 

10. Booth's.—^ lb. soda, 1 gal. rapeseed oil, 
1 gal. water, J^lb. tallow or palm oil; mix inti- 
mately, heat to boiling, and continue stirring 
till cooled down to 60° or 70° P. (15^° to 21° C). 

11. 4 gal. boiling water, y^ lb. Scotch soda, 10 
lb. of a mixture of palm oil and tallow in any 
proportions; treat as 10. 

12. 10 lb. Scotch soda, 1 lb. glue dissolved in 
10 gal. water, 10 gal. oil, 4 lb. India rubber dis- 
solved in oil of turpentine; add the India rub- 
ber last, and stir the whole thoroughly. 

13. 2Yq lb. lard, 1 oz. camphor, y^ lb. graphite 
(blacklead). Rub up the camphor into a paste 
with part of the lard in a mortar, add the 
graphite and the rest of the lard, and intimately 
mix. 

14. Dissolve 234 lb. sugar of lead (lead acetate) 
in 16 lb. melted but not boiling tallow, and add 
3 lb. black antimony, stirring the mixture 
constantly till cold. Por cooling necks of 
shafts. 

15. 4 lb. tallow, 1 lb. graphite, ground together 
till quite smooth, adding 3 lb. to 5 lb. camphor 
per cwt. 

16. Railway Grease.— For summer use— 1% 
cwt. tallow, 1J4 cwt. palm oil. 

17. Por autumn and spring— 1]4, cwt. each tal- 
low and palm oil. 

18. Por Winter.— 114 cwt. tallow, 1% cwt. 
palm oil. Melt the tallow in an open pan, add 
the palm oil, and remove the fire the moment 
the mixture boils; stir frequently while cooling-, 
and when the temperature has fallen to about 
100° F. (38° C), run it through a sieve into a so- 
lution of soda (56 to 60 lb.) in 3 gal. water; and 
stir together thoroughly. 

Lubricating Oil, to Clean.— Agitate it with a 
small percentage of oil of vitriol, and then 
thoroughly wash it with water by agitation; 
siphon off the oil, and let stand over quick- 
lime. To filter oil from mechanically contained 
impurities, fit a small cork, cut star shaped, in 
the angle of a funnel, so that it will not impede 
the passage of liquids, and cover this loosely 
with cotton wool (raw cotton). If properly 
arranged, the oil will pass through, leaving the 
impurities in the cotton. 

Oil, Lubricating, to Purify.— The following is 
a good method of purifying lubricating oil : A 
tub holding 63 qt. has a tap inserted close to 
the bottom and another about 4 in. higher. In 
this receptacle are placed 7 qt. boiling water, 
3% oz. carbonate of soda, 3$i oz. chloride of 
calcium, and 9 oz. common salt. When all 
these are in solution, 45 qt. of the oil to be puri- 
fied are let in and well stirred for five or ten 



minutes; the whole is then left for a week in a 
warm place, at the expiration of which time 
the clear pure oil can be drawn off through 
the upper tap without disturbing the bottom 
one. 

Oil, Lubricating, to Test.— To test lubricating 
oil for acid dissolve a crystallized piece of car- 
bonate of soda about as large as a walnut in an 
equal bulk of water, and place the solution in 
a flask with some of the oil. If, on settling after 
thorough agitation, a large quantity of precip- 
itate forms, the oil should be rejected as im- 
pure. 

Lubricant for Brasswork. — Writing to Nature 
regarding various fats which are used to 
smooth and bind the surfaces of various kinds 
of apparatus, such as air pumps, stopcocks, 
etc., Mr. H. G. Madan says: Melted India rub- 
ber answers fairly, but it has too little body and 
too much glutinosity; moreover, it does, un- 
doubtedly, in course of time, harden into a 
brittle, resinous substance. Vaseline is quite 
without action on brass and never hardens, but 
it has not sufficient tenacity and adhesiveness. 
A mixture of 2 parts by weight of vaseline (the 
common thick brown kind) and 1 part of melted 
India rubber seems to combine the good quali- 
ties of both without the drawbacks of either. 
The India rubber should, of course, be pure 
(not vulcanized), and should be cut up into 
shreds and melted at the lowest possible tem- 
perature in an iron cup, being constantly 
pressed down against the hot surface and stirred 
until a uniform glutinous mass is obtained. 
Then the proper weight of vaseline should be 
added, and the whole thoroughly stirred to- 
gether. This may be left on an air pump plate 
for, at any rate, a couple of years without per- 
ceptible alteration, either in itself or the brass. 
Locomotive Grease. 





Summer. 


Winter. 


Tallow 


Per cent. 
18-3 
122 

15 

55 
625 


Per cent. 
22 3 




122 




12 


Soda crystals 


5-0 




593 




ioo-o 


ioo-o 



Rosin Oil Soap.— One hundred lb. of rosin oil 
and 80 lb. lime slaked to a powder are agitated 
in an iron pot and the mixture is heated till a 
uniform mixture is obtained, free from lumps, 
and running from the stirring implement like 
sirup. With this rosin oil soap all the different 
varieties of patent Avagon grease are made as 
follows : 

Blue Patent Grease.— Five hundred lb. red 
rosin oil are heated for one hour with 2 lb. cal- 
cium hydrate and allowed to cool. The oil is 
skimmed off the sediment and 10 or 12 lb. rosin 
oil soap are stirred in till all is of a buttery con- 
sistence and of blue color. 

Yellow Patent Grease.— Is prepared by add- 
ing 6% of turmeric solution to the blue grease. 

Black Patent Grease.— Lampblack is used to 
produce the black color. 

Patent Palm Oil Wagon Grease.— Ten lb. rosin 
oil soap are melted with 10 lb. of palm oil; 500 
lb. rosin oil ai*e then added and as much rosin 
oil soap to make the whole the consistence of 
butter, and lastly 7 to 8 lb. of caustic soda lye. 

Paraffine Residues.— The thick oil which re- 
mains in the paraffine manufacture is used as a 
lubricating oil, partly on account of its cheap- 
ness and partly on account of its not easily 
solidifying by cold. In order to thicken some 
lead soap is melted with it. 

Mixtures of rosin oil or rosin oil soap and 
petroleum with glycerine also are often used 
lubricants. 

Anti-Attrition.— Grind together black lead 
with four times its weight of lard or tallow. 
Used to lessen friction in machinery and to 



Lubricants. 



319 



Lubricant*. 



prevent iron rusting. Camphor is sometimes 
added, 7 lb. to the cwt. 

Anti-attrition Paste.— Lard, 2}4 lb.; camphor, 
1 oz.; black lead, ]4 lb.; rub the camphor in a 
mortar down into a paste, with a little of the 
lard; then add the rest of the lard and the 
black lead and mix thoroughly. 

Anti-friction Grease.— 1. Boil together 1% cwt. 
of tallow with 1*4 cwt. of palm oil. When boil- 
ing point is reached allow it to cool to blood 
heat, stirring it meanwhile, then strain through 
a sieve into a solution of J^ cwt. of soda in 3 
gal. of water, mixing it well. The above is for 
summer. For winter % cwt. of tallow to 1% 
cwt. palm oil; spring and autumn, V/% cwt. of 
tallow to V/i cwt. palm oil. 

2. Anti-friction Grease, Axle Grease, Lubri- 
bricating Compound.— Melt, but avoid boiling, 
16 lb. tallow and dissolve in it 2J4 lb. sugar of 
lead; then add 3 lb. of black antimony. The 
mixture must be constantly stirred until cold. 
This composition is for cooling the necks of 
shafts and may be of service where the shafts 
are not of the proper length or the bearings 
are at fault. 

3. Lard, 2^£ lb.; camphor, 1 oz.; black lead, % 
lb. Rub the camphor in a mortar into a paste, 
with a small portion of the lard; then add the 
remainder of the lard and the blacklead and 
thoroughly mix. 

4. Mankettrick's unvulcanized rubber (dis- 
solved in oil of turpentine), 4 lb.; Scotch soda, 
10 lb.; glue, 1 lb.; dissolved in 10 gal. of water; 
oil, 10 gal., thoroughly incorporated by assidu- 
ous stirring, adding the rubber last. 

1/ubricating Composition for Railway Axles — 
In a small boiler dissolve from 56 lb. to 60 lb. of 
soda in about 3 gal. water. In a 60 gal. boiler 
melt tallow, and to it add palm oil, each in quan- 
tity according to season. 

1. In summer weather, tallow, 1 cwt. 3 qr.; 
palm oil, 1 cwt. 1 qr. 

2. In winter, tallow, 1 cwt. 1 qr.; palm oil, 1 
cwt. 3 qr. 

3. In spring or autumn, tallow, 1 cwt. 2 qr.; 
palm oil, 1 cwt. 2 qr. As soon as the mixture 
boils, put out the fire, and let the mixture cool 
down gradually, frequently stirring it while 
cooling. When reduced to blood heat, run it 
off through a sieve into the solution of soda, 
stirring it well, to insure a perfect mixture of 
the ingredients. 

1. English Railway Axle Grease : 

Summer. Winter. 

Tallow 504 lb. 420 lb. 

Palm oil 280 1b. 280 1b. 

Sperm oil 22 lb. 35 lb. 

Caustic soda 120 lb. 126 lb. 

Water .1370 lb. 1524 lb. 

2. German Railway Grease : 

Tallow ; 24"60 

Palm oil 9'80 

Rapeseed oil 1*10 

Soda 5'20 

Water ' 59-30 

3. Austrian Railway Grease : 

Tallow. 01 ^ e old 
j-diiuw. 0lL grease# 

Winter 10 20 13 

Spring and autumn 100 10 10 

Summer 100 1 10 

4. French Liard.— Dissolve 3 oz. shredded 
India rubber in 1 gal. finest rapeseed oil by the 
application of heat. 

Axle Grease— -The following is a receipt for 
a thick oil grease : 
1. For use in winter : 

Tallow 35 parts. 

Oil of resin 10 parts. 

Olive or rape oil 65 parts. 

.?. For use in summer : 

Tallow 60 parts. 

Oil of resin 8 parts. 

Olive or rape oil 40 parts. 



The blue color is due to the dark violet tint 
of the oil referred to, while the yellow tint is 
produced by the addition of a solution of tur- 
meric root in caustic soda. 

Lubricant for Car Axles.— Dark ozocerite, 15 
parts; heavy petroleum, 3 to 6 parts. Melt to- 
gether at a gentle heat. Suitable also for heavy 
wagons. 

Belts, Adhesive Grease for.— To 100 parts of 
caster oil add 10 parts of tallow. Belts lubricat- 
ing with this mixture are made flexible, and 
the friction on the pulleys is increased. 

Drill Lubricator.— For drilling wrought iron, 
use l^j lb. soft soap, mixed with 1}4 gal. boiling 
water. Insures ease in working and clean cut- 
ting. 

Liard.— One hundred parts fine rape oil and 2 
parts pure unvulcanized rubber, cut fine. Heat 
over a water bath. 

French's Machine Grease : 

Petroleum , 500 parts. 

Graphite 44 parts. 

Beeswax 1^ parts. 

Tallow 4V*> parts. 

Caustic soda V/% parts. 

These are mixed together at a boiling heat. 

Machinery Lubricants.— 1. Graphite, 28 parts; 
talc, 20 parts; sulphur, 16 parts; wax or paraf- 
fine, 16 parts. 

2. Graphite, 15 parts; bone glue, 73^ parts; 
water, 16 parts; sulphur, 6 parts; wax or par- 
affine, 5J^ parts. A patent has been taken out 
in France for lubricants compounded in this 
manner. 

Metaline.—l. Metaline has been highly com- 
mended as a lubricator to prevent the heating 
of journal boxes in machinery. It appears that 
it is of very uncertain composition, and some 
doubts may be expressed as to the truth of all 
that has been said in reference to it. The first 
claim is for the following : 

2. Eighty parts of finely ground lignum vitas 
is ground up with 20 parts of spermaceti, grad- 
ually added, and the whole then pressed into 
a mould. 

3. Eighty parts ivory dust and 20 parts sper- 
maceti. 

4. Ninety-nine parts tin and 1 part petro- 
leum residue. 

5. Ninety-five parts zinc and 5 parts melted 
India rubber. 

6. Ninety parts anthracite and 10 parts oil dry 
tallow. 

7. Ninety-eight parts bronze (composed of 93% 
copper, %% tin, 1% lead or zinc) and 2 parts fused 
rubber. 

8. Ninety-six parts type metal and 4 parts 
fused India rubber. 

9. Ninety-five parts oxide tin and 5 parts 
beeswax. 

10. Fifty parts iron, ^ part paraffine and 50 
parts tin. 

11. Eighty parts lead and 20 parts cannel coal. . 

12. Ninety-two parts fresh hones and 8 parts 
beeswax. 

13. Ninety parts prepared alumina and 10 
parts spermaceti. 

14. Ninety-five parts copper glance, free from 
silica, and 5 parts fused India rubber. 

15. Eighty-six parts lead, 12 parts lampblack, 
2 parts beeswax. 

Oil of Mustard as a Lubricator. —Mix ordinary 
oil of mustard with a small quantity of petro- 
leum, fish oil or other similar fatty substance. 
This has been found to be an excellent lubri- 
cator for machinery where there is excessive 
f riction, such as turbine wheels, etc. 

Watch Oils.— An oil fit to be used as a lubri- 
cator for fine mechanism should possess the fol- 
lowing essential qualities: It should neither 
thicken nor dry up nor get hard at a low tem- 
perature, nor should it be subject to oxidation. 
In spite of the vast progress natural science 
has made of late years, it has not succeeded in 
discovering an animal or vegetable oil possess- 
ing these combined properties without previ- 



L limber. 



330 



Magnesia. 



•ous artificial manipulation. Let us mention a 
few instances : 

1. Almond oil has the valuable property not 
becoming firm till below 17° R., but it oxidizes 
sooner than any other oil. 

2. Poppy seed oil will withstand cold to 15° R. 
and preserves itself well from oxidation, but it 
is one of the drying oils and therefore useless 
as a watch oil. 

3. Olive oil, up to the present the most useful 
among watch oils, does not dry or thicken, nor 
does it oxidate for a comparatively long time, 
but it hardens at 2° R. 

4. The properties of neatsfoot oil are 
similar to those of olive oil, but it exceeds the 
latter in resistance against oxidation. 

5. Put 1 oz. pure olive oil in a tumbler, add 
:2oz. of 96° alcohol, stirring well; set it away in 
a dark place for twenty-four hours or more, 
well covered, then pour into a clean bottle con- 
taining 10 oz. distilled or clean rain water; 
shake violently for five minutes, allow the 
mixture to stand a half hour or so, then freeze 
-with salt and ice. You will find a good article 
of fine limpid watch oil, perfectly fluid at top. 
Draw off with a siphon. Be careful not to 
break the bottle in freezing. 

Lubricating Soap. See Soaps. 

Lumber, to Preserve. — Lumber treated 
-with steam at a low pressure which has been 
passed through a vessel containing sulphate of 
sine and alum.— Science Record, 187U. See also 
Wood, Preservation of. 

Luminous Bodies. See also Paint, 
Luminous— \. Five parts of a luminous sul- 
phide of an alkaline earth, 10 parts of fluorspar, 
cryolite or other similar fluoride, 1 part of bari- 
um borate; powdered, mixed, made into a cream 
with water, painted on the glass or stone article, 
dried and fired in the usual way for enamels. 
If the article contains an oxide of iron, lead or 
other metal, it must be first glazed with ground 
feldspar, silica, lime phosphate or clay, to keep 
the sulphur of the sulphide from combining 
with the metal. The result is an enameled 
luminous article. — Heaton and Bolas. 

2. Boil for one hour 2*4 oz. caustic lime, re- 
cently prepared by calcining clean white shells 
at a strong red heat, with 1 oz. pure sulphur 
(floured) and 1 qt. soft water. Set aside in a 
covered vessel for a few days; then pour off 
the liquid, collect the clear orange colored crys- 
tals which have deposited and let them drain 
and dry on bibulous paper. Place the dried 
sulphide in a clean graphite crucible provided 
with a cover. Heat for half an hour at a tem- 
perature just short of redness, then quickly 
for about fifteen minutes at a white heat. Re- 
move cover, and pack in clay until perfectly 
cold. A small quantity of pure calcium fluor- 
ide is added to the sulphide before heating it. 
It may be mixed with alcoholic copal varnish. 
— Boston Jl. Chem. 

Luminous Paper. See Paper. p 

Luster 9 Gold, for China Painting.- 

Dissolve 1 drm. gold in % oz. aqua regia, or 
simply dissolve this weight of chloride of gold 
in water. Add 6 grn. metallic tin, and enough 
aqua regia if required to dissolve it. Pour 
with constant stirring into a mixture of ^ 
drm. balsam of sulphur and 20 grn. oil of tur- 
pentine. As it stiffens add y% drm. oil of tur- 
pentine and mix. More gold gives a brighter 
effect; tin inclines it to a violet tinge. Balsam 
of sulphur is made by boiling together in a 
covered vessel 1 part flowers of sulphur and 4 
parts oil until the mass thickens.— [A corre- 
spondent, having tried the above formula, re- 
ports that the gold wears off quickly. This is a 
typical receipt, and was obtained from a reli- 
able authority, but as experiments of this kind 
are costly, amateurs had better purchase the 
gold ready prepared. Janvier recommends 
Lacroix gold (or Lacroix), which can be ob- 
tained in several terms.— Ed.] 



Lusters.— In keramics, the term is used to 
denote films of metal so thin that they become 
irridescent. 

Lustrine. See Starch. 

Lutecine. See Alloys. 

Lutes. See Cements. 

Lye, to Make Good.- Hickory ashes are 
the best for making common washing soft soap 
(when it is not desirable to use the potash lye), 
but those from sound beech, maple, or almost 
any kind of hard wood except oak will answer 
well. A common barrel set upon an inclined 
platform makes a very good leach, but one 
made of boards set in a trough in V shape is to 
be preferred, for the strength of the ashes is 
better obtained, and it may be taken to pieces 
when not in use, and laid up. First, in the bot- 
tom of the leach put a few sticks; over them 
spread a piece of carpet or woolen cloth, which 
is much better than straw ; put on a few inches 
of ashes and from 4 to 8 qt. lime; fill with 
ashes, moistened, and tamp down well— tamp 
the firmest in the center. It is difficult to ob- 
tain the full strength of ashes in a barrel with- 
out removing them after a day's leaching, and 
mixing them up and replacing. The top should 
be first thrown off and new ashes added to 
make up the proper quantity. Use boiling 
water for second leaching. This lye should be 
sufficiently strong to float a potato. 

Macassar Oil. See Hair (Oils). 

Maceration. — "When an infusion is made 
without the aid of heat, the process is termed 
maceration. This takes a much longer time 
than an infusion, rarely requiring less than 
one, and sometimes several weeks. Those sub- 
stances to which heat would be injurious or 
which are easily soluble are treated in this way. 
In many distillations this method is made use of 
to soften the substances before putting into 
the still, and facilitate the extraction of 
their odorous principle. "When tinctures are 
prepared by maceration, they should be fre- 
quently shaken during the process, which 
should be conducted in glass vessels well stop- 
pered. 

Machinery, to Clean. See Cleansing. 

Madder. — Madder is the root of a plant 
known as rubia tinctorum, a native appar- 
ently of Persia, but which has long been 
cultivated In Turkey, France and Holland. 
Several plants of the same and of allied fami- 
lies, contain coloring principles of a similar na- 
tiure, and are occasionally used in its stead. 
The Turkey or Levant roots, known also as 
lizari, are generally imported unground. The 
pieces are outwardly brown and of a light or- 
ange within. 

Madeira Wine. See "Wines. 

Mafurra Oil. See Oil. 

Magenta.— The ordinary trade name given 
to certain bright bluish red coloring matters, 
produced by the action of oxidizing agents upon 
aniline, and found to be compounds of a base 
known as rosaniline, with certain acids. Thus 
the variety sold as roseine or acetate of ma- 
genta, is an acetate of rosaniline. Fuchsine, 
fuchsiacine and fuschine ai*e hydrochloratesof 
the same base, while azaleine and rubine are 
nitrates. The acetates appear to be the most 
beautiful. 

Magilp.— A mixture of boiled linseed oil 
and mastic varnish forms a gelatinous sub- 
stance much used by artists and called ma- 
gilp. 

Magnesia, Citrate of.— 1. Magnesium car- 
bonate, 4 oz.; citric acid, 8 oz.; sugar, 12 oz.; 
water, 9 pt. Flavor with essence of lemon, then 
dissolve and filter, fill bottles immediately and 
add to each 30 grn. of potassium hydrogen car- 
bonate and cork securely. Bottles must not be 
filled any higher than the shoulder. The re- 
ceipt is sufficient for twelve bottles. 






Magnets. 



321 



Manuscripts. 



2. Carbonate of magnesia 4 oz. 

Citric acid 8 oz. 

Oil of lemon 25 drops. 

Sugar 14 oz. 

Water q. s. 

Drop the lemon oil on 4 oz. carbonate of mag- 
nesia, scrape it and place, together with the 
citric acid and six parts water, in a wide mouth 
bottle. In the course of a few hours the solu- 
tion will be effected. Add the sugar and dis- 
solve by frequent agitation. Filter through 
paper and divide the clear liquid into twelve 
suitable bottles. Lastly, these bottles must be 
nearly filled with filtered water, and to each of 
them is added, immediately before corking, 
40 grn. chemically pure bicarbonate of soda. 

Magnets, to Charge. — Correspondents 
frequently ask the following questions, Avhich 
are fully answered in their order: 1. For a 
plain description of how to proceed in order 
to charge a straight bar of steel with suffi- 
cient magnetism to give it the power lifting 
four times its own weight. Also how to pro- 
ceed with horse shoe and other forms. 2. The 
name of the best brand of steel to use— Jes- 
sup's, chrome, black diamond, tool or ma- 
chinery. How to temper. 3. Is there any 
gain in allowing the bar to remain under the 
influence of the current for a long time, or 
does it receive the full charge instantaneously ? 
In fact, we would like some information on 
this subject that we can rely upon. A. 1. The 
quickest and best way to magnetize steel bars 
is to place them centrally in a suitable coil, and 
then connect the helix with the wires from a 
dynamo-electric machine or powerful battery 
for a few seconds, remembering to break the 
current before removing the magnet from the 
coil. If the source of the current is a dynamo 
machine, the coil should be about 2}^ in. long 
and should consist of 10 or 12 layers of No. 12 
magnet wire. If a battery is used, a coil m in. 
long, composed of 14 or 16 layers of No. 16 mag- 
net wire, will be the best. The internal diam- 
eter of the coil should be only large enough to 
admit the bars easily. A battery of six Grenet 
elements, each having an effective zinc surface 
of 30 sq. in. connected in series, will do the 
work very well on small magnets; such, for in- 
stance, as are used in telephones. Where a 
number of magnets are to be made at one time 
the bars may be passed in a continuous line 
through the coil, always keeping three bars in 
contact end to end, adding one above the coil 
before taking one off below. In this manner 
sixty bar magnets have been strongly charged 
in ten minutes. Horse shoe magnets cannot be 
charged so readily. There are two or three 
ways of charging them. One way is to place 
them in contact with the poles of a very strong 
electro-magnet, removing them after breaking 
the current; another method is to place each 
limb of the magnet in a coil adapted toff he 
current to be used, and still another method is 
to employ a single coil, inserting one pole of 
the magnet into the coil in one direction, then 
breaking the current, and inserting the other 
pole into the coil from the opposite direction. 
It is well to remember that the magnet will be 
very much impaired if the current is not 
broken before removing it from the coil. The 
secret of success in charging magnets is to 
have a strong current. It is impossible to make 
magnets satisfactorily without this all import- 
ant requisite. 2. As to the quality of steel best 
adapted to this purpose, machinery steel hard- 
ened and not tempered answers admirably. 
For horse shoe magnets German spring steel is 
the best. Tool steel answers well if hardened 
and drawn to a straw color. 3. The steel re- 
ceives its maximum charge almost instantly. 
It is useless to allow it to remain under the in- 
fluence of the magnetizing current more than 
a few seconds.— Scientific American. 

Magnesium Powder. See Photo- 
graphy. 



Mahogany, Filling for. — Take equal 
parts by weight of whiting, plaster of Paris, 
pumice stone, and litharge, to which may be 
added a little French yellow, asphaltum, Van- 
dyke brown and terra di Sienna/ Mix with 1 
part japan, 2 parts boiled oil and 3 parts tur- 
pentine; grind fine in a mill. Lay the filling 
in with a brush, rub it in well, let it set twenty 
minutes and then rub it clean. 

Maillechort. See Alloys. 

Malachite, Artificial. — Artificial mala- 
chite, which is susceptible to a fine polish, is 
made by precipitating a solution of sulphate of 
copper in the cold by carbonate of soda or of 
potash. The precipitate, which is voluminous, 
should be allowed first to cohere, and is then 
dried and washed. 

Malleability.— Is the property belonging 
to certain metals of being beaten out into thin 
plates, without cracking or breaking. 

Malt Extract with Iron. — Distilled 
water, 4^ parts; phosphate of iron, 3 parts; a 
little citrate of ammonium. Dissolve and mix 
with 142J^ parts malt extract. 

Malt Extract.— Put in a vessel equal parts 
of crushed malt and water. After standing for 
three or four hours, add 4 parts warm water. 
The mixture should be kept for an hour at a 
temperature of 150° F. Boil up the liquid, press 
and filter. Evaporate quickly. 

Maltha or Greeh Mastic— Mix lime and 
sand the same as for mortar. Use milk or size, 
instead of water, to make the proper consist- 
ency. 

Manganese Alloys. See Alloys. 
Manifold Paper. See Paper. 

Manipulations, Chemical and Phar- 
maceutical.— See the subjects named below : 
Cerates, Clarification, Concentration, Decanta- 
tion, Desiccation, Decoctions, Digestion, Distilla- 
tion, Dialysis, Elutriation, Emulsions, Evapora- 
tion, Extracts, Fusion, Infusion, Liniment, Levi- 
gation, Liquefaction, Maceration, Percolation, 
Pills, Precipitation, Pulverization, Reduction, 
Saturation, Solution, Sublimation, SupjJositories, 
Tinctures. 

Mannheim Gold. See Alloys. 

Manures, Artificial.— 1. (Anderson.) Am- 
monium sulphate, common salt and oil of 
vitriol, each 10 parts; potassium chloride, 15 
parts; gypsum and potassium sulphate, each 
17 parts; saltpeter, 20 parts; crude Epsom salts, 
sodium sulphate, 33 parts. For clover. 

2. (Huxtable.) Crude potash, 281b.; common 
salt, 1 cwt.; bone dust and gypsum, each 2 cwt.; 
wood ashes, 15 bushels. For either corn, tur- 
nips or grass. 

3. (Johnstone.) Sodium sulphate (dry), 11 lb.; 
wood ashes, 28 lb.; common salt, % cwt.; crude 
ammonium sulphate, 1 cwt.; bone dust, 7 
bushels. As a substitute for guano. 

Liquid Manure.— 1. Dissolve 25 lb. guano in 
5 gallons of water. For use add 2}/i oz. of this 
solution to 5 gal. water. 

2. Sheeps' dung, \& peck, to 15 gal. of water; 
sulphate of ammonia, % oz. to every gallon. 

Manure from Soot.— Save the soot that falls 
from the chimneys when the latter are cleaned. 
Twelve qt. soot to 1 hhd. water makes a good 
liquid manure, to be applied to the roots of 
plants. See also Fertilizers. 

Manuscripts, to Renew.— 1. Take a hair 
pencil and wash the part that has been effaced 
with a solution of prussiate of potash in water, 
and the writing will again appear if the paper 
has not been destroyed. 

2. Wash the paper with a strong solution of 
tannin. Dry carefully. 

To Preserve.— Mix 100 pt. collodion with 2 pt. 
stearine. Give the paper a coating of this. It 
dries in twenty minutes. 

Maple Beer. See Beers. 



Maps. 



322 



Mastic. 



Maps. —Backing Maps with Muslin.— Stretch 
your muslin (ordinary cotton stuff) on a wooden 
stretcher by means of tacks, cover your map on 
the back with an even and thin coat of good 
boiled starch or flour paste or other sticking ma- 
terials, no matter what, if it only sticks. Lay the 
map on the cloth, only taking care to do this 
smoothly and to avoid wrinkles; rub it evenly 
down after temporarily covering- the place you 
rub with a piece of clean paper so as to avoid fric- 
tion over the map itself. Let it dry, and the work 
is done. In order to avoid wrinkles, it is quite 
essential to let your paper map, after being 
covered with the starch paste, soak for a few 
minutes, so as to give the paper a chance to ex- 
pand from the moisture. It will then, while 
contracting from the drying, obtain a very 
smoothly stretched surface. Bookbinders al- 
ways carefully observe this when pasting pa- 
pers on book covers, etc. 

Map Colors.— 1. Blue.— A weak mixture of sul- 
phate of indigo and water, to which add a small 
quantity of gum. 

2. Green.— Dissolve crystals of verdigris in 
water, and add a small quantity of gum. 

3. Red.— Make a decoction of Brazil dust in 
vinegar and a small quantity of gum and alum; 
or make an infusion of cochineal and add a 
little gum. 

4. Yellow.— Dissolve gamboge in water, or 
make a decoction of French berries, strain, and 
add a small quantity of gum arabic. 

To Mount Maps.— I. Stretch smooth factory 
cloth upon a frame and coat it with glue size. 
Before this dries, apply a strong flour paste to 
the back of the map, and lay it smoothly on the 
cloth. Let it remain until I perfectly dry. If 
the map is to be varnished, apply two or three 
coats of isinglass size, and after it becomes 
thoroughly dry, flow on a coat of varnish con- 
sisting of balsam of fir diluted to the proper 
consistency with turpentine. 

2. Stretch the muslin on a flat table, tacking 
the edges if necessary, spread the paper face 
downward on another table, and rub it over 
with perfectly smooth flour paste. If neces- 
sary, the paste must be passed through a fine 
wire sieve. If properly made, this will not be 
required. Then hft the paper and place it 
paste side downward on the muslin. Lay an- 
other piece over it, and rub it down with the 
hand. 

Belief Maps.— Suppose you have a map of a 
section of country on which are marked contour 
lines made by passing horizontal planes at verti- 
cal distances of 10 ft., or any other distance. 
Take sheets of cardboard so that the thickness 
shall represent 1ft., then 10 superposed will give 
10ft. The thickness of the cardboard is of course 
the unit of your scale, both vertical and horizon- 
tal. Now cut out pieces of cardboard of the same 
size and shape as the horizontal space embraced 
by the different contour lines. Then on your 
map draw in between the contour lines and 
approximately parallel to the nine other 
lines, and cut pieces of cardboard correspond- 
ing to them. Superpose these in their regular 
order, and you have the rough formation in 
relief of your map. The pieces of cardboard 
are pasted together and carefully pressed to 
keep the whole mass uniform. Then smear 
wax over the whole, in order to make a smooth 
surface. Different colors will represent roads, 
grass, rivers, etc. Trees or forests can be rep- 
resented by dried green moss. Houses and 
other buildings and constructions are made of 
wax. In the practical work of making such a 
map, other details may come up, but they will 
generally be such as will present little difficulty 
to any one at all conversant with modeling. 
The chief difficulty lies in procuring maps with 
contour lines marked on them. 

Maps,Varnishfor. See Varnishes. 

Maraschino. See Liquors. 
Marble, Artificial. —1. Reduce marble 
dust or white limestone to a very fine powder 



by grinding and sifting, mix with it inti- 
mately about J4 its weight of zinc oxide (zinc 
white) and % its weight of Portland cement, 
and mix thoroughly into a thick paste with a 
sufficient quantity of a hot aqueous solution of 
waterglass, containing about 40$ of the glass. 
Mould the paste under pressure while warm, 
and expose the moulded form for a week or 
ten days to warm dry air, before finishing. 

2. A solution of alum is made by dissolving 
the alum in sufficient water, and then plaster 
of Paris is put right into the vessel containing 
the liquid. It is then so mixed that the solu- 
tion reaches all portions of the plaster. Next, 
as described, it is baked. 

3. Good Portland cement and colors that 
take on that material are mixed dry and made 
into a paste with the least quantity of water 
added. One paste has to be made for each 
color. The different pastes are placed on top 
of one another in layers of different thickness. 
The mass is pressed from all sides and beaten 
so that the colors of the different parts impress 
themselves on each other without uniformity. 
The result is that more or less deep veins pene- 
trate the mass; this is then sawed into plates, 
which are pressed in a mould for twelve days, 
during which time it is necessary to keep them 
moist as long as they are not entirely hard- 
ened. The plates are polished in the same way 
as marble. 

4. H. Brack says this composition (marmorit) 
contains .2 parts of magnesia, 2 parts of lime 
and quicklime, 1 part of carbonic acid, J4 part 
of silicic acid, J4 part of argillaceous earth, and 
1 part of magnesium chloride. 

Marble, Cements for. See Cements. 

Marble, to Clean.— To clean marble from 
discoloration: Try 2 parts sodium carbonate, 1 
part of pumice stone^and 1 part of finely pow- 
dered chalk. Mix into a fine paste with water. 
Rub this over the marble, and the stains will 
be removed; then wash with soap and water. 
See also Cleansing {Marble). 

Marble, to Gild. See Gilding. 

Marbling. See Graining. 

Marbleizing Mantels.-The slate is coated 
with asphalt, ground to a smooth surface, and 
baked. The paints are mixed in oil and floated 
on water, the prepared slate being brought in- 
to contact with the under surface of the paint 
by bringing it up through the water. The 
paint thus adheres in irregular patches, pro- 
ducing the marbleization. After drying it is 
again baked. 

Marble, to Polish. See Polishing. 

Marble, to Stain. See Dyeing. 

Marine Glue. See Glues. 

Marking Ink, See Inks. 

Marking Tools.— To mark tools warm 
them slightly, and rub the steel with wax, or 
hard tallow, until a film gathers. Then scratch 
the letters on the wax, cutting through to the 
steel. A little nitric acid poured on the writ- 
ing will quickly eat out the letters. Wash 
off the acid and remove the wax with a hot rag, 
and the letters will be securely etched. See 
Etching. 

Marley's Alloy. See Alloys. 

Marly.— The flat border of a plate. 

Martial Regulus. See Alloys. 

Masks, Life. See Plaster Casting 
from Iiife. 

Masses, for Flowers, etc. See Compo- 
sitions. 

Masses for Picture Frames, etc. 
See Compositions. 

Massicot. See Litharge. 

Mastic— Mastich, Gum Mastic— The resin 
flowing from the incised bark of Pistacia len- 
tiscus, var. Chia. It occurs in pale yellowish, 



Ma tclie*. 



Matches. 



transparent, rounded tears, which soften be- 
tween the teeth when chewed, and give out a 
bitter, aromatic taste, sp. gr. TOT. It is solu- 
ble in both rectified spirit and oil of turpen- 
tine, forming varnishes. It is chiefly used as a 
masticatory to strengthen and preserve the 
teeth and perfume the breath. 

Matches.— For complete information con- 
sult Dussauce, Practical Treatise on the Fabrica- 
tion of Matches, etc. 

Matches.— Ordinary matches are small slips 
of wood which have been dipped in sulphur, 
and afterward tipped with a paste capable of 
ignition by friction. This paste contains : 

1. Common phosphorus, 4 parts ; niter, 16 
parts; red lead, 3 parts; strong lead, 6 parts. 

2. Ordinary phosphorus, 9 parts ; niter, 14 
parts; binoxide of manganese, 14 parts; gum 
or glue, 16 parts. Melt the glue at 213° F., 
gradually add the phosphorus, which must be 
well stirred into the liquid ; then add the niter 
and coloring matter. Keep the paste at a regu- 
lar temperature of about 97° F. by means of 
hot water under the marble or cast iron slab 
on which it is spread while the matches are 
being dipped. If gum is used, all the opera- 
tions may be more easily performed, as the 
materials can be mixed cold ; but the matches 
made with gum are easily spoiled by damp. 

Chlorate Matches.— Prep. Chlorate of potassa, 
30 grn.; flowers of sulphur, 10 grn.; powdered 
lump sugar, 8 grn.; powdered gum arabic, 5 grn.; 
vermilion, enough to color. Proc. Reduce 
the chlorate to fine powder in a marble or 
Wedgwood ware mortar, then place it on a 
stone slab, add the other«ingredients, and mix 
them all together with a wooden or bone 
knife, adding just sufficient water to make a 
paste. Into this mixture the points of matches, 
made of slips of thin wood or pasteboard, are 
to be dipped, and afterward carefully dried in 
a moderately warm situation. 

English Matches. — Two parts fine glue soaked 
In water till quite soft, 4 parts water, heated 
together in a water bath till quite fluid; re- 
move the vessel from the bath, and add 1% to 2 
parts phosphorus, agitating the mixture 
briskly and continually with a stirrer having 
wooden pegs or bristles projecting beneath. 
When the mass is uniform, 4 or 5 parts chlorate 
of potash, 3 or 4 parts powdered glass, and suffi- 
cient coloring matter in the form of red lead, 
smalts, etc., are cautiously added, and the 
whole is stirred till cool. 

Friction: 

Fine glue 2 parts. 

Water 4 parts. 

Phosphorus 1H to 2 parts. 

Potassium chlorate 4 to 5 parts. 

Powdered glass 3 to 4 parts. 

Red or white lead or smalt sufficient to 
color. 
Parlor 

Dry the splints and immerse the ends in 
melted stearine. Then dip in following mix- 
ture and dry : 

Phosphorus (red) 3 parts. 

Gum arabic or tragacanth — 0*5 part. 

Water 3 parts. 

Sand (finely ground) 2 parts. 

Binoxide of lead 2 parts. 

Perfume by dipping in a solution of benzoic 
acid. 

Matches without Phosphorus.— 1. For the pro- 
duction of these lucifers a mixture of from 4 
to 6 parts of chlorate of potash and 2 parts 
each of bichromate of potash and of oxide of 
iron or lead, with 3 parts strong glue is used. 
For the igniting surface, a mixture of 29 parts 
sulphate of antimony, 2 to 4 parts bichromate 
of potash, 4 to 6 parts oxide of either iron, lead 
or manganese, 2 parts of glass powder and 
from 2 to 3 parts strong glue or gum. These 
matches will ignite only on the friction surface 
thus prepared. 



2. For the match heads a mixture of chlorate 
of potash and a compound of hyposulphurous 
acid with soda, ammonia and oxide and sub- 
oxide of copper. This compound is formed by 
dividing a solution of copper into two equal 
parts, supersaturating one of them with ammo- 
nia and the other with hyposulphate of soda; 
then mixing the two solutions and stirring the 
mixture well, a violet powder precipitates. One 
part of it is to be mixed with 2 parts of the 
chlorate of potash, and a small quantity of 
pounded glass. Lucifers made in this way are, 
however, objectionable, from the fact that they 
will ignite on any rough substance, even more 
easily than the common kind. 

3. The following is one of the best receipts 
for composition match tips without phospho- 
rus. It is the same as that used in preparing 
the well known U. and P. matches and does not 
require a separate rubber or prepared sur- 
face: 

Potassium chlorate 26 oz. 

Manganese, black oxide 25 oz. 

Potassium bichromate 20 oz. 

Lead cyanide 20 oz. 

Antimony oxysulphide 20 oz. 

Glass powder 4 oz. 

These substances are first powdered sepa- 
rately and then gradually mixed into a solution 
of 1 lb. gum in 4 lb. water, to form a thick, 
smooth paste; with this paste the dry wood 
splinters are tipped, and after about eighteen 
hours' exposure to the air in a drying room, 
kept at about 80° Fah., the matches are ready 
for boxing. To render the matches non ab- 
sorbent of moisture or waterproof, they are mo- 
mentarily dipped into a liquid composed of: 

Shellac, best white 1 lb. 

Alcohol, or wood naphtha 1 qt. 

digested together in a closed vessel for several 
days with occasional agitation, then strained 
through fine linen cloth. 

Safety Matches. — 1. Dip the splints in a paste 
composed of chlorate of potash, 6 parts; sul- 
phide of antimony, 2 to 3 parts; glue, weighed 
dry, 1 part. The paste for the rubbing surface 
is amorphous phosphorus, 10 parts; oxide of 
manganese, or sulphide of antimony, 8 parts; 
glue, 3 to 6 parts, weighed dry. The ingredi- 
ents must be thoroughly mixed, and care must 
be taken not to mix the chlorate of potash in 
the dry state with the other materials; it should 
be mixed first with glue dissolved in warm 
water. The paste for the rubbing surface may 
be spread with a brush or spatula on the side of 
the box. 

2. Glue, 16 parts; chrome yellow, 2 parts; 
oxide of iron, 2 parts; peroxide of manganese, 
24 parts; hyposulphite of lead, 8 parts; and 
chlorate of potash, 36 parts. Composition for 
the box.— Hyposulphite of lead, 260 parts; 
chlorate of potash, 14 parts; oxide of iron, 7 
parts; powdered glass, 8 parts; finest glue, 4 
parts; and amorphous phosphorus, 24 parts. 
Glue is dissolved in water; other ingredients 
being in powder, are afterward mixed with it 
to the consistence of paint and applied with a 
brush to the surface of the box. 

Silent Matches.— 1. Dissolve 16 parts gum arabic 
in least possible quantity of water, triturate in 
9 parts powdered phosphorus and add 14 parts 
niter, 16 parts vermilion or binoxide of man- 
ganese, and form the whole into a paste. 

2. Six parts glue soaked in a little cold water 
for twenty-four hours, and liquified by tritura- 
tion in a heated mortar; add 4 parts phospho- 
rus and rub down at a heat not exceeding 150° 
F. (66° C); mix in 10 parts powdered niter and 
then 5 parts red ocher and 2 parts smalts and 
form the whole into a uniform paste. 

3. Instead of phosphorus, lead sulphocyanate 
mixed with precipitated antimony sulphide is 
treated in the moist state with an oxygenous 
substance, such as potassium chlorate, with in- 
different coloring and rubbing agents, such as 



Matches. 



324 



Mats. 



glass, quartz, pumice powder, ultramarine, etc., 
and with glutinous substances, such as glue, 
gum and dextrine. The mixture is used in 
place of the materials employed for igniting 
sulphur matches, wax lights, etc.— H. Schwa/rz. 
4. The following is the recipe given by Ber- 
zelius : Weigh out 30 parts powdered chlorate of 
potash, 10 parts of powdered sulphur, 8 parts of 
sugar and 5 parts of gum arabic, with a little 
cinnabar to communicate color. The sugar, 
gum and salt are first rubbed together into a 
thin paste with water. The sulphur is then 
added and the whole been thoroughly beaten 
together, small brimstone matches are dipped 
in, so as to retain a thin coat of the mixture 
upon their sulphured ends. When quite dry 
they are fit for use. 

Swedish. — 1. Matches from Sweden were found 
to be tipped with an igniting composition 
made up of the following substances : 

In 100 parts. 

Glass 8-77 

Glue 7*13 

Potassic bichromate 5'59 

Potassic chlorate 46*76 

Ferric oxide , 4*09 

Manganese 13*07 

Sulphur . 7*41 

It is supposed that the following proportions 
were employed in the manufacture of the com- 
position : 

Glass 1341b. 

Glue 1 lb. 

Potassic bichromate % lb. 

Potassic chlorate 6% lb. 

Ferric oxide y% lb. 

Manganese 2 lb. 

Sulphur 1 lb. 

In consequence of the small proportion of 
oxygen yielding substances to sulphur, a large 
quantity of sulphurous acid is evolved on ignit- 
ing the mass. 

2. In another composition, likewise from 
Sweden, Wiederhold found to 1 of sulphur 
21 of potassic chlorate. This composition yield- 
ed no free sulphurous acid, the sulphur being 
wholly oxidized to sulphuric acid.— Dingier' s 
Polyt. Joum. 

Matches without Sulphur.— Char the ends of 
the splints with red hot iron, dip them into a 
thin layer of stearic acid or wax, melted in a 
flat-bottomed tinned copper pan. The dipping 
paste for these matches is ordinary phosphorus, 
3 parts; strong glue, 3'5 parts; water, 3 parts: 
fine sand, 2*0 parts; coloring matter, 0*1 to 0'5 
parts; chlorate of potash, 3 parts. These 
matches burn readily, with a bright flame, and 
have no^unpleasant smell. Amorphous phos- 
phorus not being poisonous or liable to acci- 
dental ignition, is preferable to ordinary phos- 
phorus. The paste used is amorphous phos- 
phorus, 3 parts; chlorate of potash, 4 parts; 
glue, 2*5 parts; water, 5 parts; pounded glass, 2 
parts. 

Vestas. — Vestas are tipped with similau in- 
gredients, but the taper being less rigid than 
wood, a larger proportion of phosphorus is 
added. 

Vesuvians. — The heads of vesuvians are made 
up principally with powdered charcoal and 
saltpeter in some such proportions as the fol- 
lowing : Eighteen parts saltpeter, 19 parts char- 
coal, 7 parts powdered glass, 5 or 6 parts gum 
arabic; to these ingredients are added a little 
scent in the form of satinwood, lignum- vitae 
dust, cascarilla bark or gum benzoin, which 
renders them fragrant while burning. The ig- 
niting composition is identical with safety 
matches. 

Matrices, Paper. — Paper matrices for 
making stereotype plates from type forms, used 
in newspaper offices, are prepared as follows : 
Make a jelly paste of flour, starch and whiting. 
Dampen a sheet of soft blotting paper, cover 
its surface with the paste, lay thereon a sheet 



of fine tissue paper, cover the surface with 
paste, and so on until four to six sheets of the 
tissue paper have been laid on. The combined 
sheet thus made is then placed, tissue face 
down, upon the form of types, which are pre- 
viously dusted with whiting, and with a brush 
driven down upon the types and thereon al- 
lowed to dry. The operation of drying is facil- 
itated by having the types warmed by placing 
them upon a steam heated table. A blanket is 
placed over the paper during the drying opei*a- 
tion. There is a better process in which a spe- 
cial kind of tissue paper is used. 

Matrices, Paste for. See Pastes. 

Mats.— To Prepare Sheepskins for Mats.— 1. 
Make a strong lather with hot water and let it. 
stand till cold; wash the skin in it, carefully 
squeezing out all the dirt from the wool; wash 
it in cold water till all the soap is taken out. 
Dissolve 1 lb. each of salt and alum in 2 gal. of 
hot water, and put the skin into a tub sufficient 
to cover it; let it soak for twelve hours, and 
hang it over a pole to drain. When well drain- 
ed stretch it caref ully on a board to dry, and 
stretch several times while drying. Before it is- 
quite dry, sprinkle on the flesh side 1 oz. each of 
finely pulverized alum and saltpeter, rubbing it 
in well. Try if the wool be firm on the skin; if 
not, let it remain a day or two, then rub again 
with alum; fold the flesh sides together and 
hang in the shade for two or three days, turning 
them over each day till quite dry. Scrape the 
flesh side with a blunt knife and rub it with 
pumice or rotten stone. 

2. Fur skins are tanned by first removing all 
the useless parts and softening the skin by soak- 
ing, then remove the fatty matter from the 
inside and soak it in warm water for an hour. 
Next mix equal parts of borax, saltpeter, and 
sulphate of soda in the proportion of about % 
oz. of each for each skin, with sufficient water 
to make a thin paste; spread this with a brush 
over the inside of the skin, applying more on 
the thicker parts than on the thinner; double 
the skin toget her, flesh side inward, and place 
it in a cool place. After standing twenty-four 
hours wash the skin clean, and apply in the 
same manner as before a mixture of 1 oz. sal 
soda, J^ oz. borax, and 2 oz. hard white soap, 
melted slowly together without being allowed 
to boil; fold together and put away in a warm 
place for twenty-four hours. After this, dis- 
solve 4 oz. alum, 8 bz. salt, and 2 oz. saleratus 
in sufficient hot rain water to saturate the 
skin; when cool enough not to scald the hands, 
soak the skin in it for twelve hours; then wring 
out and hang it up to dry. When dry repeat 
the soaking and drying two or three times till 
the skin is sufficiently soft. Lastly, smooth the 
inside with fine sandpaper and pumice stone. 

3. Another description of the process. Wash 
while fresh, in strong soapsuds, first picking 
from the wool all the dirt that will come out. 
A little paraffine, a tablespoonf ul to 3 gal. of 
water, will aid in removing the impurities. 
Continue to wash the skin in fresh euds till it- 
is white and clean. Then dissolve y& ib. each of 
salt and alum in 3 pt. of boiling water, put into 
it water enough to cover the skin, which should 
soak in the solution twelve hours, and then be 
hung on a line to drain. When nearly dry nail 
it, wool side in, on a board, or the side f a 
barn, to dry. Rub into the skin an ounce each 
of pulverized alum and saltpeter, and if the 
skin is large double the quantity. Rub for an 
hour or two. Fold the skin sides together, and 
hang the skin away for three days, rubbing it 
every day or till perfectly dry. Then with a 
blunt knife clear the skin of impurities, rub it 
with pumice or rotten stone, trim it into shape, 
and you have a door mat that will last a life- 
time. If it is to be dyed, have a shallow vessel 
as large as the skin in which to prepare the 
dye, so that the skin can be laid wool side down 
smoothly into the vessel, that all parts may be 
equally immersed in the dye. This should not- 



Mayonnaise. 



325 



Meat. 



*be more than an inch deep, otherwise the skin 
might be injured by the hot dye. After color- 
ing again stretch the skin to dry, and then 
comb with a wool or cotton card. — English Me- 
chanic. See also Tanning. 

Matt. See Regulus. 

Matting, to Clean. See Cleansing. 

Mayonnaise : 

Powdered turmeric 1 oz. 

Powdered tragacanth 1 oz. 

Olive oil 8 oz. 

Eggs .8 oz. 

Water b% pt. 

Ground mustard 1% oz. 

Salt 8 oz. 

Acetic acid (glacial) 2 oz. 

Tincture of capsicum I v/ 07 

(Or according to taste.) f r2 * 
Sugar 1 lb. 

Mix the first three ingredients in a mortar 
■capable of holding one gallon, then add the 
eggs, which have been whipped previously, and 
incorporate thoroughly until an emulsion is 
formed; next mix separately the mustard and 
water, allow to stand ten or fifteen minutes, or 
until the flavor is fully developed, then add the 
last four ingredients, mix and add the liquid 
gradually to the contents of the mortar. It 
«hould make a smooth, uniform emulsion; 
finally, strain through cheese cloth. 

This is a seasonable preparation, and may 
serve not only for the delectation of the phar- 
macist himself, but would furnish an article of 
sale as well.— Pharm. Era. 

Mead.— Mead is an old fashioned beverage, 
but a very pleasant one, if care is taken in 
making it. It is generally made over strong, 
too much honey being used to the proportion 
of water. The following is a good recipe : 

1. On 30 lb. honey (clarified) pour 13 gal. soft 
water, boiling hot. Clarify with the whites of 
eggs, well beaten; boil again, remove all scum 
as it rises, add 1 oz. of best hops, and boil for 
ten minutes, then pour the liquor into a tub to 
cool, spreading a slice of toast on both sides 
with yeast, and putting it into the tub when 
the liquor is nearly cold. The tub should stand 
in a warm room. When fermentation has thor- 
oughly begun, pour the mixture into a cask, 
and as it works off, fill up the cask, keeping 
back some of the liquor for this purpose. Bung 
down closely when fermentation has ceased, 
leaving a peg hole, which can be closed up in a 
few days. Let it remain a year in the cask be- 
fore bottling off. 

2. To 15 lb. honey add 8 gal. of water; clarify 
the honey with white of eggs; boil for ten 
minutes, and keep thoroughly skimmed; add a 
handful of mixed herbs, thyme, rosemary tops 
and bay leaves; boil for half an hour more; 
strain the mixture into a tub upon 5 pt. ground 
malt; stir well together, and, when lukewarm, 
strain through a cloth into another tub; work 
it with yeast, and when fermentation is set up, 

{)our it into a cask. Suspend in the cask a mus- 
in bag containing sliced ginger, Yz oz.; J4 oz. 
each of cloves, nutmeg and mace, well bruised; 
bung up tightly when it has ceased working, 
letting the bag of spices remain. It should 
stand in the wood for a year and then be bottled 
off. 

Sack Mead.— To every gallon of water allow 
4 lb. honey; boil for three-quarters of an hour, 
skimming well; to each gallon of liquor add 
H oz. hops; boil again for a quarter of an hour; 

Eour it into a tuf" and let stand for twenty-four 
ours, w orking with yeast; then pour into the 
cask, an( i to 13 gal. of liquor allow 1 qt. sack. 
Close lightly until all fermentation has ceased, 
then bung up close. If a large cask, allow a 
year in wood before bottling off. 

American mead is made with cider. Take 20 
lb. honey and 12 gal. good cider, and blend them 
together in a tub; ferment with yeast, then 



pour into a cask and add Vn gal. rum, J4 gal. 
French brandy, 4 oz. red tartar, dissolved, and 
y% oz. cloves. Bung down close when it has 
ceased working and bottle off at the end of 
three months; it will be fit for use three months 
afterward. 

Measures, Etc. See Appendix. 

Meat, Preservation of. See also Anti- 
septics. 

Meat, to Preserve.— Dr. Richardson says 
that putrefactive changes in meat are due to 
the decomposition of the water contained in 
the tissues. The means which have been found 
to arrest this decomposition are, first, a low 
temperature; second, a high state of desicca- 
tion; third, the application of antiseptics; 
fourth, the exclusion of air. 

Refrigeration.— Subjection to a low tempera- 
ture is a thoroughly effective way of preserv- 
ing meat, but it can be considered only as tem- 
porary, decomposition ensuing when the cold 
state is abandoned. Nevertheless, its effects 
are sufficiently lasting to serve practical ends, 
and the process seems most likely to solve the 
problem of conveying large quantities of fresh 
meat to foreign countries. Numerous plans 
have been devised, all aiming at the production 
of a sufficiently low temperature at a remun- 
erative cost. The principal are : 

1. Harrison's. — The meat is first frozen and is 
then packed in a chamber on board ship, the 
air of which is maintained in a thoroughly dry 
state, so as to keep up a slow but constant 
evaporation from the surface of the meat. The 
meat is placed in tanks, which are kept cool by 
directing a stream of brine among ice, and 
regulating the strength of the brine so as to 
produce the desired degree of cold. The ice 
and brine are kept in tanks above the meat, 
and from them streams constantly trickle over 
and around the meat tanks. The consumption 
of ice is less than 50 tons for 50 tons of meat, 
and the proportion decreases with larger quan- 
tities. The meat retains its full flavor and will 
keep good in a temperature of 63° to 68° F. (17° 
to 20° C.) for seventy or eighty hours after re- 
moval from the tanks. The drawback is the 
bulk of ice required. 

2. Tellier's. — The joints of meat are placed in 
a chamber; through which is passed a current 
of air charged with ether or other volatile sub- 
stance, so as to reduce the temperature suffi- 
ciently low to preserve the meat without freez- 
ing its juices. 

3. Mort and Nicolle's. — In this process the 
freezing agent is ammonia solution under a 
pressure of 50 to 70 lb. a square inch. The 
freezing room is kept below 32° P. (0° C.) and 
the meat is frozen quite hard. 

4. Poggiale's.— A low temperature is main- 
tained by the evaporation of methylic ether 
and circulation of chloride of calcium. 

5. Professor F. Sacc's (Neuf chatel, Switzer- 
land) process for curing meat by submitting it 
to the action of acetate of soda is very simple. 
Arrange the meat in a ban-el, deposit about 
and on it powdered acetate of soda to about 
the quarter of the weight of the meat. In 
summer the action takes place immediately; in 
winter it is necessary to place the vessels in a 
room warmed to about 68° F. The salt ab- 
sorbs the water of the meat; after twenty- 
four hours the pieces are turned and the lower 
placed uppermost. In forty-eight hours the 
action is finished and the pieces are packed in 
barrels with their brine, or dry in the air. If 
the barrels are not full, it suffices to fill up with 
the brine made by dissolving 1 part (by weight) 
of the acetate of soda in 3 parts of water. The 
pieces may be of ordinary size, and when re- 
quired for use may be freed from the salt by 
washing in running water. The dry acetate of 
soda may be recovered from the brine by 
evaporating off the water over a fire. 



Meerschaum. 



326 



Metal. 



6. According" to Mr. E. Polenske, the compo- 
sition of some of the preparations employed in 
commerce for the preservation of meat is as 
follows: Sozolithe: 

Sulphite of ammonia 37 '3# 

Sulphurous acid 39'7% 

Soda 21 % 

Water 2 % 

7. Concentrated berlinite : 

Crystallized borax 82*7$ 

Boric acid 9*8# 

Chloride of sodium.. .„ . 7'5# 

8. Poechel berlinite: 

Chloride of sodium .45*9$ 

Nitrateof potash 32"3# 

Boric acid ..W&% 

Water 2'5# 

9. The Minerva Chinese preservative powder : 

Chloride of sodium 25 % 

Boric acid 17*7# 

Sulphate of soda 38'8# 

Sulphite of soda 9'2# 

Water 9*3^ 

10. Australian salt : 

Crystallized borax 94 % 

Chloride of sodium 5'5% 

With 0'5% of some hydrocarburet. 

11. Ruger's barmenite : 

Boric acid 50% 

Chloride of sodium 50$ 

12. The True Australian Meat Preservative.— 
According to analyses of three specimens from 
different sources, this is bisulphite of lime. 
This is what is unwittingly employed in solu- 
tions by butchers, on summer afternoons, for 
painting their meat. It is sold to them under 
various fantastic names. The liquid is nothing 
but a solution of lime in sulphurous acid, and is 
used every day in brewing as a disinfecting 
agent. The bisulphite of lime, applied to meat, 
preserves it from the attack of flies and keeps 
it looking well. There is no danger attending 
the use of it, since a portion of the sulphurous 
acid volatilizes, and the sulphite changes into 
sulphate of lime or plaster, which, as well 
known, is innocuous. A simple washing, more- 
over, suffices to remove the sulphite com- 
pletely at the moment of preparing the meat. 
This preservative agent is particularly valu- 
able during the heat of summer, and the use of 
it can be very safely recommended. In com- 
merce, it is found in a more or less concen- 
trated solution containing : 

No. 1. No. 2. 

Sulphite of lime. 36'73^ 11*04# 

Sulphurous acid 20'46^ 30 W 

—Chronique Industrielle. 

Medicinal Soaps. See Soaps. *■ 

Medium.— Anything in which pigments 
are mixed, such as oil, turpentine, etc. 

Meeu Fun. See Powders. 

Meerschaum.- This mineral is a hydrous 
silicate of magnesia ; it occurs in veins and 
nodules. It comes chiefly from Asia Minor. 
Its composition is silica, 60 parts; magnesia 
28 parts : water, 12 parts. Its principal use, 
for making the bowls of pipes. 

Meerschaum, Artificial-— Hardened gypsum, 
boiled with stearic acid or paraffine, much re- 
sembles meerschaum. The resemblance may 
be much increased by coloring the mixture 
with solution of gamboge and dragon'sblood. 

Meei~schaum,.to Cement. See Cements. 

Meerschaum, to Boil and Color.— The bowls of 
the pipes, when imported into Germany, are 



prepared for sale by soaking them first in tal- 
low, then in wax, and finally by polishing them 
with share grass. The coloring process as con- 
ducted by dealers is secret. The coloring for 
pipes is performed by a secret process, prob- 
ably using some solvent of nicotine. 

Meerschaum, to Color.— Ordinarily the pipe is 
boiled for coloring in a preparation of wax 
which is absorbed, and a thin coating of wax is 
held on the surface of the pipe, and made to 
take a high polish. Under the wax is retained 
the oil of tobacco, which is absorbed by the 
pipe, and its hue grows darker in proportion to 
the tobacco used. A meerschaum pipe at first 
should be smoked very slowly, and before a sec- 
ond bowlful is lighted the pipe should cool off. 
This is to keep the wax as far up on the bowl 
as possible, and rapid smoking will overheat, 
driving the wax off and leaving the pipe dry 
and raw. A new pipe should never be smoked 
outdoors in extremely cold weather. 

2. Fill the pipe and smoke down about one- 
third, or to the height to which you wish to 
color. Leave the remainder of the tobacco in 
the pipe and do not empty or disturb it for sev- 
eral weeks, or until the desired color is ob- 
tained. When smoking, put fresh tobacco 
on the top and smoke to the same level. 

3. When once burnt the pipe cannot be satis- 
factorily colored, unless the burnt portion is 
removed and the surface again treated by the 
process by which meerschaum is prepared. The 
coloring is produced by action of the smoke 
upon the oils and wax which are superficially 
on the exterior of the pipe, and are applied in 
the process of manufacture. 

Substitute for Meersch aum (Bertolio 's) . —Make 
a hot solution of silicate of potash. Place in it 
carbonate of magnesia cut in small pieces. Let 
the pieces remain in the solution a few days, 
and then dry. Repeat several times, using a fresh 
hot solution of water glass, instead of silicate of 
potash. Expose the pieces to the air for a few 
months. In six or seven months the pieces are 
hard enough to be worked and closely resemble 
meerschaum. 

2. Make a solution of 4 parts of sulphuric 
acid in 50 parts of water. Treat peeled pota- 
toes with this solution for thirty-six hours. 
Dry the mass between blotting paper and 
press. Pipes may be made of this material 
which closely resemble meerschaum. By using 
very strong pressure, billiard balls have been 
made, closely resembling ivory. The material 
can be carved. 



Melting Points. 
Effects of. 



See Temperature, 



Menthol.— Menthol cories are made by mix- 
ing menthol with various waxes. It is the 
proximate principal in oil of peppermint, and 
can be obtained by cooling the oil to 15° C M 
whereupon the menthol crystallizes out of the 
oil. 

Mercury, to Purify.— Place the mercury 
in a deep vessel with dilute acid over it, and 
introduce a piece of copper into it, weight- 
ing the copper to make good contact. The 
local action dissolves all impurities. If contin- 
ued too long the mercury becomes a sulphate. 

Mercury, to Remove from Gold.- Heat 
it very carefully to a temperature of 100° 
Fah. It is best to intrust it to a jeweler, if 
not experienced, as you may melt it. 

Metal.— A metal is an. element possessing a 
luster, and the higher oxides of which only are 
acid-forming compounds. Metals have the 
following properties, a specific gravity usually 
greater than one. The specific heat is less than 
unity, and this heat varies inversely as the 
atomic weight of that element. The conductiv- 
ity of the metals is greater than that of either 
the non-metals or their compounds. 

The influence of heat upon metals is very 
varied ; some melt at a low temperature, others 
require a red heat, a strong red, or a white 



Metals. 



337 



Metallography. 



heat respectively, to melt them. The follow- 
ing table, by Pouillet, will explain the tempera- 
tures corresponding to different colors : 

Corresponds to 



Incipient red heat 

Dull red 

Incipient cherry red . 

Cherry red . . 

Clear cherry red 

Deep orange 

Clear orange 

White 

Bright white 

Dazzling white . 



525° C. 


977° ] 


700 


1,393 


800 


1,473 


900 


1,653 


1,000 


1,833 


1,100 


3,013 


1.300 


3,193 


1,300 


3,373 


1,400 


3,553 


1,500 


3,732 



F. 



Metals, to Black, Blue, Brown, 
Clean, Gild, Silver, Weld, etc. See the 
names of the operation to be performed, and 
also the name of the metal. 

Metal, Cements for. See Cements. 

Metal Cleansing Soap. See Soaps. 

Metals, Coloring of. See the name of 
the metal to be colored, and also Bluing, 
Browning, Bronzing, Blacking, etc. 

Metal, Fancy Coloring of. — The coloring 
matter of small objects in metal has re- 
cently occupied the attention of manufac- 
turers and chemists, and M. Pushec, a German 
chemist, gives the following recipes for the ap- 
plication of sulphur to the purpose referred 
to ; 1. A solution is made in the following man- 
ner : Dissolve 4 oz. of the hyposulphite of soda 
in iy& pt. of water, and then add a solution of 1 
oz. of acetate of lead in the same quantity of 
water. Articles to be colored are placed in the 
"mixture, which is then gradually heated to a 
boiling point. The effect of this solution is to 
give iron the effect of blue steel ; zinc becomes 
bronze ; and copper or brass becomes success- 
ively yellowish, red, scarlet, deep blue, light 
blue, bluish white, and finally white, with a 
tinge of rose. This solution has no effect on 
lead or tin. 

3. By replacing the acetate of lead in the solu- 
tion by sulphate of copper, brass becomes first 
of a fine rosy tint, then green, and finally 
of an iridescent brown color. Zinc does not 
color in this solution— it throws down a preci- 
pitate of brown sulphuret of copper; but if 
boiled in a solution containing both lead and 
copper, it becomes covered with a black adher- 
ent crust, which may be improved by a thin 
coating of wax. 

3. If the lead solution be thickened with a 
little gum tragacanth, and patterns be traced 
with it on brass, which is afterward heated to 
313° F, and then plunged in solution No. 1, a 
good marked effect is produced. 

Colored Films on Metals.— According to the 
prevailing fashion, the small metallic articles 
used for ladies' ornaments, such as buttons, 
buckles, clasps, etc., have different colored 
films produced on them by various methods. 
Some of these are known as oxidized silver. 

Rainbow colors are produced on brass but- 
tons by stringing them on a copper wire by 
the eyes, and dipping them in a bath ; of plum- 
bate of soda freshly prepared by boiling li- 
tharge in caustic soda and pouring it into a 
porcelain dish. A linen bag of finely pulver- 
ized litharge or hydrated oxide of lead is sus- 
pended in the solution, so as to keep up the 
original strength of the solution. While the 
buttons are in this solution, they are touched 
one after the other with a platinum wire con- 
nected with the positive pole of a battery until 
the desired color appears. The galvanic cur- 
rent employed must not be too strong. The 
colors are more brilliant if they are heated after 
they have been rinsed and dried. 

Colored films are more conveniently pro- 
duced upon bright brass by different chemicals, 
by painting with them or by immersion. For 
example: 



Golden Yellow.— By dipping in a perfectly 
neutral solution of acetate of copper. 

Dull Grayish Green.— Repeatedly painting 
with very dilute solution of chloride of cop- 
per. 

Purple. — Heating them hot and rubbing over 
with a tuft of cotton suturated with chloride 
of antimony. 

Golden Red.— A paste made of 4 parts of 
prepared chalk and one part of mosaic gold. 

In covering an article with any colored 
bronze in powder, it is first rubbed with a very 
little linseed oil, and the bronze dusted evenly 
over it from a dust bag. It is afterward 
heated in an iron pan to about 480° F. 

In recent times small articles are also rough- 
ened by dipping in strong nitric acid, and, 
after washing and drying, they are coated with 
a rapidly drying alcohol varnish that has been 
colored yellow with picric acid, red with f uch- 
sine, purple with methyl violet, or dark blue 
with an aniline blue. This gives the desired color 
with a beautiful metallic luster. These latter 
colors are not very durable, and are used for 
inferior goods.— N. Erfind. 

Metal, Enamel for. See Enameling* 

Metals, Lacquers for. See Lacquers. 

Melting Points of Metals. 



Metals. 


Centigrade 
degrees. 


Fahrenheit 
degrees. 


Antimony. 


700 

435 

185 

364 

320 

1,300 

1,091 

1,381 

176 

1,530 

1,300 

1,400 

334 

335 

—40 

1,600 

63 

3,600 

1,040 

96 

335 

413 


1,393 

797 




365 


Bismuth 


507"3 


Cobalt :.. 


608 
3,193 
1,995-8 

2,485*8 




Gold 




348*8 


Iron, wrought.. . ..... 

Iron, steel 


3,786 
3,193 
3,553 


Lead 


617 

455 


Potassium 


—40 
3,913 
143-6 


Platinum 

Sodium 


4,713 
1,904 
173*8 


Tin 


455 
773*6 







Metal Objects, to Find the Weight 

of.— To find the weight in pounds of metal ob- 
jects, measure the number of cubic inches con- 
tained in the piece for wrought iron by - 3816 
cast iron, 0-3607; copper, 033418; lead, 0-41015 
brass, 0'3113. 

Metals, Paints for. See Paints. 

Belative Conducting Power of Met- 
als.— The following table gives the relative 
conducting power of pure metals and other 
conductors according to Dr. Matthiessen : 



Silver 100*0 

Copper 99-9 

Gold 77-9 

Zinc 39*0 

Cadmium 33"7 

Palladium 18*4 

Platinum 18*0 

Cobalt 17*3 

Nickel 13*1 

Tin 13-4 

Metals, to Silver. 



Thallium 9-3 

Lead 8'3 

Arsenic ...4'8 

Antimony 4*6 

Mercury 1"6 

Bismuth 1*3 

Graphite 0-069 

Gas coke .. 0*038 

Bunsen's coke 0*035 

See Silvering. 



Metallography (method for producing 
drawings of all kinds in relief upon metal) 
Zach.— Grind and polish the surface of a zinc 
plate and cover it with a ground composed of 
white wax, 3 parts; mastic, 3 parts; asphalt, 1J^ 
parts; colophony, % part, Smoke with a wax 



Methesrlin. 



328 



Microscopy. 



torch until it has a luster. Execute the draw- 
ing on this ground with a graver. Surround 
the plate with a rim of wax; etch fifteen to 
twenty minutes with dilute nitric acid. Wash 
with water, cover the fine lines, if desired, with 
asphalt dissolved in oil of turpentine. Con- 
tinue the etching fifteen to twenty minutes 
longer. Dissolve off the ground with oil of 
turpentine and clean the plate. A sunk draw- 
ing is obtained in this way which must have 
such a depth that a casting made from it will 
have sufficient relief to allow of its being 
printed from in a printing press. A drawing in 
relief may be obtained from this matrix suit- 
able for printing, in the following way. Make 
a readily fusible metal, bismuth, 3J^ parts; lead, 
2 parts; tin, 2 parts. Melt. Place the etched 
drawing in a heated mould and pour the melted 
fusible metal over it vertically. The drawing 
will lie in relief upon the casting. 

Metheglin. — From honey, 1 cwt.; warm 
water, 24 gal.; stir well until dissolved; the next 
day add of yeast, 1 pt., and hops, 1 lb., previ- 
ously boiled in water, 1 gal., along with water 
q. s. to make the whole measure 1 barrel; mix 
well and ferment the whole with the usual pre- 
cautions adopted for other liquors. It con- 
tains on the average from 7% to $% alcohol. 

Methyl.— Wood alcohol; it has a peculiar 
odor. Methylated Spirit. — Ordinary alcohol 
when mixed with 10$ methyl. See Alcohol. 

Metric Measures. See Appendix. 

Mica, Cement for. See Cements. 

Mica, to Pulverize.— When mica is heated 
to redness for some time in a muffle and then 
allowed to cool rather quickly the laminae be- 
come distorted and the sheets present a silvery- 
white appearance by reflected light, the min- 
eral losing much of its flexibility. The dust of 
this whitened mica is used to some extent by 
the French as a silver bronze powder. Mixed 
with a weak solution of gum arabic it makes a 
good silver ink. The powder is sometimes 
variously tinted by washes of very dilute col- 
ored solutions of gums or varnishes. To pre- 
pare the glistening powder the sheets of whit- 
ened mica are simply crushed, not ground, 
boiled in hydrochloric acid, rinsed, dried, and 
assorted to size of laminae. The finer filaments 
have a pearly luster and are made to adhere to 
semi-softened gelatine and wax to imitate 
pearl. The silvery powder is used on metals, 
glass, wood, paper, plaster, tapestry and fur- 
niture. It has also been used in calico print- 
ing in place of the heavy bronze and glass dust 
of Lyons fabrics, and for the decoration of 
china and glassware. 

Mice, to Destroy.— 1. Use tartar emetic 
mingled with some favorite food. The mice 
will leave the premises. 

2. Take 1 part calomel, 5 parts wheat flour, 
1 part sugar, and T ^ part of ultramarine. Mix 
together in a fine powder and place in a dish. 
This is a most efficient poison for mice. * 

3. Any one desirous of keeping seeds from 
the depredations of mice can do so by mixing 
pieces of camphor gum in with the seeds. Cam- 
phor placed in drawers or trunks will prevent 
mice from doing them injury. The little ani- 
mal objects to the odor and keeps a good dis- 
tance from it. He will seek food elsewhere. 

4. Gather any kind of mint and scatter about 
your shelves, and they will forsake the prem- 
ises. 

Microcosmic Salt.— This salt is sodium-am- 
monium phosphate, with the symbol HNa NH 4 
PO4 + 4 H 2 O. To prepare, dissolve 5 parts 
sodium phosphate with 2 parts ammonium 
phosphate in hot water, and allow the solu- 
tion to cool. It is used in blowpipe analysis. 

Microscopy.— This subject is arranged in 
alphabetical order as closely as possible. Good 
microscopical receipts are rare. The following 
come from the best authorities. The major- 



ity of the receipts are not adapted to the use 
of the beginner, who should consult such books 
as Geo. E. Davis' Practical Microscopy . Many 
of the receipts, as well as the introduction, are 
from Lee. 

Introduction. —The methods of modern mi- 
croscopic anatomy may be roughly classed as 
General and Special. There is a General or 
Normal method, known as the method of sec- 
tions, which consists in carefully fixing the 
structures to be examined, staining them with 
a nuclear stain, dehydrating with alcohol, and 
mounting series of sections of the structures 
in balsam. It is by this method that the work 
is blocked out and very often finished. Special 
points are then studied, if necessary, by special 
methods, such as examination of the living tis- 
sue elements, in situ, or in " indifferent " media; 
fixation with special fixing agents; staining 
with special stains; dissociation by teasing or 
maceration ; injection ; impregnation ; and the 
like. 

The General Method. — The first thing to be 
done with any structure is to fix its histologi- 
cal elements. (This statement applies equally 
to all classes of objects, whether it be desired 
to cut them into sections or to treat them in 
any other special way.) Two things are im- 
plied by the word " fixing ;" first, the rapid 
Killing of the element, so that it may not have 
time to change the form it had during life, but 
is fixed in death in the attitude it normally had 
during lif e ; and second, the hardening of it to 
such a degree as may enable it to resist without 
further change of form the action of the re- 
agents with which it may subsequently be 
treated. Too much stress can hardly be laid 
on this point, which is the most distinctive 
feature of modern histological practice ; with- 
out good fixation it is impossible to get good 
stains, or good sections, or preparations good 
in any way. 

The structure having been duly fixed by one 
of the processes described in the section on fix- 
ing agents, is washed in order to remove from 
the tissues as far as possible all traces of the 
fixing reagent. 

The kind of liquid with which washing out 
is done is not a matter of indifference. If cor- 
rosive sublimate, for instance, or osmic acid, 
or a solution into which chromic acid or a chro- 
mate enters, have been used for fixing, the 
washing may be done with water. But if picric 
acid in any form has been used, the washing 
must be done with alcohol. The reason of this 
difference is that the first named reagents (and, 
indeed, all the compounds of the heavy metals 
used for fixing) appear to enter into a state of 
chemical combination with the elements of 
tissues, rendering them insoluble in water ; so 
that the hardening induced by these agents is 
not removed by subsequent treatment with 
water. Picric acid, on the other hand, produces 
only a very slight hardening of the tissues, and 
does not appear to enter into any combination 
whatever with their elements, as it is entirely 
removable by treating the tissues with water 
or alcohol. If the removal be effected by means 
of water, the tissue elements are left in a soft 
state in which they are obnoxious to all the hurt- 
ful effects* of water. Alcohol must therefore 
betaken to remove the picric acid and to effect 
the necessary hardening at the same time. 

At the same time that the superfluous fixing 
agent is being removed from the tissues, or as 
soon as that is done, the water of the tissues 
must be removed. This is necessary for two 
reasons; firstly, in the interest of preservation, 
the presence of water being the condition of 
all others that most favors post mortem de- 
composition ; and secondly, because all water 
must be removed in order to allow the tissues 
to be impregnated with the imbedding material 
necessary for section cutting, or with the bal- 
sam with which they are to be finally pre- 
served. (The cases in which aqueous imbed- 
ding and preserving media are employed are 



Microscopy. 



339 



Microscopy. 



exceptional, and will be treated of in the proper 
places.) The dehydration is performed as fol- 
lows: the objects are brought into weak 
alcohol, and are then passed through succes- 
sive alcohols of gradually increased strength— 
for instance, 50% two hours, 70$ six to twenty- 
four hours, 80% several hours, 95% two or three 
hours, aboolnie alcohol, time enough for com- 
plete saturation. (Very small objects, so small 
that section Cutting is not necessary, may be 
dehydrated much quicker than this. Infusoria 
may be prepared in a few minutes.) 

The water having been thus completely re- 
moved, the alcohol is in its turn removed from 
the tissues, and its place taken by some anhy- 
drous substance, generally an essential oil, 
which is miscible with the material used for 
imbedding. This operation is known as Clear- 
ing. It is very important that the passage from 
the last alcohol to the clearing agent be made 
gradual. This is effectod by placing the clear- 
ing medium under the alcohol. A sufficient 
quantity of alcohol is placed in a tube (a watch 
.glass will do, but tubes are generally better), 
and then with a pipette a sufficient quantity of 
clearing medium is introduced at the bottom 
of the alcohol. Or you may first put the clear- 
ing medium into the tube, and then carefully 
pour the alcohol on to the top of it. The two 
fluids mingle but slowly. The objects to be 
cleared being now quietly put into the super- 
natent alcohol, float at the surface of separa- 
tion of the two fluids, the exchange of fluids 
takes place gradually, and the objects slowly 
sink down into the lower layer. When they 
have sunk to the bottom, the alcohol may be 
drawn off with a pipette, and the objects will 
be found to be completely penetrated by the 
clearing medium. (It may be noted here that 
this method of making the passage from one 
fluid to another applies to all cases in which ob- 
jects have to be transferred from a lighter to a 
denser fluid— for instance, from alcohol, or 
from water, to glycerine. It is a more exact 
method than that of successive baths of mix- 
ture of alcohol and clearing agent.) 

The objects are now imbedded. They are re- 
moved from the clearing medium, and soaked 
until thoroughly penetrated in the imbedding 
medium. This is, for small objects, generally 
paraffine, liquefied by heat, and for large ob- 
jects generally a solution of collodion or cel- 
loidin. The imbedding- medium containing- 
the object is then made to solidify, as described 
in the chapter on imbedding processes, and 
sections are made with a microtome through 
the imbedding mass and the included objects. 
The sections are then mounted on a slide, the 
imbedding material is removed from them (in 
the case of paraffine), they are stained in situ on 
the slide, dehyrated with alcohol, cleared, and 
mounted in balsam or dammar. Or they may 
be stained, washed, dehydrated, and cleaned in 
watch glasses, and afterward mounted as de- 
sired, the imbedding medium being first re- 
moved if desirable. 

It is not always desirable to remove the im- 
bedding mass; celloidin sections stain well with- 
out being freed from it, and are usually even 
dehydrated, cleared, and mounted without re- 
moval of the mass, which becomes quite trans- 
parent in balsam. This plan has the advantage, 
Avhich is a very important one for large sec- 
tions, of allowing the sections to remain during- 
the whole of the manipulations protected by a 
supporting mass that holds all their parts to- 
gether. 

The plan of staining sections on the slide is 
of somewhat recent introduction; before it 
had been worked out the practice was to stain 
structures in toto, before cutting sections. And 
in cases in which structures are sufficiently 
small and permeable to allow of satisfactory 
staining in this way, and if it be not essential 
to save time, this plan is sometimes as good as 
the one described. In this case the object, 
after having been fixed and washed out, is 



taken from the water, or while still on its way 
through the lower alcohols (it should not be 
allowed to proceed to the higher grades of al- 
cohol before staining, if that can be avoided), 
and passed through a bath of stain (generally 
alcoholic borax carmine or other alcoholic 
stain) of sufficient duration, then dehydrated 
with successive alcohols, passed through a 
clearing medium into paraffine, cut, and treated 
as above described, the sections in this case 
being mounted direct from the turpentine, 
naphtha, or other solvent with which the 
paraffine is removed. If aqueous staining media 
be employed (and it is sometimes very desira- 
ble for particular purposes to prepare spec- 
imens with some aqueous stain) the structures 
should either be stained in toto immediately 
after fixing and washing out, or sections may 
be stained on the slide, the objects being passed 
through successive baths of alcohol of grad- 
ually decreasing strength before being put into 
the aqueous stain (a precaution which will not 
be necessary for chromic objects). 

It was stated in the first edition of this work 
that the great majority of preparations are 
made by fixing either with sublimate or a pic- 
ric acid combination, washing- out with alcohol, 
staining with alcoholic borax carmine, imbed- 
ding in chlorof orm-paraffine, cutting with a slid 
ing microtome, and mounting the sections in 
series in Canada balsam. That is probably still 
the case, but the method can no longer claim 
to be what it then appeared to be, the classi- 
cal method of microscopic anatomy. I sug- 
gest the following, as being quite as easy to 
carry out, and as giving preparations far richer 
in detail and more truthfully preserved : Fix 
in Flemming's chromo-acetoosmic mixture; 
wash out with water; dehydrate; clear with oil 
of cedar wood; imbed in paraffine; mount sec- 
tions on the slide with Mayer's albumen 
medium; stain with safranine, or double stain 
with gentian violet and eosin; and mount in 
balsam or dammar. That or something like 
that is now the practice of many of the most 
advanced workers; and I know of no method 
that seems to have equal claims to be consid- 
ered a classical method of general morphologi- 
cal investigation. 

The treatment of objects which can be 
studied without being cut into sections is 
identical with that above described, with the 
omission of those passages that relate to im- 
bedding processes. Its normal course may be 
described as fixation, washing out with alco- 
hol, staining with alcoholic borax carmine, or 
some other alcoholic stain, treatment with 
successive alcohols of gradually increasing 
strength, final dehydration with absolute alco- 
hol, clearing, and mounting in balsam. This 
method, which may be termed the dehydration 
method, is generally preferred, as a general 
method, to what may be termed the wet meth- 
ods, by which objects are prepai-ed and pre- 
served in aqueous media. The chief reason for 
this lies in the great superiority of the dehy- 
dration methods as regards the preservation 
of tissues. The presence of water is the most 
important factor in the conditions that bring- 
about the decomposition of organic matter, 
and its complete removal is the chief condition 
of permanent preservation. 

In the preparation of entire objects or struc- 
tures that are intact and covered by an integu- 
ment not easily permeable by liquids, special 
care must be taken to avoid swelling from en- 
dosmosis on the passage of the objects from 
any of the liquids employed to a liquid of less 
density, or shrinkage from exosmosis on the 
passage to a liquid of greater density. This ap- 
plies most specially to the passage from the 
last alcohol into the clearing medium. A slit 
should be made in the integument, if possible, 
so that the two fluids may mingle without 
hindrance. And in all cases the passage is 
made gradual by placing the clearing medium 
under the alcohol as above described. Fluids 






Microscopy. 



330 



Microscopy. 



of high diffusibility should be employed as far 
as possible in all the processes. Fixing agents of 
great penetrating power (such as picrosulphuric 
acid or alcoholic sublimate solution) should be 
employed where the objects present not an 
easily permeable integument. Washing out is 
done with successive alcohols, water being 
used only in the case of fixation by osmic acid, 
or the chromic mixtures or other fixing solu- 
tions that render washing by water impera- 
tive. Staining is done by preference with alco- 
holic staining media. The stains most used are 
Grenacher's borax carmine, Mayer's modifica- 
tion of Grenacher's alcoholic carmine, and 
Kleinenberg's haematoxylin (for these see 
Staining Agents). Aniline stains are rarely ap- 
plicable to this class of preparations. Aqueous 
stains are more seldom used, though there are 
many cases in which they are admissible, and 
some in waich they are preferable. 

Minute dissections are best done, if neces- 
sary, in a drop of clearing agent. I recommend 
cedar wood oil for this purpose, as it gives to 
the tissues a consistency very favorable for 
dissection, while its viscosity serves to lend 
support to delicate structures. Clove oil has a 
tendency to make tissues that have lain in it 
for some time very brittle. This brittleness is 
also sometimes very helpful in minute dissec- 
tions. Another property of clove oil is that it 
does not easily spread itself over the surface of 
a slide, but has a tendency to form very con- 
vex drops. This property also makes it fre- 
quently a very convenient medium for making 
minute dissections in. 

Following Paul Mayer, I gave in the tirst edi- 
tion the following reasons for employing alco- 
holic rather than aqueous staining media. 
Since, in most cases, treatment with alcohol 
forms part of the fixing process, alcoholic solu- 
tions are logically indicated for staining. For 
by means of them it is possible to avoid the bad 
effects that follow on passing delicate tissues 
from alcohol into water, violent diffusive cur- 
rents being thereby set up which sometimes 
carry away whole groups of cells ; swellings 
being caused in the elements of the tissues ; 
and, if the immersion in the aqueous medium 
be prolonged, as is generally necessary in order 
to obtain a thorough stain, maceration of the 
tissues supervening. But alcoholic staining 
fluids have still other advantages; they are 
vastly more penetrating ; with them alone is it 
possible to stain through chitinous integu- 
ments ; and if it be desired to stain slowly, tis- 
sues may be left in them for days without 
hurt. 

Applied to the case now under consideration 
the preparation in toto of objects protected by 
not easily permeable investments, this doctrine 
is evidently a wise one. For such objects must 
necessarily be fixed by some highly penetrating 
but not permanently hardening agent, such as 
picric acid, and must necessarily be washed out 
with alcohol; and it is a good maxim for tissues 
so fixed that an object that has once b^en in 
alcohol should not be allowed to go back into 
water, if that canpossibly be avoided. 

But in the case of structures that have been 
well fixed in a strongly and permanently coag- 
ulating medium, such as chromic acid, this pre- 
caution is much less necessary. Sections of 
tissues that have been fixed for twenty-four 
hours in Flemming's solution maybe passed with 
relative impunity from absolute alcohol into 
an aqueous stain, and from that back again 
direct into absolute alcohol. It is this property 
of tissues fixed in chromic solution that deter- 
mines me to recommend the practice of stain- 
ing sections, instead of staining objects in toto. 

For an excellent exposition of the principles 
underlying the practice above recommended, 
the reader may consult with advantage the 
paper of Paul Mayer in Mitth. Zool. Stat. Neapel, 
ii (1881), et seq. See also the abstract in Journ. 
Roy. Mic. Soc. (N. S.),ii (1882), and thatin^mer. 
Natural, xvi (1882), in which two last some im- 



provements are mentioned which have been 
worked out since the publication of Mayer's 
paper. — Arthur Bolles Lee, in MicrotomisW Vade 
Mecum. 

Bleaching.— Marsh's Chlorine Method (Section 
Cutting). — Marsh generates chlorine in a small 
bottle by treating crystals of chlorate of 
potash with strong HO, and leads the gas 
(by means of a piece of glass tubing bent 
twice at right angles) to the bottom of a bot- 
tle containing the sections in water. (See a fig- 
ure of the apparatus in Journ. Boy. Mic. Soc, iii, 
1880, p. 854.) 

Chlorine Solution (Sargent's Method).— Hy- 
drochloric acid, 10 drops; chlorate of potash, 
1% drm. ; water, 1 oz. Soak for a day or two. 
Wash well. 

This method is intended for bleaching in- 
sects; it will be seen that it is only applicable to 
the preparation of hard parts, as soft tissues 
would be destroyed by the solution. 

Creosote (Pouchet's method, Journ.de VAnat., 
1876.)— I gather from the paper here quoted 
that most of the granular animal pigments 
are soluble in creosote. Other solvents are 
mentioned in this paper (" On the Change of 
Coloration through Nervous Influence "), but 
this appears to be the only one capable of gene- 
ral histological application. 

Nitric Acid.— Nitric acid has a similar action. 

Oxygenated Water (Pouchet's method. M. 
Duval, Precis, etc.).— Macerate in glycerine to 
which has been added a little oxygenated water 
(5 to 6 drops to a watch glass of glycerine). 

Also Labarraque's Solution and Javelle 
Water, which see in the general alphabet. 

Cements, Microscopic. See also Cements— 
BelVs brown, Gram-Rutzons, gelati7ie, gutta per- 
cha, Kittons\ LovetVs, Stieda's white zinc 
cement and zinc cements. 

Goadby's Marine Glue. — Dissolve separately 
in coal naphtha equal parts of shellac and In- 
dia rubber. Mix thoroughly with heat. 

Clearing Agents.— Clearing agents are liquids, 
one of whose t unctions it is to make microscopic 
preparations transparent by penetrating 
among the highly refracting elements of 
which the tissues are composed, the clearing 
liquids themselves having an index of refrac- 
tion not greatly inferior to that of the tissues 
to be cleared. Hence all clearing agents are 
liquids of high index of refraction. 

Classification of Clearing Agents (Stieda).— 
Stieda's experiments with essential oils led him 
to establish the following classification : 

a. The turpentine group, capable of clearing 
in a short time perfectly dehydrated sections, 
but clearing watery sections only after many 
hours or not at 'all. 



01. Terebinthinae. 
Ol. Balsam Copaivae. 
01. Cubebarum. 
Ol. Fceniculi. 
Ol. Sassafras. 
Ol. Mentha? crispse. 
Ol. Lavandulae. 
Ol. Cajeputi. 
Ol. Sabinae. 



Ol. Absynthii. 

Ol. Cortic Aurantior- 

um. 
Ol. Millef olii florum. 
Ol. Juniperi. 
Oh Origani vulgaris. 
Ol. Cumini. 
Ol. Cascarillse cortic. 
Oi. Citri. 



This, then, for Stieda, is the Index Expurga- 
torius of clearing media. 

o. The oil of cloves group, clearing very rap- 
idly sections that have been dehydrated, and 
clearing watery sections "somewhat more 
slowly" and with a certain amount of shrink- 
age. 

Ol. Gaultheria?. Ol. Cassise. 

Ol. Cinnamomi. Ol. Anisi stellati. 

Ol. Bergamotti. Ol. Cardamomi. 

Ol. Coriandri. Ol. Boris marini. 

Ol. Carui. 

But Stieda found creosote preferable to any 
of these. 

Corrosion.— Caustic Potash, Caustic Soda, Ni- 
tric Acid.— Boiling, or long soaking in a strong 
solution of either of these, is an efficient means 
of removing soft parts from skeletal struct- 



Microscopy. 



331 



Microscopy. 



ures (appendages of anthropods, spicula of 
sponges, etc.). 

Also Javelle Water and Labarraque's Solu- 
tion—which see in general alphabet. 

Decalcification.— The most widely used agent 
for decalcification is hydrochloric acid. Its 
action is rapid, even when very dilute, but it 
has the disadvantage of causing serious swell- 
ing of the tissues. To remedy this chromic acid 
may be combined with it, or alcohol may be 
added to it. Or a 3% solution of the acid may 
be taken and have dissolved in it 10 to 15% of 
common salt. Or (Waldeyer) to a icW^ solu- 
tion of chloride of palladium may be added T V 
of its volume of HC1. Nitric acid also used. 

Nitric Acid and Alcohol.— Three % of nitric 
acid in 70$ alcohol. Soak specimens for several 
days or weeks. I do not know who first rec- 
ommended this admirable medium. 

Chromic acid is employed in strengths of 
from 01$ to 1%, the maceration lasting two or 
three weeks (in the case of bone). It is better 
to take the acid weak at first and increase the 
strength gradually. 

Chromic and Nitric Acid.— Dissolve 15 grn. 
pure chromic acid in 7 oz. of distilled water, to 
which 30 minims of nitric acid are afterward 
added. Macerate for three or four weeks, 
changing the fluid frequently.— Marsh. 

Fol takes 70 volumes of 1% chromic acid, 3 of 
nitcic acid and 200 of water.— ±,ehrb. 

Examination and Preserving Media.— Arti- 
ficial Iodized Serum.— Frey, Le Microscope, p. 
131. 

Distilled water 135 grm. 

White of egg 15 grm. 

Sodium chloride 0'20 grm. 

Mix, filter and add— 

Tincture of iodine 3 grm. 

There is formed a precipitate Avhich is re- 
moved by filtering through flannel, and a little 
iodine is added to the filtrate. 

Kronecker's Artificial Serum (from Vogt et 
Yung, Traite cVAnat. comp. prat., p. 473. I have 
been unable to discover the original source). 

Common salt 6 grm. 

Caustic soda ,.. 0*06 grm. 

Distilled water 1000 grm. 

Carbolized Sirup.— Carbolic acid may be em- 
ployed instead of chloral; 1% is sufficient. 

Either of these sirups may be used as a mount- 
ing medium, but they are not to be recom- 
mended for that purpose, as there is always 
risk of the sugar crystallizing out. 

A good strength for sirup is equal parts of 
loaf sugar and water. Dissolve by boiling. 

Pacini's Fluids. — Pacini remarks that bi- 
chloride of mercury coagulates and precipitates 
the albuminous matter that exists in the inter- 
stitial fluids of the tissues, and therefore in 
order to prevent this coagulation it is well to 
associate with it salt for certain preparations, 
or acetic acid for others. On this principle are 
prepared the following classical fluids of Goad- 
by and Pacini. 

Fluid No. 1. 

Bichloride of mercury 1 part. 

Common salt 2 parts. 

Water 200 parts. 

Of general employment, but especially useful 
for blood corpuscles of cold blooded animals, 
as it has a less density than the following fluid. 
It preserves spermatic fluid, epithelia, nerves 
and muscle fibers. It is also used for fixing in- 
fusoria, a small quantity being added to the 
water containing them. 

Fluid No. 2. 

Bichionde of mercury 1 part. 

Common salt 4 parts. 

Water ; 200 parts. 

For blood corpuscles of warm blooded ani- 
mals. 



Fluid No. 3. 

Bichloride of mercury 1 part. 

Acetic acid 2 parts. 

Water 300 parts. 

Serves best for the nuclei of animal tissues, 
but it swells up the fibers and distorts the 
forms of the cells. 

Fluid No. 4 (Frey, Le Microscope, 1867).— In the 
place here quoted Frey speaks of the liquids of 
Pacini as differing from those of Goadby 
through their containing glycerine in lieu of 
alum. He gives the following directions. 
Take 

Sublimate 1 part. 

Sodium chloride 2 parts. 

Glycerine (25° Baume) 13 parts. 

Water 113 parts. 

Allow the mixture to remain undisturbed for 
at least two months. At the end of that time 
take for use 1 part, mix with 3 parts of water 
and filter. This mixture is said to be a good 
preservative of all delicate tissues. 

Fluid No. 5— Ibid. 

Sublimate 1 part. 

Acetic acid 2 parts. 

Glycerine (25° Baume) 43 parts. 

Water 115 parts. 

This mixture is to be employed in the same 
way as the last. It is said to destroy red blood 
corpuscles, but to preserve white blood cor- 
puscles. 

Modifications of the Foregoing Sublimate So- 
lutions. — The following formulae are quoted 
by Frey from Cornil as being in use at the 
Pathological Institute of Berlin. 

6. Sublimate 1 part. 

Sodium chloride ? parts. 

Water 100 parts. 

For the more vascular tissues of warm blood- 
ed animals. 

7. Sublimate 1 part. 

Sodium chloride 2 parts. 

Water 200 parts. 

For similar tissues of cold blooded animals. 

8. Sublimate 1 part. 

Sodium chloride lpart. 

Water 300 parts. 

For pus corpuscles and analogous elements. 

9. Sublimate 1 part. 

Water 300 parts. 

For blood corpuscles. 

10. Sublimate lpart. 

Acetic acid 1 part. 

Water 300 parts. 

For epithelia, connective tissue and pus cor- 
puscles, when it is desired to demonstrate the 
nuclei. 

11. Sublimate lpart. 

Acetic acid 3 parts. 

Water 300 parts. 

For ligaments, muscles and nerves. 

12. Sublimate lpart. 

Acetic acid 5 parts. 

Water 300 parts. 

For glandular tissues. 

13. Sublimate lpart. 

Phosphoric acid lpart. 

Water 30 parts (sic). 

For cartilaginous tissues. 
Owen's Fluid (quoted from Vogt et Yung, 
Traite, d'Anat. comp. pratique): 

Corrosive sublimate 0*014 grm. 

Alum 79 grm. 

Salt 137 grm. 

Water 1680 grm. 

Said to be very useful for the preservation of 
soft bodied animals. 



Microscopy. 



332 



Microscopy. 



Gilson's Fluid (Carnoy's Biologie Cellulaire) : 

Alcohol of W% 60 c. c. 

Water 30 c. c. 

Glycerine 30 c. c. 

Acetic acid (15 parts of. the ) 9 _ _ 
glacial to 85 of water) . . . [ A c> c * 

Bichloride 0'15 grm. 

A really excellent medium for the study of 
fine cellular detail with well fixed objects. 

Gage's Albumen Fluid (Zeit. f. wiss. Mik., 
1886) : 

White of egg 15 c. c. 

Water 200 c. c. 

Corrosive sublimate 0*5 grm. 

Salt 4 grm. 

Mix, agitate, filter and preserve in a cool place. 
Recommended for the study of red blood cor- 
puscles and ciliated cells. 

Chloride and Acetate of Copper (Ripart et 
Petit's fluid, Brebissonia, 1880; Carnoy's Biol. 
Cell.) : 

Camphor water (not satur- 
ated) 75 grm. 

Distilled water 75 grm. 

Crystallized acetic acid 1 grm. 

Acetate of copper 0*30 grm. 

Chloride of copper 0'30 grm. 

This is certainly a most valuable medium for 
work with delicate fresh tissues. It may be 
used in combination with methyl green, which 
it does not precipitate. 

Fabre Domergue's Glucose Medium (La Na- 
ture, No. 823) : 

Glucose sirup diluted to 25° 

of the areometer (sp. gr. 

1-1968) lOOOparts. 

Methyl alcohol 200 parts. 

Glycerine , 100 parts. 

Camphor, to saturation. 

The glucose is to be dissolved in warm water, 
and the other ingredients added. The mixture, 
which is always acid, must be neutralized by 
the addition of a little potash or soda. 

This medium is said to preserve without 
change almost all animal pigments. If it really 
performs this, its great value is evident. 

Glycerine and Alcohol Mixtures.— These most 
useful fluids afford one of the best means of 
bringing delicate objects gradually from weak 
into strong glycerine. The object is mounted 
in a drop of the liquid and left for a few hours 
or days, the mount not being closed. By the 
evaporation of the alcohol the liquid gradu- 
ally increases in density, and after some time 
the mount may be closed, or the object brought 
into pure glycerine or glycerine jelly. 

1. Calberla's Liquid: 

Glycerine 1 part. 

Alcohol 1 part. 

Water 1 part. 

A most valuable examination fluid. 

2. Glycerine 1 part* 

Alcohol 1 part. 

Water 2 parts. 

3. Haentsch's Liquid : 

Glycerine 1 part. 

Alcohol . o 3 parts. 

Water . 2 parts. 

4. Jager's Liquid (quoted from Vogt and 
Yung's Traite dAnat. comp. prat.) : 

Glycerine 1 part. 

Alcohol 1 part. 

Sea water . . .10 parts. 

Deane's Glycerine Jelly (from Frey's Le Mi- 
croscope).— One hundred and twenty grm. gly- 
cerine, 60 gram, water, 30 grm. gelatin. Dissolve 
the gelatin in the water and add the glycerine. 
This, and the following glycerine jellies, must 
of course be used warm. 

Beale's Glycerine Jelly (How to Work, etc.).— 
Gelatin or isinglass, soaked, melted and clarified, 



if desired, as in the last formula. To the clear 
solution add an equal bulk of strong glycerine. . 
Fol's Glycerine Jellies {Lehrb.).—1. Melt to- 
gether 1 volume of Beale's jelly, and ^ to 1 
volume of water and add 2 to 5% of salicylic 
acid solution or carbolic acid or camphor. 

2. Gelatin 30 parts. 

Water 70 parts. 

Glycerine ... 100 parts. 

Alcoholic solution of camphor 5 parts. 

Prepare as before, adding the camphor last. 

3. Gelatin 20 parts. 

Water 150 parts. 

Glycerine 100 parts. 

Alcoholic solution of camphor 15 parts. 

Fixing Agents.— 1. Chromo aceto osmic acid 
(Flemming, first or weak formula, Zellsubstanz, 
Kern und Zelltlieilung, 1882). 

Chromic acid . . 0*25$ in water. 

Osmic acid Q'1% in water. 

Glacial acetic acid Q'\% in water. 

The best results as regards faithfulness of 
fixation are obtained with this mixture when 
it is allowed to act for only a short time, about 
half an hour. 

2. Bichromate and Cupric Sulphate Mixture 
(Kultschitzky, Zeit. f. wiss. Mik., iv, 3, 1887).— A 
saturated solution of bichromate of potash and 
sulphate of copper in 50$ alcohol, to which is 
added at the instant of using a little acetic acid, 
five or six drops per 100 c. c. 

To make the solution, add the finely pow- 
dered salts to the alcohol in excess, and leave 
them together in total darkness for twenty- 
four hours. 

Fix for twelve to twenty-four hours in the 
dark ; otherwise the salts will be precipitated. 
Then treat with strong alcohol for twelve to 
twenty-four hours, and make sections. 

3. Corrosive Sublimate (Lang's formula, Zool. 
Anzeiger, 1878), for Planaria.— 

Distilled water 100 parts by weight. 

Chloride of sodium 6 to 10 parts. 

Acetic acid 6 to 8 parts. 

Bichloride of mercury. 3 to 12 parts. 
Alum, in some cases y^. part. 

4. Platinum Chloride.— An extremely valua- 
ble reagent for the study of karyokinesis. Kabl, 
to whom we owe the introduction of this agent, 
employs an aqueous solution of 1'300. The ob- 
jects remain in it for twenty-four hours, and 
are then washed with water, hardened in alco- 
hol and sectioned. Stain with Delafield's hse- 
matoxylin, or with saf ranine. 

5. Palladium Chloride.— Palladium chloride 
has been recommended by experienced workers. 
It is used in' solutions of P300, 1*600, or P800 
strength, for from one to two minutes. Cat- 
taneo recommends it as being the best of fixa- 
tives for Infusoria. Tissues are impregnated 
and colored brown by it. For small objects 
one or two minutes will suffice for fixation. 

This salt is found in commerce in the solid 
state. To dissolve it, take 10 grm. of the salt, 
1 liter of water, and 4 to 6 drops of hydrochloric 
acid. Solution will be effected in twenty-four 
hours. 

6. Gold Chloride.— When used for fixing and 
not for the object of staining by impregnation 
gold chloride is generally used in solution of 
}/^% strength for a few minutes, 30 at most. 
Weaker solutions \% or stronger, 1 to 2% may 
also be used. Wash out with water. 

7. Carnoy has given two formulas for this im- 
portant reagent. The first is: 

Glacial acetic acid 1 part. 

Absolute alcohol 3 parts. 

The second : 

Glacial acetic acid 1 part. 

Absolute alcohol 6 parts. 

Chloroform 3 parts. 

The addition of chloroform is said to render 
the action of the mixture more rapid. 



Microscopy. 



333 



Microscopy. 



V. Beneden and Neyt take equal volumes of 
glacial acid and absolute alcohol. 

Zacharias takes- 
Glacial acetic acid 1 part. 

Absolute alcohol 4 parts. 

Osmicacid A few drops. 

Hardening Fluids.— 1. Miiller's Solution : 

Bichromate of potash 2-2]4 parts. 

Sulphate of soda 1 part. 

Water 100 parts. 

The duration of the reaction is about the 
same as with the simple solution of chromic 
salts. 

2. Erlicki's Solution (Warschauer Med. Zeit., 
xxii., Nos. 15 and 18). 

Bichromate of potash 2"5 parts. 

Sulphate of copper 1*0 part. 

Water 100*0 parts. 

3. Sulphate of Copper.— This salt is seldom 
used alone, perhaps because it does not give a 
sufficiently tavorable consistency to the tissues 
hardened by it. I take from the Lehrbuch the 
following formula, which was first published 
by Remak, then modified by Goette, and is said 
to be useful for hardening the ova of amphi- 
bia: 

Two per cent, solution of sulphate 

of copper 50 c. c. 

Alcohol of 25^ 50 c. c. 

Rectified wood vinegar 35 drops. 

4. Picric acid is a weak hardening agent, 
little used. It should be employed in saturated 
solution. 

5. Chromic Acid.— Chromic acid is generally 
employed in strengths of \% to }^,the immer- 
sion lasting a few days or a few weeks, accord- 
ing to the size and nature of the object. Mucous 
membrane, for instance, will harden satisfac- 
torily in a tew days, brain will require some 
six weeks. 

Injecting and Staining Fluids.— I. Prussian 
Blue Fluid.— Glycerine, 1 oz.; alcohol, 1 oz.; 
ferrocyanide of potassium, 12 grn.; perchloride 
of iron, 1 drm.; water, 4 oz. Dissolve the po- 
tassium in 1 oz. of the water and glycerine and 
the iron added to another ounce. Mix gra- 
dually, add the iron solution to the potassium 
solution. Then add the alcohol and water. 

2. Turnbuirs Blue.— Ferridcyanide of potas- 
sium, 10 grn.; sulphate of iron, 5 grn.; water, 1 
oz.; glycerine, 2 oz.; alcohol, 1 drm. Proceed as 
above. 

3. Carmine.— Use carmine in ammonia. 

4. Carmine.— Carmine, 77 grn.; water, 70 grn.; 
ammonia, 8 drops. Dissolve the carmine in the 
ammonia and water. Expose to the air, then 
mix with gelatine ^ drm. in \% drm. water. 
Add a tew drops acetic acid, inject warm. 

5. Acid Carmine Fluid.— Carmine, 5 grn.: gly- 
cerine (with 8 drops acetic acid), }^oz.; glycer- 
ine, 1 oz.; alcohol, 2 drm.; water,6drm.; ammo- 
nia, a few drops. Mix the carmine with a little 
water, then add 5 drops of the ammonia. Then 
H oz. of glycerine, shake, and add the acid gly- 
cerine. Then add the alcohol and water. Shake 
well. 

6. Dr. Carter's Carmine Fluid.— Carmine, 60 
grn.; strong ammonia, 120 grn.; glacial acetic 
acid, 86 minims; solution gelatine (1 to 6) 2 oz.; 
water, lV^oz. Dissolve the carmine in ammo- 
nia, then add 1^ oz. of the gelatine; to the re- 
maining y 2 oz. gelatine add the acid ; drop into 
the carmine solution. 

7. Yellow.— A. Bichromate of potash, 1 oz.; 
water, 2 oz. B. Lead nitrate, same propor- 
tion; l part solution A is mixed with 4 
parts concentrated solution of gelatine ; 2 
parts solution B are placed in another vessel 
and mixed with 4 parts jelly (gelatine ?). These 
are heated together at a temperature of 75° to 
90°, then heat in a water bath to 212° F. for y% 
hour. Filter through flannel. 



Ferrocyanide of Copper Coloring Mass : 

L. Ferrocyanide of potassium (con- 
centrated solution) 20 c. c. 

Glycerine 50 c. c. 

2. Sulphate of copper (concentrated 

solution) 35 c. c. 

Glycerine 50 c. c. 

Mix 1 and 2 slowly, with agitation; at the mo- 
ment of injecting combine with 3 volumes of 
vehicle. 

Blue Coloring Mass (Prussian Blue) {Robin's 
modification of BeaWs formula) : 

1. Sulphocyanide of potassium (sol. 

sat.) 90 c. c. 

Glycerine 50 c. c. 

2. Liquid perchloride of iron at 30°.. 3 c. c. 
Glycerine 50 c. c. 

Mix slowly and combine the mixture with 
3 parts of vehicle. It is well to add a few drops 
of HC1. 
Cadmium Coloring Mass : 
Sulphate of cadmium (sol. sat.). . .40 c. c. 

Glycerine 50 c. c 

Sulphide of sodium (sol. sat.) — 30 c. c. 

Glycerine 50 c. c. 

Mix with agitation and combine with 3 vol- 
umes of vehicle. 

Scheele's Green Coloring Mass: 
Arseniate of potash (saturated so- 
lution) 80 c. c. 

Glycerine 50 c. c. 

Sulphate of copper (saturated so- 
lution) 40 c. c. 

Glycerine 50 c. c. 

Mix and combine with 3 volumes of vehicle. 

Robin's Carmine Glycerine Mass (Traite, p. 
33) consists of the following vehicle : 

Glycerine.. 2 parts. 

Alcohol ....,1 part. 

Water 1 part. 

Combined with one-third or one-fourth its 
volume of the carmine coloring mass. 

Emery's Aqueous Carmine.— To a 10% ammo- 
niacal solution of carmine is added acetic 
acid, with continual stirring, until the color 
of the solution changes to blood red through 
incipient precipitation of the carmine. The 
supernatant clear solution is poured off, and 
injected cold without further preparation. 
The injected organs are thrown at once into 
strong alcohol to fix the carmine. For injec- 
tion of fishes. 

Letellier's Vanadate of Ammonia and Tannin 
(Journ. Roy. Mic. Soc, 1889).— Vanadate of am- 
monia is soluble in warm, and tannin in hot 
water. The two solutions are kept apart until 
required for use, when they are mixed accord- 
ing to the tint required. A black mass, very 
fine. The walls of vessels are stained black by 
it. 

Taguchi's Indian Ink (Arch. f. mik. Anat., 
1888, Zeit. f. wiss. Mik., 1888).— Chinese or (better> 
Japanese ink well rubbed up on a hone until 
a fluid is obtained that does not run when 
dropped on thin blotting paper nor form a 
gray ring round the drop. Inject until the 
preparation appears quite black, and throw it 
into some hardening liquid (not pure water). 

Killing Agents.— I. Chloroform may be em- 
ployed either in the liquid state or in the state 
of vapor. Korotneff operates in the following 
manner with Siphonophora : The animals be- 
ing extended, a watch glass containing chloro- 
form is floated on the surface of the water in 
which they are contained, and the whole is 
covered with a bell glass. As soon as the ani- 
mals have become insensible, they are killed 
by means of hot sublimate or chromic acid so- 
lution plentifully poured on to them. 



Microscopy. 



334 



Microscopy. 



2. Liquid chloroform is employed by squirt- 
ing it in small quantities on to the surface of 
the water containing- the animals. A syringe 
or pipette having a very small orifice, so as to 
thoroughly pulverize the chloroform, should 
be employed. Small quantities only should be 
projected at a time, and the dose should be re- 
peated every five minutes, until the animals 
are anaesthetized. 

3. Coca'in (Richard ; Zool. Anz., 196, 1885) has 
been found to give good results. Richard puts 
a colony of Bryozoa into a watch glass with 5 
c. c. of water, and adds gradually 1% solution of 
hydrochlorate of coca'in in water. After five 
minutes, the animals are somewhat numbed, 
and half a cubic centimeter of the solution is 
added, and the tentacles are caused to contract 
by irritating them with a needle. Ten minutes 
later the animals should be found to be dead 
in a state of extension. 

4. Hydrate of Chloral, which was first recom- 
mended, I believe, by Foettinger (J.rc7i.dejBioL, 
vi, 1885, p. 115), gives very good results with 
some subjects. Foettinger operates by drop- 
ping crystals of chloral into the water contain- 
ing the animals. For Alcyonella he takes 25 to 
SO centigrammes of chloral for each hundred 
grammes of water. It takes about three quar- 
ters of an hour to render a colony sufficiently 
insensible to allow of fixing. Foettinger has 
obtained satisfactory results with marine and 
fresh water Bryozoa, with Annelida, Mollusca, 
Nemertians, Actiniae, and with Asteracanthion. 
He did not succeed with Hydroids. 

Preservative and Mounting Media.— The fol- 
lowing receipts have been in great part trans- 
lated and adapted from Dr. Behren's " Tabellen 
zum gebrauch bei Mikroskopischen Arbeiten.' 1 '' 
A glance at the receipts will generally give all 
the information necessary to any one fairly 
familiar with micro-manipulation. 

1. Alcohol-glycerine : Glycerine, 1 part; alco- 
hol, 96%, 1 part; water, 1 part. Specially recom- 
mended for plants, entire or in parts. 

2. Canada balsam in alcohol, chloroform, ben- 
zol, turpentine, xylol : The balsam is hardened 
by low heat until brittle when cold, broken up 
or pulverized, dissolved in the solvents, filtered 
through paper and evaporated until of the 
thickness of sirup. 

3. Boroglyceride : Dissolve as much boracic 
acid in warm glycerine as possible. The solu- 
tion is thick when cold; used for mounting- 
animal or plant preparations in the same way 
as balsam. 

4. Canada Balsam : The thick balsam is heated 
and the mounting done on the warm table; the 
object must first be soaked in absolute alcohol, 
then in oil of cloves. 

5. Glycerine and carbolic acid : Glycerine, 100 
grm.; absolute alcohol, 50 grm.; water, 50 grm.; 
carbolic acid, 3 grm. For plant sections, etc. 

6. Chloride of calcium : Concentrated or 33$, 
25%, 12%. For vegetable preparations, etc. 

7. Dammar : Dissolve gum dammar in equal 
parts of benzol and turpentine; the solution is 
filtered and evaporated to sirupy thickness. 

8. Farrant's medium: Gum arabic, 1 oz.; 
glycerine, 1 oz.; water, 1 oz.; arsenious oxide, 
V/% grn. Dissolve the oxide in water, then the 
gum, without heat; when entirely dissolved, 
add the glycerine; take care not to form bub- 
bles; can be filtered through fine flannel. Spe- 
cially recommended for delicate plant or ani- 

TY"IO 1 f lOCliPC 

9. Glycerine: Concentrated or diluted with 
water, to which may be added a few drops of 
acetic or carbolic acid. For vegetable or ani- 
mal preparations. 

10. Glycerine jelly: Glycerine, 120 grm.; water, 
60 grm.; gelatine, 30 grm, Dissolve the gelatine 
in warm water, add the glycerine, filter, if ne- 
cessary, through flannel. All forms of glycer- 
ine jelly must be used warm. For vegetable 
and animal tissues. 

11. Deane's medium: Similar to glycerine 
jelly, but with the addition of honey and a 



small quantity of alcohol. Used in place of 
glycerine jelly. 

12. Glycerine salicylic vinegar : Glycerine, 1 
vol.; water, 4 vol.; salicylic vinegar, 0"1 vol. 
For infusoria. 

13. Glycerine salicylic vinegar for larvae, hy- 
dra, nematodes, etc.: Glycerine, 1 vol.; water, 
2 vol.; salicylic vinegar, 0'1 vol. Salicylic vin- 
egar is made by dissolving 1 part salicylic acid 
in 100 parts pyroligneous acid, sp. gr. 1*04. 

14. Goadby's medium: Corrosive sublimate. 
0"25 grm.; alum, 60 grm.; boiling water, 2,300 
grm. 

15. Gum with chloral hydrate: Gum arabic, 
chloral hydrate, water. A cylinder 60 c. c. con- 
tents is filled % with gum arabic in pieces; to 
this is added a solution of chloral hydrate (sev 
eral %) containing 5—10% of glycerine; shake 
often; in a few days the gum will dissolve; the 
sirupy liquid is filtered. Carmine and haema- 
toxylin stained objects can be mounted in this 
medium. 

16. Gum and acetate of potash or of ammonia: 
Gum arabic, acetate of potash or of ammonia, 
glycerine, water. Made as the preceding me- 
dium, only a solution of potassic or ammonic 
acetate is used instead of a solution of chloral. 
Aniline stained objects can be mounted in 
this. % 

17. Iodized serum, artificial (Ranvier): 1. 
distilled water, 135 grm.; 2. egg albumen, 15 
grm.; 3. common salt, 0"2 grm.; 4. tincture of 
iodine, 3 grm. Mix, 1, 2, 3 and filter; add 4 and 
filter again. Used for examinations, not for- 
mounting. 

18. Potassio-mercuric iodide (Stephenson):Bin- 
iodide of mercury, iodide of potassium water. 
To the water add an excess of each salt and 
filter. This gives a v^rydense liquid of high re- 
fractive index (3*02). For diatoms, etc., may be 
used diluted. 

19. Monobromide of naphthalin. High refrac- 
tive index; for diatoms, etc. 

20. Monobromide balsam: Solution of hardened 
Canada balsam in monobromide of naphthalin. 
Refractive index high, 1*6; shows finer struct- 
ure of diatoms, etc. 

21. Monobromide tolu: Weir's medium; solu- 
tion of balsam tolu in monobromide of naphtha- 
lin. Refractive index 1*73; may prove very valu- 
able as a medium for diatoms. Preparation, dis- 
solve 3 oz. of balsam tolu in 4 fluid drm. of 
benzol, add 4 fluid oz. carbon disulphide; shake 
well; let separate into layers; pour off carbon 
disulphide; renew this treatment with more 
carbon disulphide; pour it off again; evaporate 
the benzol from the balsam tolu. The tolu will 
now be free from cinnamic acid; put 1 fl. drm. 
of monobromide of naphthalin in }a> oz. vial, 
add enough of the purified tolu to make a stiff 
mixture or solution when cold. Heat to 104° or 
122° F. when using. 

22. Pacini's solution: Sodium chloride, 1 part; 
corrosive sublimate, 2 parts; water, 113 parts; 
glycerine, 13 parts. Let it stand three months, 
then use 1 part with 3 of water; filter before 
using. Recommended as a preservative of 
delicate tissues. 

23. Phosphorus (Stephenson): Concentrated 
solution in carbon disulphide. High refrac- 
tive index; difficult and dangerous to use; takes 
fire spontaneously in the air. 

24. Ri part's solution : Camphor water, 75 
parts; distilled water, 75 parts; glacial acetic 
acid, 1 part ; copper acetate, 0*3 part ; copper 
chloride, 0'3 part. Useful for delicate vege- 
table tissues, desmids, confervas, etc. 

25. Sty rax: Chloroform solution. For dia- 
toms; high refractive index. 

26. American styrax: Chloroform solution 
filtered and hardened. Color as light as that 
of good balsam; high refractive index; for 
diatoms and fine tissues. 

27. Harting's corrosive sublimate solution: 
Corrosive sublimate, 1 part; water, 200 to 500 
parts. For blood corpuscles, etc. 



Microscopy. 



335 



Microscopy. 



28. William's solution: Saltpeter, 2 oz.; sal 
ammoniac, 2 drm.; corrosive sublimate, 1 dr.; 
glycerine, 2 oz.; alcohol, 1 pt.; water 2 qt. Let 
stand for several days; filter. More properly a 
preservative for large anatomical and other 
specimens. 

29. Wickersheim's solution : Alum, 100 grm., 
saltpeter, 12 grin.; potash, 60 grin.; arsenious 
oxide, 20 grm.; boiled water, 3,000 grm. A 
preservative of large anatomical and other 
specimens. 

30. Virodtzeff's solution: Glycerine, 2,160 parts; 
water, 1,080 parts; alcohol, 45 parts; thymol, 5 
parts. A preservative of large anatomical and 
other specimens.— The Microscope. 

Miscellaneous Formulas. — Gum and Sirup Con- 
gelation Mass for Imbedding (Cole, Methods of 
Microscopical Research, 1884; Journ. Roy. Mic. 
Soc, 1884).— Gum mucilage (B. P.), 5 parts; sirup, 
3 parts. (For brain, retinae, and all tissues liable 
to come in pieces, put 4 parts sirup to 5 parts 
gum.) Add 5 grn. pure carbolic acid to each oz. 
of the medium. 

Gum mucilage (B. P.) is made by dissolving 4 
oz. picked gum acacia in 6 oz. water. 

The sirup is made by dissolving 1 lb. loaf 
sugar in 1 pt. water and boiling. 

This medium is employed for soaking tissues 
previous to freezing. They may remain in it for 
any length of time; all the year round if desired. 

The freezing is conducted as follows : The gum 
and sirup are removed from the outside of the 
object by means of a cloth; the spray is set 
going and a little gum mucilage painted on the 
freezing plate; the object is placed on this and 
surrounded with gum mucilage; it is thus satu- 
rated with gum and sirup, but surrounded 
When being frozen with mucilage only. This 
combination prevents the sections from curl- 
ing up on the one hand or splintering from 
being too hard frozen on the other. The mass 
ought to cut like cheese. Should freezing have 
been carried too far, wait for a few seconds. 

Fol's Gelatin (Fol Lehrb., p. 132).— Four grm. 
gelatin are dissolved in 20 c. c. glacial acetic 
acid by heating on a water bath and agitation. 
To 5 c. c. of the solution add 70 c. c. of 70$ alco- 
hol, and lto 2 c.c. 5% aqueous solution of chrome 
alum. Pour the mixture on the slide and allow 
it to dry. In a few hours the gelatin passes 
into the insoluble state. It retains, however, 
the property of swelling and becoming some- 
what sticky in presence of water. The slide 
may then be immersed in water containing the 
sections. These can be slid into their places, and 
the whole lifted out; the sections will be found 
to be fixed in their places. 

This method is especially useful for sections 
made under water, large celloidin sections 
among others. 

1. Thwaites Fluid.— Water, 16 oz.; alcohol, 1 
oz.; creosote, sufficient to saturate alcohol; 
chalk, q. s. Mix the creosote and alcohol, stir 
in i he chalk, and add the water. Next add an 
equal proportion of water saturated with cam- 
phor. 

2. Naphtha and Creosote.— Creosote, 3 drm.; 
wood naphtha, 6 oz.; distilled water, 64 oz.; chalk, 
q. s. Mix the naphtha and creosote, then 
enough chalk to form a smooth paste; then add 
small quantity of water, and 2 or 3 lumps of 
camphor. Keep in covered vessel for two or 
three weeks; filter. 

3. Solution of (C. P.) carbolic acid in water. 

4. Solution of chromic acid. 

5. Gelatine, 1 oz.; honey, 4 oz.; alcohol, \& oz.; 
creosote, 6 drops. Soak the gelatine; then add 
the honey, which is heated to boiling; when al- 
most cold add the creosote dissolved in alcohol; 
filter. 

6. Burnet's solution is made of chloride of 
zinc; and is not recommended. 

7. Calcium Chloride.— Saturated aqueous so- 
lution of calcium chloride (C. P.); recommended 
lor hard structures. 

8. Alum, also common salt. 

9. Arsenious acid. 



10. Spicer's Fluid.— Alcohol, 3 oz.; distilled 
water, 2 oz.; glycerine, 1 oz. 

11. Camphor Water.— Distilled water, 1 qt.; 
tincture of camphor, 1 drm. Use only the clear 
fluid. 

12. Rolf's Liquid.— Bay salt, 1 grn.; alum, 1 
grn.; distilled water, 1 oz. 

Passini's Solution. — For blood globules, 
nerves, and white tissues generally. Perchlo- 
ride of mercury, 1 part; sodium chloride, 2 parts; 
glycerine, 13 parts; distilled water, 113 parts. 

Brunswick Black.— Solution of asphalt in tur- 
pentine. Great diversity of proportion of the 
ingredients; the following is the best: J4 lb- 
best asphaltum; 4J4 oz. linseed oil, which has 
been previously boiled, with ^ oz.; add litharge 
until it becomes stringy; then mix with y% pt. 
oil of turpentine. 

Cleaning Slides.— If spoiled in mounting, use 
a saturated solution of borax in water, in 
which soak the slides for a few days, then rinse 
in clean water. Borax is a solvent for balsam, 
shellac and other cements used in mounting, 
and does not act on the glass like soda, which is 
often recommended for this purpose. 

To Rectify Turpentine for Microscopical 
Use.— In a quart bottle agitate 1 pt. of common 
turpentine with 4fl. oz. of 98 % alcohol. Decant 
the turpentine, which will form the lower layer, 
after standing for two hours, and mix it with 
1 pt. of clear water. Agitate and let stand un- 
til the two fluids separate. Decant the turpen- 
tine, which this time will form the upper layer, 
and finally, mix it with an oz. of powdered 
starch, and filter through paper. A pure, lim- 
pid turpentine is the result. 

Staining Fluids.— 1. Beale's Carmine. — Car- 
mine,10grm.; ammonia, strong, y 2 drm.; glycer- 
ine, 2 oz.; distilled water, 2 oz.; alcohol, % oz. 
Dissolve carmine in ammonia; boil for a few sec- 
onds in test tube; cool, then add the glycerine 
water, etc. Filter. 

2. Thiersch's Carmine Fluid. — A. Carmine, 1 
part; caustic ammonia, 1 part; distilled water, 3 
parts. Filter. B. Oxalic acid, 1 part; water, 
22 parts. (One part A is mixed with 8 parts B 
and 12 parts absolute alcohol are added.) 

3. Thiersch's Lilac Fluid. — Borax, 4 parts; 
water, 56 parts; dissolve and add 1 part car- 
mine. Mix with twice its volume of absolute 
alcohol; filter. The precipitate of carmine and 
borax is redissolved in water. 

The Methods of Staining.— Coloring matters 
possessing so great an affinity for certain ele- 
ments of tissues that they may be left to pro- 
duce the desired electi vity of stain without any 
special manipulation on the part of the opera- 
tor, are unfortunately rare. In practice select- 
ive staining is arrived at in two ways. Tn the 
one, which may be called the direct method, 
you make use of a coloring reagent that stains 
the element desired to be selected more quickly 
than the elements you wish to have unstained, 
and you stop the process and fix the color at 
the moment when the former are just suf- 
ficiently stained and the latter not affected to 
an injurious extent, or not affected at all, by 
the color. This is what happens— for instance, 
when you stain the nuclei of a preparation by 
treatment vith very dilute hasmatoxylin, you 
get, at a certain moment, a fairly pure nuclear 
stain ; but if you prolonged the treatment, the 
extra-nuclear elements would take up" the 
color, and the selectivity of the stain would be 
lost. It may be noted of this method that it is 
in general the method of fast stains, echtc Far- 
bung, and that it renders great services in the 
coloring of specimens in toto— a procedure 
which is not possible with the chief stains- of the 
other class (the anilins). It is the old method of 
carmine and haematoxylin staining. 

The second, or indirect, method is the 
method of overstaining followed by partial de- 
coloration. You begin by staining all the ele- 
ments of your preparation indiscriminately, 
and you then wash out the color from all 
the elements, except those which you desire to 



Microscopy. 



336 



Microscopy. 



have stained, these retaining the color more 
obstinately than the others in virtue of 
a certain not yet satisfactorily explained 
affinity. This is what happens— for in- 
stance, when you stain a section of one 
deep red in all its elements with safranin, 
and then treating it for a few seconds with 
alcohol, extract the color from all but the 
chromatin and nucleoli of the nuclei. It is in 
this method that the coal tar colors find their 
chief employment. It is in general applicable 
only to sections, and not to staining objects in 
toto (the case of borax carmine is probably 
only a seeming exception to this statement). It 
is a method, however, of very wide applicabil- 
ity, and gives the most brilliant results that 
have hitherto been attained. 

Anilin* Colors Giving Indirect Nuclear Stains 
—Flemming's Method.— Very few anilinsgive a 
precise nuclear stain by the direct method. 
Two of them— methyl green and Bismarck 
brown— are pre-eminently nuclear stains. 
Many of the others— for instance, safranin, 
gentian, and especially dahlia, may be made to 
give a nuclear stain with fresh tissues by com- 
bining them with acetic acid; but in ninety- 
nine cases out of a hundred are not so suitable 
for this kind of work as the two colors first 
named, which practically form a class apart. 

Again, very few anilins give a pure plasmatic 
stain (one leaving nuclei unaffected). The ma- 
jority give a diffuse stain, which in some few 
cases becomes by the application of the decol- 
oration or indirect method the most precise 
and splendid stain as yet obtainable by any 
means. 

The indirect staining method, or Flemming's 
method, will form the subject of the present 
chapter, and the remaining anilins will be 
treated of in the next chapter. 

The following list shows the colors treated of 
in this section : 

Colors Giving Indirect Nuclear Stains— Flem- 
ming's Method. — 

Bed.— Safranin, Magdala red (Naphthalin 
red), Fuchsin (Rose'in, Rubin, Magenta, Solf eri- 
no, Corallin), Rocellin (Echtroth, Orseillin, 
Rubidin), Mauvein, Rogue fluorescent. 

Brown and Yellow.— Bismarck brown, Orange, 
Tropaeolin (Chrysaurein). 

Green.— Anilin green, Solid green. 

Blue.— Victoria. 

Violet.— Gentian, Dahlia, Methyl violet. 

a. Direct Nuclear Stains. — Methyl green, 
Bismarck brown (Vesuvin), Methyl violet. 

o. Plasmatic Stains, Stains not Affecting Nu- 
clei.— Bleu lumiere, Bleu de Lyon, Indulin 
(Nigrosin), Quinoleiin (Cyanin). 

c. Other Colors (Ground Stains and Specific 
Stains) : 

Bed.— Saiirefuchsin (Acid fuchsin), Congo, 
Benzo-purpurin, Delta purpurin, Biebricher 
Scharlach, Eosin, Bengal rose. 

Orange and Yellow.— Picric acid, Metanil yel- 
low, Saiiregelb, Echtgelb, Tropaeolin O, Crpcein, 
Gold orange. 

Green.— Iodine green, Thiophen green, Anilin 
green, Picro-anilin green. 

Blue.— Anilin blue, Parma blue, Methylen 
blue. 

Violet.— Violet B. 

Black.— Anilin black (Nigranilin, Blue black, 
Noir Colin). 

Victoria Blue (Victoriablau). (Lustgarten, 
Med. Jahrb. k. Ges. d. Aerzte zu Wien, 1886.)— 
Stain (specimens strongly fixed in "Flem- 
ming " some hours, lightly fixed specimens a 
few minutes) in saturated aqueous solution. 
Wash out in pure alcohol (about one minute, 
more or less). You may clear with clove oil, 
but you had perhaps better take cedar or ber- 
gamot oil, as clove oil washes out the color very 
freely. 

* The word " anilin " ia here used in the popular sense, to in- 
clude all coal tar colors. 



Gentian Violet.— One of the most important, 
of these stains. It may be used in aqueous so- 
lution or in alcoholic solution diluted with 
about one half of water (Flemming, Zells. ¥ 
Kern. u. Zellth., 1882, p. 384), and the stain may 
be washed out with pure alcohol or (Flemming,. 
Zeit. f. wiss. Mik., 1, 1884, p. 350) with acidulated 
alcohol, as directed below for safranin. 

Anilin Green.— Use precisely as directed for 
Victoria blue, supra. An extremely delicate 
and absolutely precise nuclear stain, nucleoli 
being peculiarly brilliantly stained by it. 

Dahlia.— (Flemming, Arch. f. mik. Anat., xix, 
1881.) Stain in an aqueous solution, either neu- 
tral or acidified with acetic acid, and wash out 
with pure alcohol. The stain is paler in the nuclei 
than with gentian or safranin. The cytoplasmic 
granulations of certain cells are sharply 
stained. 

Safranin.— One of the most important of 
these stains, on account of its great power, bril- 
liancy, and superior permanence in balsam, 
and also on account of the divers degrees of 
electivity that it displays for the nuclei and 
other constituent elements of different tis- 
sues. 

The great secret of staining with safranin is 
to get a good safranin. 

Other Nuclear Stains by the Indirect Method. 
— The f oregiong paragraphs nearly exhaust the 
list of colors giving good nuclear stains by the 
indirect process. Flemming (Arch. f. mik. 
Anat., xix, 1881), mentions the following : 

Magdala Red (Naphthalin Red, Rose de 
Naphthaline.)— Nearly if not quite as good a 
stain as any of the foregoing, and superior to 
all except safranin in respect of permanency. 
This and the following should, as far as is yet 
made out, be used in alcoholic solution diluted 
with about one half of water, and be washed 
out with pure alcohol, followed by clove oil. 

Mauvein and Rouge Fluorescent are good 
stains, but color some nuclei more deeply than 
others in the same preparation. 

Solid Green (perhaps the same as the ana- 
lin green discussed above) is very elective for 
nucleoli. 

Fuchsin (meaning the basic f uchsins, a series 
of rosanilin salts having very similar reac- 
tions and found in commerce under the names 
of fuchsin, anilin red, rubin, rosein, magen- 
ta, solferino, corallin).— A good but somewhat 
weak stain, by the alcohol method. Good re- 
sults are obtained by substitution in the fol- 
lowing manner (Graser, Deutsche Zeit. f. Chir- 
urgie, xxvii, 1888, Zeit.f. wiss. Mik. v, 3, 1888): 
You either employ the color as directed for 
methyl violet, or you stain for twelve to twen- 
ty-four hours in a dilute aqueous solution, 
wash out for a short time in alcohol, stain for 
a few minutes in aqueous solution of methylen 
blue, and dehydrate with alcohol. A double 
stain. Chromatin and nucleoli red; all the rest 
blue. 

Orange, precise but weak. 

Bismarck brown is not very satisfactory with 
chromic objects. With alcohol objects it gives 
a good chromatin stain, but cannot be thor- 
oughly removed from cytoplasm by any means 
yet discovered. 

To these may be added— 

Methyl violet, perhaps best used according 
to the method of Resegotti given in the last 
section; and (according to Griesbach, Arch.f. 
mik. Anat., xxii, p. 132). 

Tropaeolin OOO, No. 2 (orange ii; chrysau- 
rein, B naphtholorange), a fine dark orange 
stain, and— 

Rocellin (echtroth, orseillin No. 3, rubidin, 
la Rauvarienne), a cherry red stain. 

Benzoazurin has been lately recommended by 
Martin (see Zeit. f. wiss. Mik., vi, 2, 1889). Stain 
for an hour or so in dilute aqueous solution 
and wash out with HC1 alcohol. 

Direct Nuclear Stains.— Methyl Green.— This 
is the most common, in commerce, of the anilin 
greens. It appears to go by the synonyms of 



Microscopy. 



337 



Microscopy. 



Methylanilin green, Vert Lumiere, Lichtariin, 
Grunpulver. When first studied by Calberla, 
in 1874 (Morphol. Jahrb., iii, 1887, p. 625), it went 
by the name of Vert en cristaux. It is common- 
ly met with in commerce under the name of 
more costly greens, especially under that of 
iodine green. It is important not to confuse it 
with the latter, nor with aldehyde green (Vert 
d'Eusebe), nor with the phenylated rosanilins, 
Paris green, and Vert d'alcali or Ve'ridine. 

The chief use of methyl green is as a nuclear 
stain for fresh or recently fixed tissues. For 
this purpose it should be used in the form of a 
strong aqueous solution containing a little 
acetic acid (about 1% in general). The solutions 
must always be acid. You may wash out with 
water (best acidulated) and mount in some acid 
aqueous medium containing a little of the 
methyl green in solution. 

Bismarck Brown (Manchester Brown, Phe- 
nylen Brown, Vesuvin, La Phenicienne). — A 
fairly pure nuclear stain that will work either 
with fresh tissues or with such as have been 
hardened in chromic acid. 

The color is not very easily soluble in water. 
You may boil it in water, and filter after a day 
or two (Weigert, in Arch. f. mik. Anat., xv, 
1878, p. 258). You may add a little acetic or 
osmic acid to the solution. Maysel dissolves 
the color in acetic acid (this solution does not 
give a permanent stain). Alcoholic solutions 
may also be used. Paul Mayer recommends a 
saturated solution in 70$ alcohol; or Calberla's 
mixture, or dilute glycerine (say of H)% to 50$) 
may very advantageously be employed. 

Methyl Violet (Methylanilin=anilin-violet= 
Paris vioiet = inchiostro di Leonardi).— The 
-following process has been recommended by 
Orth (Amer. Mon. Micr. Journ., i, 1880, p. 143; 
Journ. Roy. Mic. Soc, N.S., i, 1881, p. 137). Sec- 
tions are to be soaked in water, and then 
brought into the following solution : 

Anilin violet , 1 part. 

Acetic acid . „ , 300 parts. 

Mount, without washing out, but simply 
draining, in acetate of potash (acetate, 2 parts; 
water, 1 part). 

The stain will probably fade within a year or 
two. 

Bleu lumiere is stated to be a plasma stain 
not affecting nuclei. I have not been able to 
make out whether it is identical with Parma 
blue, which is one of the numerous toluidin 
blaes. If it is, Frey recommends a solution in 
water of 1 : 1000, in whicb tissues stain in a few 
miuutes, and may be mounted either in glycer- 
ine or balsam. Lichtblau is possibly a syno- 
nym of this color. The principal use of such 
a color is for making double stains. 

Iodine Green (Hofmann''s Griln) (Griesbach, 
Zool. Anz., No. 117, vol. v, 1882J— Griesbach 
employs the following solution : 

Crystallized iodine green 0'lgr. 

Distilled water 35*0 gr. 

These proportions may be varied according 
to the desire of the operator, within limits 
indicated only by the observation that good 
results can only be obtained from deep hued 
solutions. 

The objects are to be put into water for a few 
seconds before staining. They stain instanta- 
neously in general. They are to be washed out 
in water, and brought into glycerine, or de- 
hydrated in absolute alcohol and passed 
through oil of cloves or anise seed into bal- 
sam or dammar. The stain is not destroyed 
by immersion in alcohol for days. The pre- 
parations are apparently permanent in bal- 
sam. 

Violet B (S. Mayer, Sitzb. d. k. Akacl. d. Wiss. 
Wien, iii, Abth.).— Used in solutions of 1 grm. of 
the color to 300 grm. of 0'5$ salt solution, 
and with fresh tissues that have not been 
treated with any reagent whatever ; this color 
gives a stain so selective of the elements of the 



vascular system that favorable objects, such as 
serous membranes, appear as if injected. The 
preparations do not keep well; acetate of pot- 
ash is the least unsatisfactory medium for 
mounting them in. 

A. Aqueous Carmine Stains.— Ammonia Car- 
mine (Beale, Hoiv to Work, etc.).— 

Carmine 10 grn. 

Liquor ammonise (f ortissimus, 
B. P.) ^drm. 

Price's glycerine 2 oz. 

Distilled water 2 oz. 

Alcohol )4 oz. 

The carmine, in small fragments, is to be dis- 
solved in the ammonia with the aid of heat, 
Boil for a few seconds and let cool. Leave un- 
corked for at least an hour, or until the excess 
of ammonia has evaporated as tested by the 
smell. Then add the glycerine, water and al- 
cohol, and filter, or allow to settle and decant. 
If after keeping for some months the carmine 
begins to percipitate, owing to the escape of 
ammonia, add one or two drops of liquor am- 
monige. 

Hoyer's Neutral Carmine (Biol. Centralb., ii, 
1882) . If the solution made by the process given 
supra be mixed with 4 to 6 times its volume of 
strong alcohol a scarlet red precipitate is form- 
ed. This is separated by filtration, washed 
and dried or made into a paste with alcohol in 
which some glycerine and chloral is dissolved. 
Both the powder and the paste can be kept seve- 
ral months unchanged; they dissolve easily in 
water, particularly the paste. The solution 
passes readily through the filter, while the 
ordinary carmine solution can only be filtered 
with difficulty; it also keeps a long time un- 
changed, especially with the addition of 1 to 2% 
of chloral, and it has a much more intense color- 
ing power. 

Ranvier's Picro Carmine or Picro Carminate 
of Ammonia.— The method of preparation em- 
ployed in the Laboratory of Histology of the 
College de France, kindly communicated to 
myself and Henneguy for our Traite des Meth. 
Techn. by M. Vignal, one of the assistants there, 
is as follows : 

Take — 

Water ,,.«•.» 1,000 narts. 

Picric acid „ . 20 parts. 

Carmine 10 parts. 

Ammonia 50 parts. 

Put them into a stoppered bottle and leave 
them for two or three months in a warm place. 
Then put them into a large crystallizing dish 
and let them putrefy. When the liquid has be- 
come reduced by evaporation to four-fifths of 
its original volume, remove the crystals that 
have formed at the bottom, dry them and dis- 
solve them in a little warm water. Filter the 
solution and examine it with the microscope to 
see whether the carmine is really dissolved. If 
not, add water and ammonia, and let the solu- 
tion putrefy again; evaporate and examine as 
before. When you have got your carmine 
combined evaporate the solution to dryness in 
a stove and reduce the picro carminate to pow- 
der. 

For staining, dissolve 1 grm. of the powder 
in 100 grm. of water and add a crystal of thymol 
to prevent the development of mould. 

Alum Carmine (Grenacher's formula, Arch. 
mik. Anat., xvi, 1879).— An aqueous solution (of 
1% to 5% strength, or any other strength that 
may be preferred) of common or ammonia 
alum, is boiled for ten or twenty minutes with 
Yo% to 1% of powdered carmine. It is perhaps the 
safer plan to take the alum solution highly 
concentrated in the first instance, and after 
boiling the carmine in it, dilute to the desired 
strength. When cool filter. 

This stain must be avoided in the case of cal- 
careous structures that it is wished to preserve. 

Alum Carmine with Osmic Acid (Zoltan von 
Roboz, in litt.)— To 50 or 60 grm. of water is 
added alum carmine until the mixture is of an 



Microscopy. 



338 



Microscopy. 



almost red rose color; about 10 drops of a xoue 
solution of osmic acid are added. (The mixture 
should have an appreciable smell of osmic acid.) 
The objects to be stained remain in the mix- 
ture for about thirty-six hours in the dark. It 
is hardly necessary to wash them, as the stain 
is perfectly precise without that. It is im- 
portant to perform the staining in a well- 
closed vessel, in order to prevent the evapora- 
tion of the osmium. 

Delage's Osmium Carmine (Arch, de Zool. 
Exp. et Gen., iv, ser. 2, 1886; Zeit. f. wiss. Mik., 
iii, 2, 1886).— Ammonia carmine neutralized by 
evaporation over a water bath and combined 
with an equal volume of 1% osmic acid solu- 
tion, then filtered under a bell glass. Stains 
and fixes at the same time. (The mixture, how- 
ever, will not preserve its fixative properties 
for more tnan a few days.) 

Hamann's Acid Carmine (Intern. Mon. f. 
Anat. u. Hist., i, 5, 1884; Zeit. f. wiss. Mik., ii, 
1885).— Thirty gr. of carmine, 200 c. c. of 
strong ammonia and acetic acid to neutraliza- 
tion or slightly acid reaction. This may be 
used for staining, but it is far better to redis- 
solve in a mixture of ammonia and acetic acid 
in the same proportions the precipitate that 
forms when the solution is allowed to stand for 
from two to four weeks. Treatment with HC1 
is not necessary. 

Neutral Borax Carmine (Nikiforow, Zeit.f. 
wiss. Mik., v, 3).— Boil together 3 parts of car- 
mine, 5 parts of borax and 100 parts of water, 
adding enough ammonia to get the carmine to 
dissolve. Evaporate to less than half the orig- 
inal volume. Add dilute acetic acid until the 
cherry red color changes (if you should add too 
much acetic acid you must reneutralize with 
ammonia). Add a little carbolic acid to pre- 
serve the solution. 

A direct nuclear stain, like that of alum car- 
mine, but more powerful. Osmic and chromic 
objects take the stain well. Overstaining does 
not occur, so that objects may remain for 
days in the stain. Wash out with water. 

The Use of Cochineal. — What is the use of 
cochineal ? In the first place, it gives us the 
means of getting a direct nuclear stain by 
means of an alcoholic solution. For some pur- 
poses this stain is unrivaled. In the second 
place it gives us an aqueous stain that takes 
the place of alum carmine, with perhaps a 
greater richness of differentiation. 

Alum Cochineal (Partsch, Arch. f. mik. Anat., 
xiv, 1877). - Powdered cochineal is boiled for 
some time in a h% solution of alum, the decoc- 
tion filtered and a little salicylic acid added to 
preserve it from mould. 

Alum Cochineal (Czokor. Arch. f. mik. Anat., 
xviii, 1880).— Seven gr. cochineal and 7 gr. cal- 
cined alum are rubbed up together into pow- 
der in a mortar; add 700 gr. distilled water and 
boil down to 400 gr. When cool add sufficient 
carbolic acid to be perceptible by the smell and 
filter several times. The violet solution is 
ready for use and will keep for six months, 
after which time it must be filtered again and 
a fresh trace of carbolic acid added. 

Delafeld's Hematoxylin— To 400 c. c. of sat- 
urated solution of ammonia alum add 4 gr. of 
haematox. crist. dissolved in 25 c. c. of strong 
alcohol. Leave it exposed to the light and air 
in an unstoppered bottle for three or four 
days. Filter and add 100 c. c. of glycerin and 
100 c. c. of methylic alcohol (CH 4 0). Allow the 
solution to stand until the color is sufficiently 
dark, then filter and keep in a tightly stop- 
pered bottle. 

Glvcerine Solutions.— Ehrlich's Acid Hema- 
toxylin (Zeit. f. wiss. Mik., 1886). -The ordinary 
(alum) hematoxylin staining solutions easily 
decompose, giving rise to a blue precipitate 
which is formed by the splitting up ot the alum 
into free sulphuric acid and a basic lake form- 
ing compound of alumina. By adding to a so- 
lution an appropriate acid this decomposition 



may be prevented. The end may be attained 

by acetic acid. Take- 
Water 100 c. c. 

Absolute alcohol 100 c. c. 

Glycerine 100 c. c. 

Glacial acetic acid 10 c. c. 

Haematoxylin 2 grm. 

Alum in excess. 

Let the mixture ripen in the light until it 
acquires a dark red color. It will then keep, 
with a perfectly constant staining power, for 
years, if kept in a well stoppered bottle. Sections 
are stained in a few minutes. The stain is also 
very appropriate for staining in the mass, as 
overstaining does not occur. 

In order to get a blue stain with this acid so- 
lution, the stained objects should be washed 
out with common drinking water, which is al- 
ways slightly alkaline, and not with distilled 
water. 

Purpurin.— Ranvier's formula (Traite Tech- 
nique).— Two hundred grm. water and 1 grm. 
alum are boiled in a porcelain capsule; purpurin 
rubbed up in water is added, and the boiling 
continued. The purpurin being dissolved to 
saturation (this is insured by taking care to have 
an undissolved excess in the capsule), the solu- 
tion is filtered hot into a flask containing 60 c. c. 
of alcohol (36° Cartier = 90%). 

Metallic Stains— Silver Nitrate : The Solu- 
tions to be Employed (Ranvier).— The solu- 
tions generally employed by Ranvier vary in 
strength from 1-300 to 1-500. Thus 1-300 is used 
for the epiploon, pulmonary endothelium, car- 
tilage, tendon, while a strength of 1*500 is em- 
ployed for the study of the phrenic center, and 
for that of the epithelium of the intestine. 
For the impregnation of the endothelium of 
blood vessels (by injection), solutions of 1*500' 
to 1*800 are taken. 

M. Duval (Precis) recommends solutions of 1, 
2, or at most '3%. 

V. Recklinghausen used, for the cornea, a 
strength of from 1—400 or 1—500 (Die Lymph- 
gefasse, etc., Berlin, 1862). 

Robinski (A rch. de Physiol., 1869) used solu- 
tions varying between 0*1 and 0*2$, which he 
allowed to act for thirty seconds. 

Reich (Sitzb. d. wien. Acad., 1873, iii, Abth., 
April; Zeit. f. wiss. Mik.) takes solutions of 
from L-600 to 1—400, for the study, of the en- 
dothelium of vessels by injection. 

Rouget (Arch, de Physiol., 1873) employed so- 
lutions as weak as 1 —750 or even 1—1,000, expos- 
ing the tissues to their action several times 
over, and washing them with water after each 
bath. 

Gold Stains.— Thus Bastian modified Cohn- 
heim's original method by employing a solution 
of gold chloride of a strength of 1,000 to 2,000, 
acidulated with HC1 (1 drop to 75 c. a), and 
performing the reduction in a mixture of equal 
parts of formic acid and water, kept warm ; 
heat being an agent that furthers reduction. 

Henocque (Arch. deVAnat. et dela Physiol., 
1870) impregnates in a 0*5 solution of gold chlo- 
ride, washes in water for twelve to twenty-four 
hours, and reduces, with the aid of heat, in a 
nearly saturated solution of tartaric acid. The 
tartaric acid solution must be contained in a 
well-stoppered bottle. The best temperature for 
reduction is 40° to 50° C. Reduction is effected 
very rapidly, and sometimes in a quarter of an 
hour. 

Perchloride of Iron.— This reagent, intro- 
duced by Polaillon (Journ. de VAnat., iii, 1866), 
sometimes gives most useful results, especial- 
ly in the study of peripheral nerve ganglia, 
in which it stains the nervous tissue alone, the 
connective tissue remaining colorless. The 
method consists in impregnating in perchlor- 
ide of iron, and reducing in tannic, gallic, or 
pyrogallic acid. 

The Hoggans, who have done very good work 
with this reagent, proceed as follows (Journ. 
Buekett Club, 1876; Journ. Boy. Mic. Soc. ii* 



Milk. 



339 



Moles. 



1879): The tissue (having been first fixed with 
silver nitrate, which is somewhat reduced by a 
short exposure to diffused light) is dehydrated 
in alcohol, and treated for a few minutes with 
2% solution of perchloride of iron in spirit. It 
is then treated with a 2% solution of pyrogallic 
acid in spirit, and in a few minutes more, ac- 
cording to the depth of tint required, may be 
washed in water and mounted in glycerine. 

Combination Stains.— Renaut's Hasmatoxylic 
Eosin (Pors Lehrbuch). — Renaut has given from 
time to time several formulas for this stain. 
This one, communicated to Fol by Renaut, is 
the latest : 

Concentrated aqueous solution 
of potassic eosin (eosine a la 

potasse) 30 c. c. 

Saturated solution of haematox. 
in alcohol (ought to have been 
kept some time and to have 

precipitated) 40 c. c. 

Saturated solution of potash al- 
um in glycerine (of a density 

of aoout 1-26) 130 c. c. 

Mix, and let the mixture stand five or six 
weeks in a vessel covered with a sheet of paper 
pierced with holes until the alcohol is evap- 
orated, then filter. 

For staining, the solution may be used as it 
is or diluted. 

Methyl Green and Bismarck Brown.— (List, 
Zeit. f. wiss. Mik., ii, 1885).— Stain for a few- 
minutes in Weigert's Bismarck brown ; wash, 
and stain in 0*5^ aqueous solution of methyl 
green. Clear with bergamot oil or xylol, and 
mount in balsam. 

Or, dilute the Bismarck brown for staining 
with 3 volumes of absolute alcohol, wash out 
with strong alcohol, and stain for a few min- 
utes in the methyl green solution diluted with 
3 volumes of absolute alcohol. 

Or, stain for twenty-four hours in the Bis- 
marck brown solution diluted with 50 volumes 
of water, and then for twenty-four hours in 
the methyl green solution diluted with 50 vol- 
umes of water. 

Milks, Cosmetic. £ee Cosmetics. 

Milk, to Test for Water.— A German 
chemist furnishes a very simple procedure for 
testing the amount of water in milk. All that 
is required is a small quantity of plaster of 
Paris, say, 1 oz. This is mixed with the milk to 
a stiff paste and then allowed to stand. With 
milk of 1,030 specific gravity and a tempera- 
ture of 60° P., it will harden in ten hours; if 
25# of water is present, in two hours; if 50$, in 
one hour and a half; and with 15%, in thirty 
minutes. Skimmed milk which has been stand- 
ing for twenty-four hours, and is of 1,033 spe- 
eittc gravity, sets in four hours; with 5W of 
Vater in one hour; and with 15% in 30 minutes. 
Heat should not be applied, as then the use 
of the thermometer would be required. This 
test is certainly very simple and not costly. 

Milk, to Keep from Souring.— A small 

quantity of boracic acid added to milk will 
keep it from souring and delay the separation 
of cream. It can be kept several days by this 
means. 

Mill Picks, to Temper. See Temper- 
ing. 

Minargent. See Alloys. 

Mineral Waters. See Waters. 

Minerals, Cement for. See Cements. 

Minerals, Hardness of: 

2. Rock Salt \ Scratched by finger nail. 

3. Calcite ] 
4 Fluor 

5* Apatite [ Scratched by a knife blade. 

6. Orthoclase J 



7. Quartz 1 

8. Topaz I May be roughly distin- 

9. Corundum f guished by a file. 
10. Diamond J 

Minofor. See Alloys. 

Mint Cordial. See Liquors. 

Mirbane, essence of. Name for nitro- 
benzol. 

Mirrors, Amalgam for. See Amal- 
gam, 

Mirrors, to Repair.— Remove the silver- 
ing from the glass around the scratch so that 
the clear space will be about a quarter of an 
inch wide. Thoroughly clean the clear space 
with a clean cloth and alcohol. Near the 
edge of a broken piece of looking glass mark 
out a piece of silvering a little larger than 
the clear space on the mirror to be repaired. 
Now place a very minute drop of mercury on 
the center of the patch and allow it to remain 
for a few minutes, clear away the silvering 
around the patch, and slide the latter from the 
glass. Place it over the clear spot on the mir- 
ror, and gently press it down with a tuft of 
cotton. This is a difficult operation, and we 
would advise a little practice before trying it 
on a large mirror. 

Mirrors, to Silver. See Silvering. 

Mites. — To Clean Canary Birds of Mites. — 
Put a clean white cloth over the cage at 
night. In the morning destroy the mites, 
which leave the bird, and will be found on the 
cloth. Take the cage apart and wash thor- 
oughly. 

Mixed Goods, to Dye. See Dyeing. 

Mixture. — In pharmacy.— A compound 
liquid medicine, taken in divided doses. Mix- 
tures are usually extemporaneous prepara- 
tions, and in prescribing them, care should be 
taken not to bring together substances that 
decompose each other, nor to order heavy 
powders that speedily separate by subsidence. 

Mocking Bird Food. — 1. Hempseed, 3 
parts; toasted wheat bread, 2 parts; maw 
seed, 1 part; ox heart, 1 part. Boil the ox 
heart well in water, cut it small, and 
place it in a pan in an oven, where it must be 
allowed to become perfectly dry and crisp. 
All the ingredients must then be thoroughly 
mixed and ground in a mill to coarse powder. 

2. Mix together two parts corn meal. 2 
parts pea meal, and 1 part moss meal; add a 
little melted lard, but not sufficient to make 
the mixture too greasy, and sweeten with mo- 
lasses. Fry in frying pan for half an hour, 
stirring constantly, and taking care not to let 
it burn; this makes it keep well. Put it in a 
covered jar. 

Modeling Clay. — Knead dry clay with 
glycerine instead of water, work thoroughly 
with the hands, moisten work at intervals of 
x two or three days, keep covered with an old 
piece of rubber cloth to prevent evaporation 
of moisture. 

Moire Metallique. See Tin. 

Molasses, to Clarify.— Common molasses 
may be clarified and rendered much more 
palatable by heating it over the fire and pour- 
ing in sweet milk in the proportion of one pint 
to a gallon of molasses. When the molasses 
boils up once, the albumen in the milk collects 
all the impurities in a thick scum upon the top, 
which must be carefully removed, and the 
molasses is then fit for use. Bullock's blood is 
also used for this purpose, but milk is more 
agreeable in many ways for domestic use. 

Moles.— Croton oil, under the form of pom- 
made or ointment and potassio-tartrate or an- 
timony, under the form of paste or plaster, have 
each recently been successfully employed, on 
the Continent, for the removal of ordinary 
moles and nasvi. The following is the mode or 



Mordant. 



340 



Mosquitoes. 



using the latter adopted by an eminent French 
surgeon : 

Tartar emetic, in impalpable pow- 
der 15grn. 

Soap plaster, emplastrum sapo- 
nis ldrm. 

and beat them to a paste. Apply this paste to 
nearly a line in thickness (not more), and cover 
the whole with strips of gummed paper. In 
four or five days eruption or suppuration will 
set in, and, in a few days after, leave, in place 
of the naevus, only a very slight scar. Croton 
oil ointment effects the same, but less com- 
pletely unless repeated, by producing a pustu- 
lar eruption, which, however, does not perma- 
nently mark the skin. 

The following courses of treatment are supe- 
rior to that just given. 

True naevi a*e often mistaken for these. A 
simple mole is a deposit of pigment in the sub- 
stance of the skin. Treatment : 

1. Calcium chloride 1 part. 

Water 2 parts. 

To be rubbed in nightly. 

2. Bitter almond emulsion 1 oz. 

Subnitrate of bismuth.. .. : 1 oz. 

Calcium chloride 3^ oz. 

Oatmeal water 23^ oz. 

To be used every morning. 

3. Prepared chalk 2oz. 

Carbonate of bismuth , 2 oz. 

Calcium chloride 3^ oz. 

Powdered borax y% oz. 

Carbonate of soda y% oz. 

Emulsion of bitter almonds 2 oz. 

Milk 2 oz. 

Glycerine 2 oz. 

Starch y% oz. 

Oatmeal water 2 oz. 

White wax 1 oz. 

Cream 1 oz. 

Cucumber juice 1 oz. 

Emulsion of pistachio nuts 1 oz. 

4. Mole Salve.— Diachylon plaster, 1 oz.; tar- 
tar emetic, 2 drm.; Croton oil, 10 drops. Spread 
a plaster just the size of the mole, and leave it 
on until it suppurates; remove and let it heal. 
It may leave a slight scar. 

5. Corrosive sublimate, 5 grn.; muriatic acid, 
30 drops; lump sugar, 1 oz.; alcohol, 2 oz.; rose 
water, 7 oz. Agitate together till all is dis- 
solved. Apply night and morning. 

Mordant.— A chemical preparation applied 
to fix the colors with which a textile has been 
dyed. 

Mordants. See Dyeing. 

Mortar.— A mortar that can hardly be 
picked to pieces is made as follows : Mix equal 
parts of lime and brown sugar with water, and 
be sure the lime is thoroughly air slaked. This 
mortar is equal to Portland cement, and is of 
extraordinary strength. + 

Mortar, Impenetrable. — To make impenetra- 
ble mortar, mix thoroughly 34 of fresh un- 
slaked lime with % of sand; and let 5 laborers 
make mortar of these ingredients, by pouring 
on water with trowels, to supply one mason, 
who must, when the materials are • sufficiently 
mixed, apply it instantly as cement or plaster, 
and it will become as hard as stone. The lime 
used should be stone lime; previous to its use it 
should be preserved from the access of air or 
wet, and the plaster screened for some time 
from the sun and wind. 

Mortar, to Make.—l. Mortar is composed of 
quicklime and sand, reduced to a paste with 
water. The lime ought to be pure, completely 
free from carbonic acid, and in the state of a 
very fine powder; the sand should be free from 
clay, partly in the state of fine sand, and partly 
in the of gravel; the water should be pure; 
and if previously saturated with lime, so much 
the better. The best proportions are 3 parts of 



fine and 4 parts of coarse sand, 1 part of quick- 
lime, recently slaked, and as little water as 
possible. 

2. The addition of burnt bones improves 
mortar, by giving it tenacity and rendering it 
less apt to crack in drying; but they ought 
never to exceed 34 of the lime employed. 

3. When a little manganese is added to the 
mortar, it acquires the important property of 
hardening under water; so that it may be em- 
ployed in constructing those edifices which are 
constantly exposed to the action of water. 
Limestone is often combined with manganese; 
in that case it becomes brown by calcination. 

K horassar or Turkish Mortar.— One part pow- 
dered brick and tiles; 2 parts fine sifted lime. 
Mix with water to the desired consistency, put 
on layers of 5 or 6 inches in thickness, between 
the courses of brick and stone. This mortar is 
used where great solidity is required in build- 
ings. 

Mortar, Waterproof.— Instead of slaking in 
the usual manner use a solution of copperas 
dissolved in warm water and use only fine 
quartz sand. 

Mosaic Gold, to Make.— Bisulphide of 
tin, bronze powder, arnum musivum. (Sn S 2 ), 
known also as mosaic gold; it forms a beautiful 
yellow flaky compound, which is obtained by 
preparing an amalgam of 12 parts of tin and 6 
parts of mercury; this is reduced to powder and 
mixed with 7 parts of sublimed sulphur and 6 
parts of sal ammoniac. This mixture is intro- 
duced into a flask with a long neck, and is 
heated gently so long as any smell of sulphur- 
eted hydrogen is perceptible; the temperature 
is then raised to low redness, calomel and cinna- 
bar are sublimed, and a scaly mass of Sn S 2 re- 
mains. If the heat be pushed too far, part of the 
sulphur is expelled and the operation fails; the 
sal ammoniac appears by its volatilization to 
moderate the heat produced during the sul- 
phuration of the tin, which would otherwise 
rise so high as to decompose the bisulphide. 

Moselle Wine. See Wines. 

Mosquitoes.— 1. To clear a room of mosqui- 
toes, take a small piece of gum camphor in a tin 
vessel and evaporate it over a flame, taking 
care it does not ignite. A sponge dipped in cam- 
phorated spirits and made fast to the top of the 
bedstead will be found serviceable in the sleep- 
ing room. Decoction of pennyroyal, applied to 
the exposed parts, will effectuaDy keep off these 
troublesome insects. — American Pharmacist. 

2. A small amount of pennyroyal sprinkled 
around the room will drive away mosquitoes. 

3. Burning a small quantity of Persian insect 
powder in a room is said to be efficient in driv- 
ing away mosquitoes. 

Mosquito and Gnat Bites.— Carbolate of lime, 
10 grn.; water, 1 drm. It is said that a weak 
solution of carbolic acid— 1 part in 50— used as 
a wash, will prevent their attacks. 

To alleviate the unpleasant sensation caused 
by the bite of the mosquito, various remedies 
have been suggested. Among them are oil of 
cloves, ammonia, bicarbonate of soda, chloro- 
form, thymol and ordinary soap. Doctors say, 
we have in our own experience obtained more 
relief from solution of cocaine, 4$, than from 
anything else. 

Mosquito Oil: 

Oil of tar ». 1 oz. 

Olive oil 1 oz. 

Oil of pennyroyal 3^ oz. 

Spirit of camphor K oz. 

Glycerine ^| oz. 

Carbolic acid 2 drm. 

Mix. Shake well before using. 
See also Cosmetics (Lotions). 
Mosquito Tincture : 

Eucalyptol 10 parts. 

Acetic ether 5 parts. 



Moths. 



341 



Moths. 



Eau de cologne . . 40 parts. 

Tincture of insect powder (1 to 

5S.V.R.) 50 parts. 

Mix. 

For sponging the skin a mixture of 1 part of 
this with 3 to 6 parts of water may be used. 
The tincture is also useful for spraying in 
apartments; for this purpose 1 part may be 
mixed with 10 parts water, and used in a spray 
producer. 

Moths. — Receipt for Destroying Moths.— 
Take equal parts oil of camphor and spirits of 
turpentine. Soak blotting paper in the mix- 
ture. Let the paper dry, then lay among furs 
or clothing. 

Moth Exterminators.— The National Druggist 
gives the f ollowing among other formulas for 
moth exterminators : 

1. Lupulin 1 drm. 

Snuff 2oz. 

Camphor 1 oz. 

Cedar Sawdust 4 oz. 

Mix. 

This is to be used for sprinkling where the 
moths frequent. 

2. Carbolic acid, gum camphor, 

each 1 oz. 

Benzine 1 pt. 

Dissolve the gum and carbolic acid in the 
benzine. 

Apply by saturating a piece of blotting 
paper, or use it in form of spray by use of an 
atomizer. 

The following is recommended for sprinkling 
among furs,, clothes, etc., to prevent the rava- 
ges of moths : 

3. Patchouly herb 100 parts. 

Valerian 50 parts. 

Camphor 40 parts. 

Orris, sumbul, each 50 parts. 

Oil of patchouly, otto of roses, 

each 1 part. 

The various ingredients are broken up as 
small as possible, passed through a wide sieve 
to separate the coarser pieces, and freed from 
dust by a fine sieve. The oils are mixed with 
the orris root, and all the ingredients are then 
combined. 

4. Powdered cloves 50 parts. 

Powdered black pepper 100 parts. 

Powdered quassia 100 parts. 

Sprinkle with— 

Oil of cassia, oil of bergamot, 
each 2 parts. 

Camphor 5 parts. 

Previously dissolved in— 

Ether 20 parts. 

Then mix with— 

Carbonate of ammonium 20 parts. 

Powdered orris 20 parts. 

Moth Liquid : 

5. Spirit of wine 500 parts. 

Naphthaline 10 parts. 

Carbolic acid 10 parts. 

Camphor 5 parts. 

Essence lemon 5 parts. 

Oils of thyme, lavender and 

savine (of each) . . 2 parts. 

This can be used by sprinkling over furs, 
clothes, carpets, furniture, etc., or, better still, 
by application by a spray producer. 

Moth and Roach Exterminator.— 1. Benzine is 
said to be more effective than anything else for 
exterminating moths, roaches, etc. 

2. A little alum or borax solution in hot water 
injected into the cracks and applied by a cloth 
to the wood work in the vicinity of these hiding 
places is usually effectual. 

3. Common salt is also very highly recom- 
mended. 

Moths in Furniture.— I. There are two species 



of moths which infest furniture. One is a large 
fly of silvery white color; the worm of the 
same is shaped like a chestnut worm, and is 
f amiliarly known. It rarely infests furniture. 
The other is a small fly of a dark drab color ; the 
worm is about one-fourth of an inch long, and 
tapering from the head to the tail. It was first 
observed by upholsterers about thirteen years 
ago. This fly penetrates a sofa or chair, gener- 
ally between the back and seats of sofas, or 
under the seats, where the vacancy among the 
springs affords a safe retreat. It may make a 
lodgment in one week after the furniture is 
placed in the house. If such should be the case, 
in two months* the worm will appear ; and the 
continual process of procreation in a few 
months increases the number to thousands. 
This moth has no season. It destroys in winter 
and? summer alike, and is kept in active fife by 
the constant heat of the house. We find at the 
same time, in the same piece of furniture, the 
fly, the worm, and the eggs; thus showing that 
they are breeding and destroying all the time. 
It does notseat pure curled hair, but fastens its 
cocoon to it, the elasticity of which prevents 
its being disturbed, The inside of furniture is 
used by it only for the purposes of propaga- 
tion. The worm when ready for food crawls 
out and destroys the covoring, if of woolen or 
plush material, and falling to the carpet, de- 
stroys it. It rarely cuts through plush from 
the inside, as it is of cotton back, but there are 
instances where the worms have cut up muslin 
on the outside back of sofas. There is no pro- 
tection against them but continual care. New 
furniture should be removed from the walls at 
least twice a week in the spring and summer, 
and should be well whisked all round, and par- 
ticularly under the seats, to prevent the fly 
from lodging. This is an effectual preventive, 
and the only one known. 

2. Cayenne pepper. 

3. Scotch snuff. 

4. Camphor. 

5. Turpentine, and all other remedies for pro- 
tection from the large moth are of little or no 
avail against the furniture moths. 

6. Saturation with alcohol will not destroy 
them when in a piece of furniture. If the fur- 
niture is infested, they may be removed by 
taking off the muslin from under the seats and 
off the outside ends and backs, where they con- 
gregate most, and exposing to the air as much 
as possible. Beat well with a whisk or the open 
hand, and kill all the flies and worms which 
show themselves. This done often will disturb 
them, and may make them leave the furniture, 
in their desire to be left in quiet. When the 
furniture is free from moths and is to be left 
during the summer months without attention, 
it may be protected by camphor in small bags 
or highly concentrated patchouly. The safest 
way is to have the furniture well whisked 
twice a week. 

7. If the moths attack the carpet, spread a 
wet sheet on the carpet, and run a hot flat iron 
over it quickly ; the steam will effectually de- 
stroy both worms and eggs. 

Moths, a Pleasant Perfume and Preventive 
against. — Take of cloves, caraway seeds, nut- 
meg, mace, cinnamon and Tonquin beans, of 
each 1 oz.; then add as much Florentine orris 
root as will equal the other ingredients put to- 
gether; grind the whole well to powder, and 
then put it in little bags among your clothes, 
etc. Almost anything aromatic will keep off 
moths. The common bog myrtle which grows 
so freely in swampy places, is an excellent an- 
tidote. A piece of linen, moistened with tur- 
pentine and put into the wardrobe or drawers 
for a single day, two or three times a year, is 
also a sufficient preservative against moths. 

Moth Powders. See Powders. 

Moths, to Keep from Sleigh Robes.— Alcohol, 1 
pt.; camphor, % oz.; dissolve. Spray with this 
liquid before storing. 



Moulds. 



342 



Mucilages. 



Moulds. —Mould for Alloys.— Plaster of 
Paris mixed with equal parts of powdered pum- 
ice stone makes a fine mould for casting- fusible 
metals. The same mixture is useful for incas- 
ing- articles to be soldered, or brazed. Casts of 
plaster of Paris may be made to imitate fine 
bronzes by giving them two or three coats of 
shellac varnish, and when dry applying a coat 
of mastic varnish and dusting on fine bronze 
powder when the mastic varnish becomes 
sticky. 

Mould for Statuary.— The flexible moulds re- 
ferred to are prepared as follows : Glue, 8 lb.; mo- 
lasses (New0rleans),71b. Soak the glue overnight 
In a small quantity of cold water, then melt it 
by heat over a salt water bath, stir until froth 
begins to rise, then add and stir in briskly the 
molasses, previously heated. Continue to heat 
and stir the mixture for about thalf an hour; 
then pour. 

Moulding Wax. See Waxes. 

Blackening for Moulds.— Charcoal powder or, 
in some instances, fine coal dust. 

Moulds, Gelatine.— 1. Allow 12 oz. of gelatine 
to soakfor a few hours in water until it has ab- 
sorbed as much as it can, then apply heat, by 
which it will liquefy. If the mould is required 
to be elastic, add 3 oz. of treacle and mix well 
wiih the gelatine. If a little chrome alum 
(precise proportions are immaterial) be added 
to the gelatine, it causes it to lose its property 
of being again dissolved in water. A saturated 
solution of bichromate of potash brushed over 
the surface of the mould, allowed to become 
dry and afterward exposed to sunlight for a 
few min utes, renders the surface so hard as to 
be unaffected by moisture. 

2. Take the very best glue you can get, place 
it in plenty of cold water at night, the next 
morning take it out; you will find it swollen; 
the water it has absorbed during the night is 
sufficient to melt it by heat; mix then as much 
thick glycerine with it as you had glue, and 
keep the vessel containing them in a steam or 
water bath till all the water is about evapor- 
ated, and till you have left as much in weight 
as the weight of the dry glue and the glycerine 
taken together amounted to. You will then 
have a compound of glue and glycerine which 
will never dry, and a mould made of it can be 
used over and over again. 

3. A good gelatine mould may be made in the 
following manner : Soak the best white glue in 
cold water for 24 hours, then drain off all the 
water. Melt the soaked glue in a water- jack- 
eted kettle, then pour the glue upon the object, 
the latter being incased in a lead or pasteboard 
box. Let it cool for 12 hours, then separate the 
cast from the object. If the object be a statu- 
ette, a thread should be attached to the back, 
and extended out of the mould at both ends, so 
that it may be used for cutting open the 
mould after it is cooled, to permit of taking- 
out the statuette. A good material for a 
mould is made in the following way : Dis- 
solve 20 parts of fine gelatine in 100 parts of 
hot water, and add 14 part of tannin and the 
same amount of rock candy. It is said that a 
mould made of gelatine or glue alone may be 
made more durable by pouring over it a solu- 
tion of bichromate of potash in water, 1 part 
of bichromate to 10 parts of water, and after- 
ward exposing it to sunlight. Most objects re- 
quire oiling slightly before being covered with 
glue or gelatine. 

Preparation of Paraffin Moulds for Plaster 
Casts.— Prepare the specimen or preparation, 
making it as clean as possible; place on oiled 
paper, in a position that will show it to advan- 
tage. Soft projections may be held in position 
with threads suspended from a frame or from 
a heavy cord stretched across the room. Par- 
affin melted in a water bath is painted over the 
preparation with a soft brush, the first layer 
Iteing put on with single and quick strokes, 
that the rapid cooling of the paraffin may not 



cause the brush to adhere to the preparation, 
thus drawing the soft tissues out of place, un- 
til the mould is formed about % in. thick; all 
undercuts must be well filled. When the mould 
is hard it can be readily separated from the 
preparation, it is then well washed with cold 
water. Stir fine dental plaster into cold water 
to consistency of cream, pour into the mould 
and out again several times, so that there will 
be no air bubbles on the surface, then fill the 
mould and let it stand until hard. Place the 
whole in a vessel containing boiling water un- 
til the paraffin is all melted; wash with clean 
boiling water. When the cast is thoroughly 
dry it may be painted with oil colors by coating 
it first with shellac varnish. Casts of any part 
of the body may be made from a living subject 
if the parts are not too sensitive to bear the 
heat of the paraffin, which is about 150° F.— 
Annals of Surgery. 

Mountants. See Pastes. 

Mousset's Alloy. See Alloys. 

Mouth Glue. See Glues. 

Mo u tli Pastilles. See Cachous. 

Mucilages. See also Pastes and Ce- 
ments. 

1. The best quality of mucilage in the market 
is made by dissolving- clear glue in equal vol- 
umes of water and strong vinegar, and adding 
one-fourth of an equal volume of alcohol, and 
a small quantity of a solution of alum in water. 
The action of the vinegar is due to the acetic 
acid which it contains. This prevents the glue 
from gelatinizing by cooling; but the same re- 
sult may be accomplished by adding a small 
quantity of nitric acid. Some of the prepara- 
tions offered for sale are merely boiled starch 
or flour mixed with nitric acid to prevent the 
gelatinizing. 

2.A strong; aqueous solution of reasonably pure 
dextrin (British gum) forms a most adhesive and 
cheap mucilage. Alcohol, or rather diluted wine 
spirit, is usually employed as the solvent where 
the mucilage is to be used for gumming- enve- 
lopes, postage stamps, etc., in order to facilitate 
the drying,,and acetic acid is added to increase 
the mobility of the fluid. The strong- aqueous 
solution is more adhesive than that prepared 
with alcohol, for the reason that it contains a 
greater proportion of the gum. To prepare this, 
add an excess of powdered dextrin. to boiling 
water, stir for a moment or two, allow to cool 
and settle, and strain the liquid through a fine 
cloth. The addition of a little powdered sugar 
increases the glossiness of the dried gum, with- 
out interfering greatly with its adhesiveness. 
The sugar should be dissolved in the water be- 
fore the dextrin is added. 

3. Add British gum (dextrin) to a quantity of 
hot water until a sirupy liquid is obtained; then 
add a few drops of clove oil, and cool for use. 

Casein Mucilage.— Take the curd of skim milk 
(carefully freed from cream or oil), wash it 
thoroughly, and dissolve it to saturation in a 
cold concentrated solution of borax. This 
mucilage keeps well, and as regards adhesive 
power far surpasses the mucilage of gum arabic. 

Elastic Mucilage.— Glycerine, 4^£ parts; soft 
soap, 414 parts; dissolve" 1% parts salicylic acid 
in 30 parts alcohol. Shake thoroughly, and add 
to a mucilage made of 139^ parts gum arabic 
and about 270 parts water. This mucilage re- 
mains elastic when dried, arid does not have a 
tendency to crack. 

Glass, Mucilage to Adhere to.— 1. A strong 
mucilage capable of fastening wood or porce- 
lain and glass together is made of 8^£ oz. strong 
gum arabic solution, to which a solution of 30 
gi^n. sulphate of aluminum dissolved in § oz. 
water is added. 

2. Put 1 or 2 drops of glycerine in a small 
bottle of mucilage. This will prevent the gum 
cracking or drying. Too much glycerine must 
not be added, as that would prevent the gum 
from hardening. 



Mucilages. 



343 



Myrrh. 



Mucilage of Gum Arabic— 1. To make a clear, 
almost odorless and permanent mucilage, 
Francke neutralizes the free acid present in 
the gum with lime water. Instead of water he 
uses a mixture 20$ lime water and 80$ dis- 
tilled water. 

2. Ordinary mucilage, made from gum arabic, 
does not fix paper to wood or pasteboard, or to 
metallic surfaces. These disadvantages are 
overcome by adding a solution of sulphate of 
aluminum, made up in ten times its quantity 
of water. Ten grn. aluminum sulphate are 
sufficient for 250 grn. mucilage. Prepared in 
this way it will not become mouldy. Again, 
according to Hirschberg, a few drops of strong 
sulphuric acid are added to the gum solution, 
and the precipitated sulphate of lime allowed 
to settle. Solutions prepared in this way a year 
and a half ago have neither become mouldy nor 
lost their adhesive power. 

Gum, to Preserve. — 1. Hirschberg adds a 
few drops of sulphuric acid, whereby the lime 
contained in the gum is precipitated as sul- 
phate ; after standing, the mucilage is strained 
off, and exhibits no tendency to mouldiness, 
even after standing for eighteen months. — Les 
Mondes. 

2. Moisten the gum with alcohol, then dis- 
solve in water and add a few drops of sulphuric 
acid. After the deposition of the precipitated 
calcic sulphate, a perfectly colorless solution 
of gum is obtained, even when inferior kinds of 
gum are used. 

3. To preserve gum solutions, a few drops of 
oil of cloves, alcohol or acid will preserve a 
quart of the mucilage of gum arabic of gum 
tragacanth from turning sour. A small quan- 
tity of dissolved alum will preserve flour 
paste. 

Labels, Mucilage for.—l. The following is 
highly recommended by Dr. Carpenter: Dis- 
solve 2 oz. gum arabic in 2 oz. water, then add 
34 oz. soaked gelatine (heat required), 30 drops 
of glycerine, and a lump of camphor. See also 
Cements and Pastes. 

2. A good mucilage for labels is made by mac- 
erating 5 parts of good glue in 18 to 20 parts 
water for a day, and to the liquid add 9 parts 
rock candy and 3 parts gum arabic. The mix- 
ture can be brushed upon paper while still luke- 
warm. 

3. Dextrine , 2 parts. 

Acetic acid . 1 part. 

Water 5 parts. 

Alcohol , 1 part. 

Or 4. Gelatine 2 parts. 

Rock candy 1 part. 

Water 3 parts. 

Mucilage, Linseed. — Linseed, 1 oz.; warm 
water, 6 oz. Digest for six hours, stir and then 
strain. 

Paper, to Make it Adhere to Metals.— M. 
Eliel gives the following formula for a mix- 
ture which can be used for metal, glass or wood: 
Gum tragacanth, 30 grms; acacia gum, 120 
grm.; water, 500 c. c. Dissolve, filter and add 
2]4 grin, of thymol suspended in 120 c. c. of 
glycerine; then add enough water to make up 
the bulk to 1 liter. This bath will keep a long 
time.— Revue Pliotographique. 

Pocket Mucilage.— Boil 1 lb. of the best white 
glue and strain very clear; boil also 4 oz. of 
isinglass and mix the two together; place them 
on a water bath with half a pound of white 
sugar, and evaporate till the liquid is quite 
thick, when it is to be poured into moulds, cut 
and dried to carry in the pocket. This mucil- 
age immediately dissolves in water and fast- 
ens paper very firmly. 

Postage Stami> Mucilage— Gum dextrin, 2 
parts; water, 5 parts; acetic acid, 1 part. Dis- 
solve by aid of heat and add 1 part of 9% alcohol. 

Stick Mucilage— Dissolve gum arabic in hot 
water to form a sirupy liquid, add a little clove 
oil and thicken with powdered gum dextrine; 
mould and dry slowly. 



Tragacanth Mucilage,— Take of powdered 
tragacanth, 1 drm.; glycerine, 6 drm.; water, 
enough to make in all 10 oz. Rub the traga- 
canth in a mortar with the glycerine and then 
add the water. This will produce a mucilage 
at once of excellent quality. 

Mum.— A beverage prepared from wheat 
malt, in a similar way to ordinary beer from 
barley malt. A little oat and bean meal is fre- 
quently added. It was formerly much drunk 
in England, but its use at the present day is 
chiefly confined to Germany, and to Bi'uns- 
wick more particularly. 

Muntz Metal. See Alloys. 

Murexide (Purpurate of Ammonia). — A 
splendid coloring matter, which, when pure, 
forms crystals of a golden green color by re- 
flected light, but of a garnet red by trans- 
mitted light. It yields a reddish brown pow- 
der, which takes a golden green luster if 
rubbed with a hard, smooth body. It is insol- 
uble in alcohol and ether, but dissolves readily 
in boiling water. Its source is the uric acid 
obtained in greatest purity from the excre- 
ments of serpents, but more abundantly from 
Peruvian guano. 

Muriate.— Old name for substances con- 
taining chlorine, the name coming from muri- 
atic acid; thus ammonium chloride was muri- 
ate of ammonia. 

Musical Instruments, to Keep Moist. 
— Rub a little pure glycerine on the wood occa- 
sionally and then wipe it dry with a soft cloth. 

Musk.— An odorous substance obtained 
from the musk deer (Moschus moschiferus), an 
animal inhabiting the mountains of eastern 
Asia. It is imported from China, Bengal and 
Russia. The Tonquin musk is most esteemed. 
See Perfumery. 

Must. — The expressed juice of grapes before 
fermentation. 

Mustard.— Soyer's is described as follows: 
Steep mustard seed in twice its bulk of dis- 
tilled vinegar for eight days, gi'ind to a paste 
and put it into pots, thrusting a red hot poker 
into each. Moutarde aTEstragon: Gently dry 1 
lb. black mustard seed, then powder it fine and 
mix it with 2 oz. salt and sufficient tarragon 
vinegar to make a paste. In a similar way are 
prepared several other mustards, by employing 
vinegars flavored with the respective sub- 
stances, or walnut or mushroom catsup or the 
liquor of the richer pickles in proportions to 
suit. Suitable mortars or grinding apparatus 
can be procured through any jobber in hard- 
ware utensils or druggists 1 sundries, provided 
only the smallest articles are desired, otherwise 
they will have to be made specially. 

Mustard, French.— 1. Take salt, V/a lb.; scraped 
horse radish, 1 lb.; garlic, 2 cloves, boiling vin- 
egar, 2 gal. Macerate in a covered vessel for 
twenty-four hours, strain and add sufficient 
flour of mustard. 

2. The following is M. Lenormand^ recipe: 
Flour of mustard, 2 lb.; fresh parsley, chervil, 
celery and tarragon, of each y 2 oz.; garlic, 1 
clove (or head); 12 salt anchovies (all well 
chopped); grind well together, add salt, 1 oz.; 
grape juice or sugar to sweeten, and sufficient 
water to f ormthe mass into a thin paste by trit- 
uration in a mortar. When put into pots a 
red hot iron is momentarily thrust into the 
contents of each, and a little wine vinegar 
added. 

Soyer's Table Mustard.— Steep 1 pt. mustard 
seed in 1 qt. of distilled vinegar for eight days. 
Grind into paste and put in pots, thrusting a 
red hot poker into each. 

Mustiness in Casks.— Burn a little sul- 
phur in the empty casks, bung, and let them, 
stand for a day. 

Myrrh. — A gum resin much used in medi- 
cine and in dentistry. 



Nails. 



344 



Negative, 



Nails, Ingrowing.— The whole nail should be 
scraped or filed thin, all irregularities being re- 
moved. Then the extremities should be raised 
and cut off beyond the part to which it is at- 
tached by growth. If the extremity of the 
finger be thickened and horny it should be 
rubbed down with moistened pumice stone. 
The future of the nail will now depend on the 
attention that is paid to it. After the opera- 
tion the fingers should be covered with a stall 
for some weeks, but the latter may be removed 
every day for the purpose of bathing, etc. So 
soon as the distal extremity of the nail is seen 
to be growing it should be gently raised and 
the flesh of the finger pushed down, so as to re- 
move any impediment to the forward growth 
of the nail. If this be repeated daily, and the 
part protected, the nail will eventually reach 
the extremity of the fingers. It had better be 
allowed to grow a little beyond this and then 
kept carefully cut. 

Nails, Ingrowing.— 1. Wear stockings that are 
at least 14 * n - longer than the feet. 

2. Wear broad toed shoes or boots that will 
allow the toes to rest without lateral pressure 
when standing. If possible, have the boots or 
shoes made over a last which has an elevation — 
a knob— where the great toe comes, so as to 
stretch the uppers up, thus preventing pres- 
sure on the nails. 

3. Cease cutting the nail in any manner, but 
allow it to grow until it is from J^ in. to % in. 
beyond the quick, bearing the soreness and 
pain that will come while growing to that 
length, with as much patience as possible, but 
on no consideration cutting any part of the 
nail. Putting cloth or cotton under it will usu- 
ally add to the pain, because increasing the 
pressure. 

4. Three or four times a week (every night is 
not too often), before retiring, soak the feet 
for half an hour in soap suds as hot as can read- 
ily be borne, and with a small blunt knife 
blade carefully remove from under and around 
the nail any dirt or matter that may have ac- 
cumulated. Soaking the feet will do much 
toward removing the soreness. After the nail 
has grown to the required length, it may be 
trimmed as occasion requires, but always in 
such a manner as to leave the end of the nail 
about the shape of the end of the toe, with the 
corners at least J4 in. beyond the flesh, until 
the cure is effected; and even then the nail 
should never be cut back of the end of the 
toe. 

White Spots on Nail. — These are caused by 
opacity of the cells due to injury. Do not ap- 
ply any chemicals, but rub the nail with pumice 
stone powder moistened. As the nail grows 
the spots will disappear. 

Discolored Nails.— If caused by acids rub the 
nail with liquid ammonia; if by alkalies, use 
vinegar or lemon juice. Nitrate of silver 
stains may be removed by solutions of iodide 
of potassium or sulp hydrate of ammonium; 
fruit and ink stains by oxalic or sulphuric agid in 
water, or salts of lemon (oxalate of potash). 
The hands should not, except when the last is 
used, be washed with soap for some hours after 
the application. 
Cera Fortifant, for the Nails : 

Oil of lentise }4 oz. 

Salt \i drm. 

Resin 1 scruple. 

Alum 1 scruple. 

Wax , , , ..,,, 1 scruple. 

Mix together : 

Oil of bitter almonds 2 oz. 

Oil of tartar 2 drm. 

Essence of lemon 6 drops. 

Put up in small vials, and let the label direct a 
frequent application when the nails are weak 
or loosened. 

Polishing the Nails.— If the nails are stained, 
apply a little lemon juice. A little pumice 
stone in a very fine powder, or a little putty 



powder may be used to polish the nails. This is 
frequently colored with a decoction of cochi- 
neal. Apply with a piece of chamois skin. 
Nail Powder. See Powders. 

Nails, the, to Prevent from Splitting.— Keep 
the nails cut short; do not scrape or file them; 
moisten with a little glycerine. 

Nails, tc Whiten.— Snlphuric acid diluted, 3 
drm.; tincture of myrrh, V/% drm.; spring wa- 
ter, 6 oz. Cleanse the hands and apply the 
wash. 

Nails, Memoranda Concerning.— This 

table will show at a glance the length of the 
various sizes, and the number of nails in a 
pound. They are rated from " 3-penny " up to 
" 20-penny." The first column gives the name, 
the second the length in inches, and the third 
the number per pound: 

3-penny, 1 in. long, 557 per lb. 

4-penny, 1J4 in. long, 353 per lb. 

5-penny, 1% in. long, 232 per lb. 

6-penny, 2 in. long, 167 per lb. 

7-penny, 2J4 in. long, 141 per lb. 

8-penny, %y% in. long, 101 per lb. 

10-penny, 2% in. long, 98 per lb. 

12-penny, 3 in. long, 54 per lb. 

20-penny, 3)4 in - long, 34 per lb. 

Spikes, 4 in. long, 16 per lb. 

Spikes, 4J^ in. long, 12 per lb. 

Spikes, 5 in. long, 10 per lb. 

Spikes, 6 in. long, 7 per lb. 

Spikes, 7 in. long, 5 per lb. 

From this table an estimate of quantity and 
suitable sizes for any job can be easily made. 

The relative adhesion of nails in the same 
wood, driven transversely and longitudinally, is 
as 100 to 78, or about 4 to 3, in dry elm, and 2 to 
3 in deal. 

Naphtha Ether.— A mixture of benzole 
and alcohol or wood spirit forms a body which 
will burn without producing soot. 

Naphtha or Rock Oil.— A combustible 
and very volatile liquid resembling turpentine. 
It is found native and can be prepared artifici- 
ally from the distillation of petroleum or coal 
tar. It has many uses and is a very valuable 
solvent. 

Naphthaline.— One of the secondary pro- 
ducts of the gas manufacture, or of the destruc- 
tive distillation of coal. When pure it forms 
thin, White flakes of a pungent taste. It is in- 
soluble in water, but dissolves readily in alco- 
hol, ether, and in acetic and oxalic acids. It 
melts at 79° F., and has the sp. gr. T045. It is 
not readily inflammable and burns with a 
smoky flame. 

Deodorization of Naphthalin. — Naphthalin 
has such a disagreeable odor that its use in 
medicine and surgery is considerably retarded 
thereby, and it has been fo -nd that the mix- 
ture of camphor and other deodorants with it 
is only of temporary benefit. But if the naph- 
thalin be mixed with some benzoin and then 
sublimed, the sublimate of naphthalin is free 
from tarry odor and is pleasant to smell; 
moreover, it retains this pleasant odor, al- 
though this is not the case when the naphtha- 
lin is simply mixed with tincture of benzoin 
or benzoic acid. 

Narcotic— A medicine that produces drow- 
siness, sleep and stupor. In small doses, nar- 
cotics chiefly act as stimulants, but in large 
ones they produce calmness of mind, torpor, 
and even coma and death. Opium, henbane, 
hemlock, tobacco, camphor, alcohol, ether, etc., 
are narcotics. 

Natural History Specimens, to Pre- 
serve. See Anatomical Preparations. 

Nectar.— Lump sugar, 1 lb.; cold water, 1 
pt.; madeira, 1 bottle. Orate in nutmeg and 
lemon peel. 

Negatives. See Photography. 

Negative Varnish. See Varnishes. 



Negus. 



345 



Nomenclature. 



Negus.— A weh known beverage, so named 
after its originator and patron, Colonel Negus. 
It is made of either port or sherry wine, mixed 
with about twice its bulk of hot water, sweet- 
ened with lump sugar, and flavored with a little 
lemon juice and grated nutmeg and a small 
fragment only of the yellow peel of the lemon. 
The addition of about 1 drop of essence of am- 
bergris, or 8 to 10 drops of essence of vanilla 
distributed between a dozen glasses improves it. 

Nergen, See Alloys. 

Nessler's Solution. —Twenty-five grm. 
mercuric chloride are dissolved in 800 c. c. dis- 
tilled water; 70 grm. potassium iodide are dis- 
solved in 400 c. c. water, and the solutions are 
then mixed. 200 grm. potassium hydroxide. 
When it is dissolved and cooled enough water is 
added to make the whole 2 1. Now place in a 
dark closet, and before using add enough of a 
saturated solution of mercuric chloride until 
the red precipitate is dissolved; after filtering 
it is ready for use. It should now be of a light 
straw color. 

Nets, to Protect. See Cleansing (Mil- 
dew). 

Nets, to Waterproof. See Waterproof- 
ing. 

Neutralization. — A term used to denote 
the reduction of an acid or alkaline solution to 
that state in which it exhibits no tendency 
either way. 

Nickel Acetate, to Prepare.— Precipi- 
tate an aqueous solution of acetate of nickel 
with excess of a solution of carbonate of soda, 
settle, decant the liquid, wash the precipitate, 
and dissolve it in warm acetic acid. Concentrate 
by evaporation, and crystallize the salt— ace- 
tate of nickel. 

Nickel, to Plate with. See Electro- 
Metallurgy. 

Nickel Plate, Rust on. See Rust. 

Niello, or Nielled Silver.— This process 
someAvhat resembles enameling*, and consists 
essentially in inlaying engraved metal surfaces 
with a black enamel. The composition is made 
as follows : Put into the first crucible, flowers 
of sulphur, 750 parts; sal ammoniac, 75 parts. 
Put into the second crucible, silver, 15 parts; 
copper, 40 parts; lead, 80 parts. When this 
mixture is sufficiently fused, the alloy thus 
formed is added to the fused sulphur in the first 
crucible, which converts the metals into sul- 
phides. The compound is afterward removed 
from the crucible and reduced to a fine pow- 
der. To apply the powder, it is mixed with a 
small quantity of a solution of sal ammoniac. 
The entire surface of the engraved silver work 
is covered with the nielling composition; it is 
then placed in the muffle of an enameling fur- 
nace, where it is left until the composition 
melts, by which it becomes firmly attached to 
the metal. The nielling is then removed from 
the parts in relief, without touching the en- 
graved surfaces, which then present a pleasing 
contrast in deep black to the white silver sur- 
faces. This process is only applicable to en- 
graved work. 

Nitrate.— Syn. Nitras (Lat.).— A salt of nitric 
acid. The nitrates are very easily made by the 
direct solution of the base, or its oxide or car- 
bonate in nitric acid, which in most cases should 
be previously diluted with water; by evapora- 
tion they may be obtained either in the pul- 
verulent or crystalline state. The nitrates are 
characterized by deflagrating when thrown on 
red hot coal or when heated in contact with 
inflammable substances. 

Niter.— The common name of potassium 
nitrate. 

Niter, Chili.— A name for sodium nitrate. 
Niter, Sweet Spirit of. -This is an alco- 
holic solution of nitrous ether. According to 



the U. S. Pharmacopoeia, the mixture should 
have a sp. gr. of 0*837. It becomes acid by age. 

Nitrites.— The salts of nitrous acid. 

Nitrobenzol. — Nitrobenzol is formed by 
treating benzol with fuming nitric acid; after 
the violence of the reaction is over, the liquid 
is diluted with water, and the heavy oily fluid is 
collected, washed, and dried,, 

Nomenclature, Chemical. See also 
Elements, Table of. 

Rules of Chemical Nomenclature. — 1. Com- 
pounds of two elements, binary compounds, 
are named by placing the name of the positive 
atom first, then that of the negative, with its 
termination changed to ide. 

2. Whenever the positive forms more than 
one compound with the same negative, nu- 
meral prefixes are applied to both constituents, 
the positive ending in ic, and the negative in 
ide. 

3. Different compounds of the same two ele- 
ments are also distinguished from each other 
by the termination ous and ic to the name of 
the positive element, ic indicating the higher 
combining power, and ous the lower. When 
there are more than two such compounds, the 
highest takes the prefix Per, and the lowest, 
Hypo. 

The ternary compounds of chemistry are 
Acids, Bases and Salts. 

1. Acids and salts are named like the binaries, 
from their constituents. The positive is placed 
first, and may have the same terminations as in 
the binaries. 

2. The negative molecule which follows this 
takes its name from its characteristic atom, 
and ends in ate or ite; ate signifying more 
oxygen than ite. 

3. Prefixes Per and Hypo are used same as in 
binaries. 

4. Most acids are also named from the char- 
acteristic atom of the negative molecule. This 
name takes the terminations ous and ic, accord- 
ing to the relative amount of oxygen, and is 
followed by the word acid. 

5. Bases are regarded as compounds of a pos- 
itive radical with Hydroxyl (HO), and are 
called hydrates. 

Chemists have found that all bodies, whether 
in the form of a solid, a liquid, or a gas, are 
either simple substances or can be resolved into 
simple substances, termed elements. These 
elements are represented by symbols, which 
are usually the initial letter or letters of their 
names. Different elements combine together 
in definite proportions forming an endless va- 
riety of substances, termed compounds. 

Elements are classified into metals and non- 
metals, the former being distinguished by well 
marked properties, which are absent in the 
latter. The ultimate particles or atoms which 
compose any element differ in weight from the 
atoms of any other element, and the relative 
weight compared with hydrogen is termed the 
atomic weight. 

Compounds are formed, as already stated, by 
the combination of different elements, thus: 
FeO represents oxide of iron, and MnO, oxide 
of manganese. In many cases two elements 
unite in more than one proportion, such as 
FeO, Fe 2 ? , Fe 3 4 , each of which requires a 
distinguishing name. There are several sys- 
tems of nomenclature, but the simplest — f or 
compounds containing two elements— is that 
of writing the name of the metal first, and the 
non-metal or least metallic element afterward, 
giving it the termination ide. When two non- 
metals combine, the one which is most unlike 
a metal is written second. Sometimes Greek 
prefixes are used for the element of the second 
position, such as mono, di, tri, tetr, etc., to in- 
dicate the number of atoms present. 

Another system is to make the metal ter- 
minate in ic or ous. That compound which 
contains the greater proportion of the non- 



Nosegay. 



346 



Oils. 



metallic constituent is distinguished by the 
suffix ic and that containing the lesser in ous. 
The following list will illustrate these points : 



Ochers. See Pigments. 

Odeurs, Odors. — In French perfumery 
the word '* odeur, 11 like parf um, often enters 



Name. 


Name. 


Name. 


Formula. 


Iron oxide, 


Ferrous oxide, 


Iron protoxide, 


FeO. 


Iron trioxide, 


Ferric oxide, 


Iron sesquioxide, 


Fe 2 3 . 


Iron tetroxide, 


Triferric tetroxide, 


Black oxide of iron. 


Fe 3 4 . 


Manganese oxide, 


Manganous oxide, 


Manganese protoxide, 


MnO. 


Manganese dioxide, 


Manganic oxide, 


Manganese peroxide, 


MnO„. 


Aluminum oxide, 


Aluminic oxide, 


Alumina, 


A1 2 3 . 


Calcium oxide, 


Calcic oxide, 


Lime, 


CaO. 


Magnesium oxide, 


Magnesic oxide. 


Magnesia, 


MgO. 


Titanium dioxide. 





Titanic acid, 


TiO a . 


€arbon monoxide, 


Carbonic oxide, 





CO. 


Carbon dioxide, 





Carbonic acid, 


C0 2 . 


Silicon dioxide, 


Silicic oxide, 


Silica, 


Si0 2 . 


Phosphorus pentoxide, 


Phosphoric oxide, 


Phosphoric acid, 


P 2 5 . 


Sulphur dioxide, 


Sulphurous oxide, 


Sulphurous acid, 


so 2 . 


Sulphur trioxide, 


Sulphuric oxide, 


Sulphuric acid, 


so 3 . 



When three elements— one being a metal and 
another oxygen— are combined together, the 
name of the second is made to end in ate. In 
the following list a few compounds are given 
to illustrate this, but it should be observed 
that the order of placing the symbols is imma- 
terial. In works on metallurgy the arrange- 
ment of formulae in the last column is most 
common. 



into the name of compound perfumes, particu- 
larly spirits, as in the following examples : 
Odeur Delectable : 

Oil of bergamot ^ drm. 

Oil of cloves y^ drm. 

Oil of lavender (English) }& drm. 

Oil of rose geranium y% drm. 

Essence of ambergris 10 drops. 

Rectified spirit (strongest) % pint. 



Name. 



Iron silicate, 
Iron silicate, 
Iron sulphate, 
Calcium silicate, 
Aluminum silicate. 
Calcium carbonate, 
Iron carbonate, 



Name. 



Ferrous silicate, 
Ferrous silicate, 
Ferrous sulphate, 
Silicate of lime, 
Silicate of alumina, 
Carbonate of lime, limestone, 
Ferrous carbonate, 



Formulae. 



FeSi0 3 or FeO.Si0 2 . 
Fe 2 Si0 4 or 2FeO.SiO a . 
FeS0 4 or FeO.S0 3 . 
CaSi0 3 or CaO.Si0 2 . 
Al 4 Si 3 0, 2 or 2Al 2 3 .3Si0 3 . 
CaC0 3 or CaO.C0 2 . 
FeC0 3 or FeO.C0 2 . 



Nitro-Sulpliuric Acid.— Term applied to 
a mixture of nitric and sulphuric acids, which 
is used in the preparation of gun cotton. 

Noble Metals.— Gold, platinum, silver and 
a few other metals are called noble metals on 
account of their affinity for oxygen being so 
weak, for they can remain in fusion for many 
hours in contact with the air without becom- 
ing oxidized. 

Nosegay. See Perfumes. 

Novargent.— Dissolve recently precipitated 
chloride of silver in a solution of either sodium 
hyposulphite or potassium cyanide. Used 
chiefly to restore old plated goods. The liquid 
is rubbed over the metal to be coated with a 
little prepared chalk, and the part is afterward 
polished off with a piece of soft leather. ' 

Noyau. See Liquors. 

Oak, to Darken.— Oak s fumigated by 
liquid ammonia, strength 880°, which may be 
bought at any wholesale chemist's shop. The 
wood should be placed in a dark and airtight 
room, and half a pint or so of ammonia 
poured into a soup plate, and placed upon 
the ground in the center of the compart- 
ment. This done, shut the entrance, and se- 
cure any cracks, if any, by pasted slips of 
paper. Remember that the ammonia does not 
touch the oak, but the gas that comes from it 
acts in a wondrous manner upon the tannic 
acid in that wood, and browns it so deeply that 
a shaving or two may actually be taken off 
without removing the color. The depth of 
shade wiil entirely depend upon the quantity 
of ammonia used and the time the wood is ex- 
posed. 



Mix well ; further add of — 

Eau de rose 2)4 oz. 

Eau de fleurs d'oranges 2)4 oz. 

Oiled Clotliing. I. Dissolve 1 oz. of beeswax 
in 1 pt. of the best boiled linseed oil over a gentle 
fire, applying when cold with a piece of rag, rub- 
bing it well in and afterward hanging up to 
dry, which will take four or five days. 

2. Paint with boiled linseed oil colored to 
suit. Tt must be done in very hot room or in a 
bright sunlight. A shoebrush is the" best for 
applying it. A little patent drier may be 
added. It is said that the Chinese use a mixture 
of 1 oz. each of beeswax and soft soap with the 
oil, which is then boiled down. If the surface 
seems tacky varnish with shellac varnish. In 
any case apply the oil as thin as possible and let 
it dry perfectly between successive coats. 

Oil Cloths, to Clean. See Cleansing. 

Oil Cloth.— Flexible Paint for Making.— Size 
with hot soap and alum solutions, used alter- 
nately, dry and enamel with colors ground fine 
in oil, with plenty of driers and a little turpen- 
tine. Finish with a thin copal varnish if high 
gloss is desired. Harden by drying at about 
200° F. v • 

Oil Cloths, Paint for. See Paints. 

Oil Stains, to Remove. See Cleansing. 

Oils. See also Lubricants, and the Hair 
Oils. 

The oils are all arranged in alphabetical order 
and the following general descriptions of pre- 
paring oils will be found in their proper place : 
Essential Oils, Perfumery Oils, Refining Oils, 
Rancid, to Prevent Oils Becoming, Restoration 
of Resinified Volatile Oil. 



Oils. 



347 



Oils. 



Albeftite Oil.— From albertite, a lustrous black 
mineral found in New Brunswick. A sample 
was shown in the Colonial Department of the 
International Exhibition of 1862. Odor very 
slight; illuminating power high; boiling- point 
338° F., or 126° above that of water. 

A m bergris Oil.— Ambergris, 2 drm.; oil,l pt.; 
by infusion. 

Bay Oil.— Laurel Oil ; Expressed oil of bay.— 
By expression from either fresh or dried bay 
ber.vies. It is limpid and insipid. 

By decoction, Butter of Bay.— From the ber- 
ries by boiling them in water and skimming off 
the oil. It is of a greenish color and buttery 
consistence. It is chiefly imported from Italy, 
and is a popular remedy for bruises, sprains, 
rheumatism and deafness. It is also used by 
veterinary surgeons. 

Belmontine Oil.— From Rangoon tar or Bur- 
mese petroleum, by distillation; superheated 
steam being employed as the heating agent. 
Colorless, odor not unpleasant; specific gravity, 
847, but although so heavy the oil is free from 
viscosity, and will rise rapidly in a compara- 
tively long wick; inflaming point 134° F., open 
test; burns with an exceedingly white light, and 
posesses a very high illuminating power. 

Ben Oil.— Behen Oil, Oleum Balatinum.— Ob- 
tained by simple expression from the seeds 
of various species of Moringa, trees re- 
sembling willows, indigenous to Arabia 
and Syria, but grown also iH the West 
Indies. The oil is colorless and odor- 
less, and possesses an agreeable flavor. By 
cooling, the more solid portions separate, and 
the parts remaining fluid, which are not apt to 
turn rancid, are much used for lubricating 
clocks and watches. Owing to the power of the 
oil for retaining odors, it is highly valued by 
perfumers, and is used in the preparation of 
macassar oil. It is also used in medicine, and 
sometimes as a salad oil. Its specific gravity 
varies from 0*912 to 0*915 at 60° F. (15-5° C). It 
is said to be occasionally adulterated with olive 
oil. 

Benzoin Oil.— Gum benzoin, 7 drm.; oil, 1 pt.; 
by infusion. 

Pale Boiled Oil.— Linseed oil, 1% qt.; powdered 
white vitriol (sulphate of zinc), 3 oz.; water, 
lj^qt. Boil until the water has all evaporated. 
Settle and decant. 

Bnne Oil.— Animal Oil, Dippel's Oil, Oil of 
Hartshorn, Oleum Animale Empyreumaticum, 
Oleum Cornu Cervi, Oleum Dippellii. 

This oil is obtained when bone black, or ani- 
mal charcoal is made, by the ignition of bones 
in iron cylinders. After rectification it is 
known under the above names. The original 
DippeFs oil of pharmacy was produced from 
stag's horns, but all now met with in commerce 
is produced as above mentioned. It is fetid 
and dark colored and has a sp. gr. of 0*970. It is 
chiefly used to make lamp-black. 

Oil of Bricks. — Sweet oil, 5 parts ; brick dust, 
1 part; distill. 

Butterine.— Oleomargarine, Artificial Butter. 
—The manufacture of artificial butter has of 
recent years assumed great dimensions in 
America and on the continent. The following 
are the outlines of the process adopted in this 
industry in the United States : 

Beef suet, carefully picked so as to remove 
objectionable pieces, is thoroughly washed in 
warm and afterward in cold water. Having 
been drained and broken up into small frag- 
ments, it is placed in a melting pan, either steam 
jacketed or with a steam coil inside, and heated 
to a temperature not exceeding 120° F. (49° C). 
The fat is afterward drawn off, allowed to cool 
slowly, so as to permit the separation of stearin, 
down to the temperature of 70° F. (21° C). At 
this temperature it is kept for twelve hours, or 
even longer, till a distinct granulation is 
noticed. The semi-solid fat is subjected to 
pressure between cloths ; the solid portion, or 
stearin, is available for candle making, and the 
liquid portion, consisting of olein and margar- 



ine, or oleomargarine, is collected for use in 
the manufacture of butterine. The oil so ob- 
tained is about half the quantity of the fat 
originally taken. It is too limpid for use in this 
state, and accordingly is mixed with milk, etc., 
in the proportion usually of 20 lb. oleomargar- 
ine, 8 pints of milk, 6 pints of water, and a 
small quantity of annatto, carbonate of soda, 
and salt. This mixture, at a temperature of 
70° F. (21° O), is run upon ice, so as to suddenly 
cool it. It is then ready for packing. Some of 
the oleomargarine is sent to other localities in 
America or to Europe, either to add to genuine 
butter or to make butterine. It is stated that 
about 6,000,000 lb. of the oil are annually ex- 
ported from New York. 

Cacao Oil or Butter.— Butter of Cacao, Oleum 
Cacao Concretum, Butyrum Cacao. 

From the seeds or nibs of Theobroma cacao or 
chocolate nuts, gently heated over a fire, then 
decorticated, and pressed between hot iron 
plates. The nibs are capable of yielding about 
50 per cent, of fat. "When pure it is white and 
has a pleasant odor, and it does not readily be- 
come rancid. It is soluble in boiling alcohol, 
from which it crystallizes on cooling. It fuses 
at about 86° F. (30° G) Its specific gravity varies 
from 0945 to 0*952. It is used in pharmacy as a 
basis for suppositories and pessaries. 

Camphor Oil.— Liquid Camphor. — Obtained 
from incisions in the wood of the cam- 
phor tree of Borneo and Sumatra (Dryabala- 
nops aromatica), in which it exists in cavities 
in the trunk; also by distillation from the 
branches of the Campliora officinarum, or laurel 
camphor tree. Colorless when rectified. Sixty 
lb. of the crude brown oil yield 40 lb. of pure 
white oil and 20 lb. of camphor. It rapidly ox- 
idizes in the air. Used to scent soap. 

Carbolized Oil.— Pure carbolic acid, 1 part; 
olive oil, 6 parts. Linseed oil is sometimes 
used as a vehicle, but olive oil is preferable, as 
being less prone to oxidation. 

Cazeline Oil. — An excellent burning oil pre- 
pared from petroleum. Bright, limpid, with 
scarcely a trace of color; odor very slight, and 
quite free from any objectionable character; 
sp. gr., 0*805; lowest point of ignition, 144° F. 
(open test); burns with a pure white light; free 
from smoke and smell. 

Oil (Coal), to Test.— Place a small sample of 
the oil to be tested in a cup partially immersed 
in a vessel of water, and having placed the bulb 
of a good thermometer in the oil, heat the 
water gradually, and as the temperature of 
the oil rises apply the flame of a burning 
taper to its surface, and note on the ther- 
mometer the degree at which it inflames. This 
should not occur below 120° F. Many of the 
standard oils inflame only at temperatures 150° 
F., or higher. 

Cocoa Nut Oil.—Syn. Cocoa Nut Butter.— A 
species of vegetable butter from the common 
cocoa nut or cocoa palm. It is separated from 
the dried kernels by hydraulic pressure. Cocoa 
nut oil is frequently confounded with cocoa or 
cacao nut butter, which is the produce of a 
different plant. 

The dried pulp of the cocoa nut is called 
copra or copperah, and hence the oil is some- 
times called copra oil. As imported, the oil is 
of the consistence of butter, but has a lower 
melting point, fusing at about 73° to 80° F. 
(22*7° to 26*6° C). When fresh, it has the sweet 
taste and agreeable odor of the cocoa nut, but 
has a great tendency to become rancid. 

Cod Liver Oil. — The fish when landed are 
handed over to a fish room keeper, whose duty 
it is to split and open the fish and to deposit 
the livers in small tubs holding 17 or 18 gal. 
each. The tubs are soon afterward collected 
from the different fish rooms and conveyed to 
the manufactory. The livers are here thrown 
into tubs filled with clean cold water, and, 
after being well washed and jerked over, are 
placed on galvanized iron wire sieves tq flrain. 
They are next put into covered steam jacket 



Oils. 



348 



Oils. 



pans, and submitted to a gentle heat for about 
three-quarters of an hour, after which the 
steam is turned off, cold air again admitted, 
and the whole allowed to repose for a short 
time, during which the livers subside, and the 
oil separates and floats at the top. The oil is 
then skimmed off into tin vessels, and passed 
through flannel strainers into tubs, where it is 
left to settle for about twenty-four hours. 
From these the purer upper portion of the 
oil is run into a deep galvanized iron cistern, 
and again left to clarify itself by defecation 
for a few days. It is now further refined by 
carefully passing it through clean, stout mole- 
skin filters, under pressure. The transparent 
filtered oil is received into a clean galvanized 
iron cistern, from which, by means of a pump, 
the casks are filled for exportation. The lat- 
ter, before being filled, are seasoned and cleaned 
to prevent their imparting either flavor or 
color to the pure oil. By this process the 
the natural pale color of the oil is maintained 
and its medicinal virtues preserved intact. 

To Disguise the Taste of Cod Liver Oil.—l. Four 
oz. essence of lemon, 2 6z. sulphuric ether, 1 oz. 
oil of caraway, 1 oz. oil of peppermint. 

2. Many formulae for this purpose have been 
given, and the Boston Medical and Surgical 
Journal adds the following : 

Cod liver oil , 7 drm. 

Spt. lavand. comp 1 drm. 

Brandy 1 drm. Mix. 

Colza Oil. — From the seeds of Brassica cam- 
pestris (Linn.). It may be regarded as a superior 
sort of rape oil. Burns well in lamps, especial- 
ly after being refined. Sp. gr. 0*9136. The 
term colza oil is commonly applied to ordinary 
refined rape. 

Colzarine Oil. — A heavy hydrocarbon oil, 
adapted for burning in lamps. Limpid, quite 
inodorous; of a pale amber color; gravity about 
0'838; temperature at which the vapor can be 
permanently ignited, 250° F. (open test). Com- 
pared with vegetable colza oil, its illuminating 
power is in the proportion of 3 to 2. 

Cotton Seed Oil (Oleum Gossypii Seminum).— 
Prepared from the seeds separated from the 
lint or wool of Oossypium barbadense. The 
cleaned and decorticated seeds are pressed into 
cakes, which are subjected to heat, and again 
pressed so as to liberate the oil. The yield is 
from 12 to 20$. The specific gravity of the 
crude oil varies from 0*928 to 0*930, and of the 
refined oil from 0*920 to 0*923, and the congeal- 
ing point from 45° F. to 32° F. The refined oil 
has a yellowish brown color, and a somewhat 
pleasant flavor. It possesses slight drying 
properties, but is sometimes classed among 
non-drying oils. It is used for lamps, paints and 
in soap making. 

Castor Oil.— Sun. Ricini oleum (B. P.), Oleum 
castorei, O. ricini (Ph. L., E. and D.).— "The oil 
prepared by heat or by pressure from the seed 
of Ricinus communis, Linn.'" (Ph. L.), the 
Palma christi, or Mexican oil bush. 

Cold drawn castor oil is the best quality, and 
the only one fit for medicinal use, except in 
veterinary practice. It is prepared by pressing 
the shelled and crushed fruit, or seed, in 
hempen bags in hydraulic presses. The oil, as 
it escapes, is received into well tinned vessels, 
in which it is afterward mixed with water and 
heated till the water boils, and the albumen 
and gum separate as a scum. This is carefully 
removed, and the oil, as soon as it has become 
cold, is filtered through Canton flannel and 
put into canisters. It is termed cold drawn, 
and is of a light straw color. 

Commoner kinds of oil are prepared by gently 
heating the crushed seeds and pressing them 
while hot. Another method sometimes adopted 
is to put the crushed seed into loose bags, to 
boil these in water, and to skim off the float- 
ing oil. The oils prepared by combined roast- 
ing and boiling are darker in color than when 
cold drawn; they are also more viscid and soon 



become rancid. They are used for lamps in 
Indian bazars. 

In the United States a somewhat different 
method of extraction is adopted. The cleansed 
seeds are heated in an iron tank, with care to 
avoid scorching. Pressure is then applied and 
first quality oil is drawn off. The pressed resi- 
due is again heated and squeezed, the product 
being second quality oil. A third quality oil is 
obtained after a repetition of the heating and 
pressure. Each of these three products has to 
be further purified by heating with water, as 
described above under cold drawn oil. 

Oil, Croton.— From the shelled seeds of Croton 
tiglium, or molucca grains. Imported chiefly 
from the East Indies. It is one of the most 
powerful cathartics known, and acts when 
ether swallowed or merely placed in the 
mouth. Externally it is a rubefacient and 
counter-irritant, often causing painful pus- 
tules, like tartar emetic. 

Oil of Eggs.— Made by gently heating the 
yelks of eggs until they coagulate and the 
moisture is evaporated; then press or break 
up, digest in boiling rectified spirits, filter the 
tincture while hot, and distill off the spirits. 
Bland; emollient. The common plan is to fry 
the yelks hard, but the oil is then darker col- 
ored and stronger. Formerly used to kill 
quicksilver, and still held in esteem, for sore 
nipples and excoriations. 

Colorless Drying Oil for Paint.— Heat 4 gal. of 
water to the boiling point; when about to boil 
add 4 gal. linseed oil and f lb. of red lead. 
Keep boiling and stirring for two hours over a 
moderate fire. Take from the fire and allow it 
to settle. The oil will be clear and colorless. 

Drying Oil.— Linseed oil boiled along with ox- 
ide of lead (litharge), by which it acquires the 
property of drying quickly when exposed in a 
thin stratum to the air. It is much used in the 
preparation of paints and varnishes. 

Resinous Drying Oil.— Take 10 lb. of drying 
nut oil, if the paint is destined for external 
articles, or 10 lb. of drying linseed oil, if for in- 
ternal articles; 3 lb. of resin and 6 oz. of tur- 
pentine. Cause the resin to dissolve in the oil 
by means of a gentle heat. When dissolved and 
incorporated with the oil, add the turpentine; 
leave the varnish at rest, by which means it 
will often deposit portions of resin and other 
impurities, and then preserve it in wide- 
mouthed bottles. It must be used fresh; when 
suffered to grow old it abandons some of its re- 
sin. If this resinous oil assumes too much con- 
sistence, dilute it with a little essence, if in- 
tended for articles sheltered from the sun, or 
with oil of poppies. 

Cutting Essential Oils.— Triturate in a mortar 
2 oz. of the oil with 4 oz. of powdered artificial 
pumice stone, and 4 oz. of powdered sugar, un- 
til all the oil is absorbed; 16 oz. of alcohol, 95° F. 
should then be added by degrees; stir briskly all 
the time; filter through filtering paper. Repeat 
the filtering until the essence is perfectly 
clear. The essence will be soluble in water. 

Essential Oils, to Distill.— Che vallier gives the 
following rules for the distillation of essential 
oils: 

1. Operate upon as large quantities as possi- 
ble, in order to obtain a greater product, and 
one of finer quality. 

2. Conduct the distillation rapidly. 

3. Divide the substances minutely, in order 
to faciliate the extrication of the oil. 

4. Employ only sufficient water to prevent 
the matter operated on from burning, and the 
product from being contaminated with em- 
pyreuma. 

5. For substances whose oil is heavier than 
water, saturate, or nearly saturate, the water 
in the still with common salt, to raise the boil- 
ing point, and thus to enable the vapor to carry 
oyer more oil. 

6. Employ, when possible, water which has 
been already distilled from off the same sub- 
stances, and has thus become saturated with oil. 



t 



Oils. 



349 



Oils. 



7. For oils naturally fluid, keep the water in 
the refrigerator cool; but for those oils which 
easily become solid, preserve it at 80° to 90° F. 

To the above maybe added : 

8. Collect the oil as soon as possible after it 
separates from the water with which it passes 
over, and in its subsequent treatment keep it 
as much as possible from free contact with the 
air. 

Dr. TJre remarks : "The narrower and taller 
the alembic is, within certain limits, the great- 
er will be the proportion of oil, relative to that 
of the aromatic water, from like proportions of 
aqueous and vegetable matter employed. Some 
place the plants in baskets, and suspend these 
immediately over the bottom of the still, under 
the water, or above its surface in the steam; 
bat the best mode, in my opinion, is to stuff an 
upright cylinder full of the plants and drive 
down through them steam of any desired force, 
its tension and its temperature being further 
regulated by the size of the outlet orifice lead- 
ing to tne condenser. The cylinder should be 
made of strong copper, tinned inside, and in- 
cased in the worst conducting species of wood, 
such as soft deal or sycamore." 

The newly distilled oils may be separated 
from adhering water, which frequently renders 
them partially opaque or cloudy, by repose at 
a temperature between 60° and 70° F„ and sub- 
sequent decantation; but to render them quite 
dry (anhydrous), it is necessary to let them 
stand over some fragments of fused chloride of 
calcium. This is not, however, required with 
the commercial oils. 

I. Absorption or Enfleurage. — The ordors of 
some flowers, such as jessamine and mignonette, 
are too delicate to bear heat, and for these the 
process of absorption is employed. Sheets of 
glass in wooden frames, called chassis, are 
coated on their upper and lower surfaces with 
grease about a tenth of an inch in thickness. 
The flowers are spread upon this grease, and a 
number of frames are superimposed on each 
other. After a day or two the flowers are care- 
fully removed, and replaced by fresh ones, and 
this is continued for two or three months till 
the fat is impregnated with the odors. It is 
then removed, and extracted with alcohol. 

Recently the grease has been replaced in 
some cases by paraffine, glycerine, or vaseline. 

II. Solvents. — For this process various sol- 
vents are used, such as alcohol, ether, chloro- 
form, petroleum, bisulphide of carbon, etc., 
and the oil is extracted by these in a percola- 
tor. 

III. Expression. — Tne essential oils of lemons 
and oranges of commerce, and of some other 
fruits, are ehiefly obtained by submitting the 
yellow rind to powerful pressure, but in this 
way they are not so white, nor do they keep so 
well, as when distilled, although in the case of 
the fruits referred to the oils are more frag- 
rant then when prepared by any other 
method. 

This process is only adapted for substances 
which are very rich in essential oil. 

IV. Maceration.— Flowers with very delicate 
perfume, such as those of the bitter orange, 
violets, etc., which would be spoiled by distilla- 
tion, are treated by this method. The medium 
used for influsion is clarified beef or mutton 
suet, or lard. The fat is melted, the flowers 
immersed, and the mixture stirred occasionally 
for a day or so. The exhausted flowers are re- 
moved and fresh ones introduced, and such 
renewals are continued till it is judged that the 
fat is sufficiently charged with the oil. 

V. Rectification. — This is commonly perform- 
ed without water, by the careful application of 
a heat just sufficient to make the oils flow over 
pretty rapidly, so that they may be kept heated 
for as short a time as possible. One half, or at 
most two thirds only, is drawn off, that left in 
the retort being usually mixed with raw oil 
intended to be sold in that state. This method 
often leads to much loss and disappointment, 



and more than one rather dangerous explosion 
has been known to result from its use. A bet- 
ter plan is to rectify the oil from strong brine, 
and then to separate any adhering water, 
either by repose or chloride of calcium. 

Volatile oils should be preserved in well closed 
and nearly full bottles, in the shade, and should 
be opened as seldom as possible. By age they 
darken, lose much of their odor, increase in 
density, and become thick and clammy. It is 
then necessary to distill them, by which the 
undecomposed portion is separated from the 
resin. Agitation along with animal charcoal 
will restore their clearness and original color, 
but nothing more. 

Fusel Oil.— Grain oil, marc brandy oil, potato 
oil obtained in the manufacture of alcohol 
from grain, or potatoes, and especially observa- 
ble in them marc brandy of the South of France. 
It is a mixture of various alcohols, of which 
the most prominent is amy lie alcohol (C 5 H 12 0). 
If the portion which distills between 260° and 
280° F. is collected apart and redistilled, an oil 
is obtained having a fixed boiling point of 268°- 
269° F. Thus purified, it is a thin, mobile liquid, 
with a suffocating odor and burning taste. 
When warmed, and dropped upon platinum 
black, it oxidizes to valeric acid, which bears 
the same relation to amylic alcohol that acetic 
acid does to ordinary alcohol. 

Oil Hair. See Hair. 

Lard Oil. — Lard is the fat of the pig melted 
by a gentle heat, and strained through flannel 
or a hair sieve. Good lard is white, and con- 
tains no water or other foreign matter, with 
the exception of a little salt, when not intended 
for medical purposes. 

Lard oil is obtained when lard is subjected to 
great pressure in the cold. It consists chiefly 
of olein. It is said to be superior to olive oil 
for greasing wool, and, from its low price, is 
largely employed. 

Oil of Lemon. — To Restore the Fragrance of 
Oil of Lemon.— There are several oils that by 
absorption of oxygen from the air will become 
camphorated, grow turbid, deposit a residue 
generally called stearopton, and lose more or 
less of their flavor,instead of which they acquire 
the odor of turpentine. Those oils that are free 
from oxygen are chiefly subject to these 
changes, and it is therefore necessary to keep 
them in full bottles, well stoppered and in a 
cool place. When they have deteriorated in 
the way indicated they may be improved, but 
can never be restored to their original quality. 
Many means have been proposed for this pur- 
pose, but the one now generally employed is to 
shake the oil with warm water several times, 
letting it settle and drawing it off by means of 
a siphon. It may lastly be filtered through 
paper or linen. 

To Keep Oil of Lemon Fragrant.— To every 
pound of oil one ounce of alcohol is to be added, 
and well mixed; then one ounce of water is put 
with it, which again withdraws the alcohol 
from the oil, and collects at the bottom of the 
bottle as dilute alcohol, where it should be per- 
mitted to remain until the oil has been used, 
with perhaps an occasional shake up when the 
bottle has been opened. Oil of lemon treated 
in this manner has been kept fresh and fra- 
grant for over a year. Oil of orange may be 
treated in the same manner with excellent 
effect. 

Oil of Lemon. — To Restore the Fragrance of. 
—Put warm water with the oil and shake it 
well, then after it is settled draw it off, using a 
siphon, and filter it by means of a paper or 
linen. 

Oil, Linseed.— A drying oil obtained by ex- 
pressing the seeds of common flax, which yield 
from 20 to 25% of their weight. The drying 
quality of the oil is increased by boiling for 
three to six hours, and then stirring in sever 
or eignt-hundredths of its weight of litharge. 

Linseed Oil.— Oleum Lini.— Commercially, this 



Oils. 



350 



Oils. 



oil is obtained from the seeds of Linum usitatis- 
simum, as imported from Russia and India, 
which contain various properties of different 
cruciferous weed seeds. The oil has usually, 
therefore, an acrid taste derived from the pres- 
ence of these impurities. There are three kinds 
of the oil, according to the method of prepara- 
tion: 

1. Cold Drawn.— Oleum Lini sine Igne.— The 
seeds are bruised or crushed, ground and ex- 
pressed without heat. This is considered the 
best oil. It is pale, tasteless if pure, viscous, 
but does not keep as well as the next. By this 
process the seeds yield only from 17$ to 22$ of 
oil. 

2. Ordinary Linseed Oil.— Prepared as the last, 
but with a steam heat of 200° F. It is amber 
colored or dark yellow, and is less viscous than 
the last. It solidifies about 2° to 4° F. It is sol- 
uble in 5 parts of boiling and 40 parts of cold al- 
cohol. Produce 22$ to 28$. Both these are drying 
and cathartic, and are extensively used in 
paints, printing inks, varnishes, etc.; in specific 
gravity they vary from 0*930 to 0*935. 

3. Boiled Linseed Oil.— The resinifying or dry- 
ing property of oils is greatly increased by 
boiling them, either alone, or along with some 
litharge, sugar of lead, or white vitriol, when 
the product forms the " boiled oil," or "drying 
oil" (oleum desiccativum) of commerce. The 
efficacy of the process depends on the elimina- 
tion of substances which impede the oxidation 
of the oil. The following formulae are adopted 
for this purpose : 

a. Linseed oil, 1 gal.; powdered litharge, % 
lb.; simmer with frequent stirring until a pelli- 
cle begins to form ; remove the scum, and when 
it has become cold, and has settled, decant the 
clear portion. Dark colored ; used by house 
painters. 

h. Linseed oil and water, of each 1 qt.; white 
vitriol in powder, 2 oz.;boil to dryness. Paler 
than the last. 

c. Pale linseed or nut oil, 1 pt.; litharge or 
dry sulphate of lead, in fine powder, 2 oz.; mix, 
agitate frequently for ten days, then set the 
bottle in the sun or a warm place to settle, and 
decant the clear portion. 

d. Linseed oil, 100 gal.; calcined white vitriol 
(sulphate of zinc), in fine powder, 7 lb.; mix in 
a clean copper boiler, heat the whole to 285° F. 
and keep it at that temperature, with constant 
stirring, for at least one hour, then allow it to 
cool; in twenty-four hours decant the clear 
portion, and in three or four weeks more rack 
it for use. Used for varnishes. 

e. Liebig.— Sugar of lead, 1 lb., is dissolved in 
rain water, y% gal.; litharge in fine powder, 1 lb., 
is then added, and the mixture is gently sim- 
mered until only a whitish sediment remains ; 
levigated litharge, lib., is next diffused through 
linseed oil, 2% gal., and the mixture is gradu- 
aDy added to the lead solution, previously di- 
luted with an equal bulk of water; the whole is 
now stirred together for some hours, with heat, 
and is lastly left to clear itself by exposure in 
a warm place. The lead solution, which sub- 
sides from the oil, may be used again for the 
same purpose, by dissolving it in another pound 
of litharge as before. 

/. Wilks.— Into linseed oil, 236 gal., pour sul- 
phuric acid, 6 or 7 lb., and stir the two together 
for three hours ; then add a mixture of fuller's 
earth, 6 lb., and hot lime, 14 lb., and again stir 
for three hours ; next put the whole into a cop- 
per, with an equal quantity of water, and boil 
for about three hours; lastly withdraw the fire, 
and when the whole is cold, draw off the water, 
run the oil into any suitable vessel, and let it 
stand for a few weeks before using it. (Pat- 
ent.) 

There is often a difficulty in obtaining the 
oils " bright," after boiling or heating them 
with the lead solution. The best way, on a 
small scale, is either to filter them through 
coarse woolen filtering paper or to expose the 
bottle for some time in the sun, or in a warm 



place. In a large scale, the finer oils are often 
filtered through Canton flannel bags, sp. gr., 
from 0*940 to 0*950. 

Menhaden Straits or Bank Oil is produced by 
subjecting to heat the Alosa menhaden, a kind 
of herring. After purification by boiling, filtra- 
tion and pressure, it is available for soap making 
and tanning. It is sometimes used as a substi- 
tute for cod liver oil, and sometimes mixed 
with linseed oil for painters' use. 

Mafurra Oil.— A kind of grease or fat, nearly 
approaching palm oil. It is extracted by means 
of hot water from the so-called Mafurra or 
Mafutra almonds. 65$ of oil can be obtained 
from the husked seeds. 

Musk Oil.— Grain musk, 1 drm.; ambergris, ^ 
drm.; oil of lavender, 20 drops; oil, 1 pt.; by 
infusion. A second quality is made by work- 
ing the same ingredients, after the oil poured 
from them, with % pt. fresh oil. 

Musk and Ambergris Oil.— Huile Royal. Am- 
bergris, 2 drm.; grand musk, }4 drm.; oils of 
cassia, lavender, neroli and nutmeg of each 10 
drops; oil, 1 pt. by infusion. 

Neatsfoot Oil.— This obtained from neat's 
feet (ox or cow heels) and tripe (prefera- 
bly the first), by boiling them in water and 
skimming off the oil. For nice purposes the 
oil is so obtained is kept gently heated by 
means of warm water until the whole of the 
water has subsided from it, when the clear por- 
tion is poui-ed off and if necessary filtered. It 
is extremely emollient and does not thicken by 
age. The pure oil is highly esteemed for chaps, 
excoriations, etc., and, when scented, to make 
the hair grow; the ordinary oil is chiefly used 
to fry fritters and to soften leather. 

Olive Oil.— Salad oil, sweet oil, olivae oleum. 
The oil expressed from the fruit of Olea Eu- 
ropasa, or common olive. 

1. Virgin Oil.— O.o virgineum, Huile vierge. 
From olives carefully garbled, either sponta- 
neously or only by slight pressure in the cold. 
That yielded by the pericarp of the fruit is the 
finest. 

2. Ordinary Fine Oil.— This is obtained by 
either pressing* the olives, previously crushed 
and mixed with boiling water, or by pressing 
at a gentle heat, the olives from which the 
virgin oil has been obtained. The above pro- 
cesses furnish the finer salad oils of commerce. 
The cake which is left is called grignon. 

3. Second Quality.— By allowing the bruised 
fruit to ferment before pressing it. Yellow, 
darker than the preceding, but mild and 
sweet tasting. Much used for the the table. 

4. Gorgon.— By fermenting and boiling the 
pressed cake or marc in water and skimming off 
the oil. Inferior. 

5. Oil of the Infernal Regions.— Oleum om- 
phacinum. This is a very inferior quality of oil, 
which is skimmed off tte w r ater in the reservors 
into which the waste water which has been 
used in the above operations is received and 
allowed to settle. The last two are chiefly used 
for lamps and in soap making. Provence oil 
is the most esteemed. Florence oil and Lucca 
oil are of very fine quality. Genoa oil comes 
next, then Gallipoli oil; Sicily oil is inferior; 
Spanish oil is the worst imported. 

Mixtures of olive oil with small amounts of 
cotton seed and sesame oils are distinguished 
by the entire mass, though at first more darkly 
colored and solidifying hke pure olive oil, 
yielding, after from twenty-four to thirty-six 
hours, a brown oil upon the surface of the 
firmly solidified mass, while the lower layer 
shows the yellow color of the pure olive oil. 
Oils which have been treated with alkalies 
show the same reactions as the pure oils.— 

Olive Oil, to Test.— Bach's method of testing 
olive oil. 

a. Nitric Acid Test.— 5 c.c. of the sample are 
shaken in a convenient tube with 5 c.c. of nitric 
acid of sp. gr. 1*30 for one minute, and the re- 



Oils. 



351 



Oils. 



suiting color observed (a), after one minute, 
and (b.) after standing- five minutes in boiling 
water, and (c) the consistence noted after stand- 
ing for twelve to eighteen hours at about 60° 
F. (15-5° C). 



ployed on account of its costliness, the defici- 
ency being made up by a mixture of the oils of 
rhodium, rosemary and bergamot. Most of the 
oils of this class are intended for hair cosmetics. 
2. (By infusion.) Dry substances, after being 





Color. 


Consistence. 




One minute. 


Five minutes. 




Pure olive oil. 
Cotton seed oil. 
Sesame oil. 
Sunflower oil. 
Ground nut oil. 
Rape-seed oil. 
Ricinus oil. 


Pale green. 
Yellowish brown. 
White. 
Dirty white. 
Pale rose. 
Pale rose. 
Pale rose. 


Orange yellow. 
Reddish brown. 
Brownish yellow. 
Reddish yellow. 
Brownish yellow. 
Orange yellow. 
Golden yellow. 


Quite solid. 
Salve-like or smeary* 
Perfectly liquid. 

Quite solid. 
Quite solid. 
Salve-like or smeary. 



Palm Oil. — Palm Butter, Oleum Palmse.— 
This oil is obtained from the fruit of several 
species of palm, chiefly of Elceis guineensis. 
The nuts or fruit after separation from the 
spadices containing them are allowed to decom- 
pose to a certain extent in the open air. By 
pounding with wooden pestles the pulp is de- 
tached from the hard nuts, mixed with a little 
water and heated. The oil is then forced out 
by pressure. This process does not free the oil 
from all fragments of pulp, and hence it has a 
great tendency to become rancid and acid. 
Fresh palm oil has an orange yellow tint, a 
sweetish taste and an odor somewhat resem- 
bling that of violets or orris root. It is of the 
consistence of butter or lard. 

Paper Oil.— Rag Oil, Pyrothonidge, Oleum 
Chartae. — On the small scale by burning paper 
on a cold tin plate and collecting the oil; on the 
large scale by the destructive distillation of 
paper or linen rags. For baldness, toothache, 
earache, etc. 

Perfumery Oils.—Syn. Scented Oils, Olea Fixa 
Odorata, L.— The oils which usually form the 
basis of these articles are those of almonds, ben 
or olives; but others are occasionally used. 
The methods adopted for their prepara- 
tion vary with the nature of the substances 
whose fragrance it is intended to convey to the 
oil. The Continental perfumers employ three 
different processes for this purpose, which they 
technically distinguish by terms indicative of 
their nature. These are as under : 

1. A sufficient quantity of the essential oil of 
the plant, or of the concentrated essence of the 
substance, if it does not furnish an oil, is added 
to the fixed oil which it is desired to perfume 
until the latter becomes agreeably fragrant; 
the whole is then allowed to repose for a few 
days, and if any sediment falls (which should 
not be the case when the ingredients are pure), 
the clear portion is decanted into another bot- 
tle. When alcoholic essences are thus employed 
the fixed oil should be gently warmed and the 
admixture made in a strong bottle, so as to per- 
mit of it being corked and well agitated with 
safety; and in this case the agitation should be 
prolonged until the whole has become quite 
cold. In this way all the ordinary aromatized 
and perfumed oils of the English druggists and 
perfumers, as those of bergamot, cassia, cloves, 
lavender, lemon, millefleurs, neroli, nutmeg, 
oranges, roses, etc., are made, but those of a 
few of the more delicate flowers, and of cer- 
tain other substances, can only be prepared of 
the first quality by one or other of the processes 
described below. 

In general! to V/z dr. of the pure essential 
oil or 3 to 4 dr. of the alcoholic essences are 
found sufficient to render 1 pt. of oil agreeably 
fragrant. Half dr. of pure otto of roses is, 
however, enough for this purpose, owing to the 
very powerful character of its perfume; but 
even a less quantity than this is commonly em- 



—American Journal of Pharmacy. 

reduced to powder or sliced very small— flowers 
or petals, after- being carefully selected and 
picked from the stems and other scentless 
portions — and soft or unctuous matters, as 
ambergris, civet or musk, after being rubbed 
to a paste with a little oil, either with or with- 
out the addition of about twice their weight of 
clean sand or powdered glass, to facilitate the 
reduction, are digested in the fixed oil for about 
one hour, at a gentle heat obtained by means 
of a water bath, continual stirring being em- 
ployed all the time; the mixture is then re- 
moved from the heat, covered up and left to 
settle until the next day, when the clear por- 
tion is decanted into clean bottles. When 
flowers are employed, the free oil is drained off 
and the remainder obtained by the action of a 
press. The process is then repeated with fresh 
flowers five or six times or even of tener until 
the oil is sufficiently perfumed. For ambergris, 
musk or civet the digestion is generally con- 
tinued for fifteen to twenty days, during which, 
time the vessel is either freely exposed to the 
sunshine or kept in an equally warm situation. 

The first quality of the oils of ambergris, bal- 
sam of Peru, benzoin, cassia, cinnamon, civet, 
orange flowers, orris, roses, styrax and vanilla 
are made by infusion. 

3. (By the flowers.)— a. Upon an iron frame 
a piece of white, spongy cotton cloth is stretch- 
ed and then moistened with almond or olive 
oil, usually the latter; on the cloth is placed a 
thin layer of the fresh plucked flowers; another 
frame is similarly treated, and in this way a 
pile of them is made. In twenty-four or 
thirty hours the flowers are replaced by fresh 
ones, and this is repeated every day or every 
other day until seven or eight different lots of 
flowers have been consumed, or the oil is suffi- 
ciently loaded with their odor. The oil is then 
obtained from the cotton cloth by powerful 
pressure and is placed aside in bottles to settle, 
ready to be decanted into others for sale. 
Sometimes thin layers of cotton wool, slightly 
moistened with oil, are employed instead of 
cotton cloth. 

The oils of all the more delicate flowers, such 
as those of honeysuckle, jasmin or jessamine, 
jonquil, may blossom, myrtle blosson, narcis- 
sus and violet are generally prepared in the 
above manner. 

b. The native perfumers of India prepare their 
scented oils of bela, chumbul, jasmin, etc., in 
the following manner : A layer of the scented 
flowers about 4 in. thick and 2 ft. square is 
formed on the ground, over this is placed a 
layer of moistened tel or sesamum seeds 2 in. 
thick, and on this another 4 in. layer of flowers. 
Over the whole a sheet is thrown which is kept 
pressed down by weights attached round the 
edges. The flowers are replaced with fresh ones 
after the lapse of twenty-four hours and the 
process is repeated a third and even a fourth 
time when a very highly scented oil is desired.. 



Oils. 



352 



Oils. 



The swollen sesamum seeds, rendered fragrant 
by contact with the flowers, are then submit- 
ted to the action of the press, by Avhich their 
bland oil is obtained strongly impregnated with 
the aroma of the flowers. The expressed oil is 
then set aside in dubbers (bottles made of un- 
tanned hides) to settle. We have employed 
poppy seed in this country in a similar manner 
with great success. 

c. The flowers are crushed in a mortar or 
mill with one half their weight of blanched 
sweet almonds, and the next day the massis 
gently heated and submitted to the action of a 
powerful press; the liquid thus obtained is al- 
lowed to repose for a week, when the upper 
portion of oil is decanted and filtered. This 
plan is occasionally adopted in this country for 
the oils of roses and of a few other flowers. 

The solution of a few grains of benzoic acid 
or of gum benzoin (preferably the first) in any 
of the above oils will materially retard the ac- 
cession of rancidity, if it does not prevent it 
altogetner. 

The oils of the last two classes (2 and 3) are 
chiefly used to impart their respective odors to 
the simple oils, pomades, etc.; and in the man- 
ufacture of scented spirits or esprits. 

Petroleum.— Various suggestions have been 
made to account for the occurrence of native 
naphthas. It is most generally believed that the 
chief cause is the decomposition, at great 
depths beneath the earth's surface, of vegetable 
and animal remains, but it is by no means 
known with any certainty how this decompo- 
sition has been brought about, whether it is 
still going on, or whether the process has long 
ceased to be in active operation. Mendelejeff 
supposes, that as a consequence of the conden- 
sation of the earth's substance from vapors, 
the interior must consist of metals, chiefly iron, 
in combination with carbon, and that water, 
acting on these carbides at high temperatures 
and pressures, produced metallic oxides and 
hydrocarbons, which latter, rising in a state of 
vapor, become condensed in the superincum- 
bent strata, especially in porous sandstones. 
Most probably, however, more than one cause 
has been at work, and possibly the American 
deposits occuring in Palaeozoic strata may be 
due to causes differing from those which have 
originated the Russian petroleum occurring in 
Tertiary formations. 

Petroleum can rarely be procured without 
boring wells, from which it is obtained by 
pumping, or, in some cases, by means of buckets 
and windlass. In America the boring is very 
rapidly accomplished. Prof. Dewar states that 
wells of 1,500 to 2,00f) ft. in depth are pierced in 
from about one to two months. 

The oil is largely conveyed from the neigh- 
borhood of the wells by pipes, and these pipe 
lines have, since 1865, become a great feature of 
the American oil industry. The oil from many 
thousand wells is passed through these pipes, 
the aggregate length being several thousand 
miles, worked by various companies.— Revue 
Scientiflque. 

Piney Oil.— Piney Tallow, P. Dammar, P. 
Resin. — To prepare this oil the seeds of Vateria 
indica, or piney tree, are roasted, then ground, 
and boiled with water. The oil is skimmed off. 
"When cold it is a solid fat, which melts at about 
95° to 97° F. Its specific gravity is about 0*926. 
Its color is white, and it has a somewhat fra- 
grant odor. It is made into candles. 

Pojypy Seed Oil. — Syn. Oleum papaveris.— 
Obtained from the seeds of Papaver somni- 
ferum, the opium poppy; Glaucium luteum, the 
yellow horn poppy, and Argemone mexicana, 
the spiny poppy, by pressure. It is of a pale 
color and sligntly sweet taste. It dries and 
keeps well, and has a specific gravity of 0*913- 
0*924. It is used for salads, paints and soaps, 
and also extensively to adulterate almond oil. 
It does not freeze till cooled to 0° F. The yield 
of the seeds is from 32 to 48$. 
Printing Oil for Pottery.— -1. One qt. linseed 



oil, 1 pt. rape oil, 2 oz. balsam capivi, 1 oz. pitcn 
Yi oz. amber oil, Y& oz. white lead. 
"2. One qt. linseed oil, J4 Pt. rape oil, Y* pt. 
common tar, 1 oz. balsam sulphur, 1 oz. balsam 
capivi. The linseed oil should be boiled for 
some time alone, then add the rape oil and the 
balsam capivi, allow the boiling to be continued 
until it begins to approach the proper consist- 
ency, and add the remaining ingredients. The 
mixture should be allowed to cool a short time, 
after which the whole mass may be boiled 
slowly until it has assumed the proper thick- 
ness; the vessel must be generally covered dur- 
ing the process, and the sulphur, previously to 
being mixed with the oil, should be perfectly 
pulverized, as by that means it is less liable to 
curdle the oil. 
Rape Seed Oil. See Colza Oil above. 
To Prevent Fats and Oils from Becoming Ran- 
cid.— Take 2 drm. powdered slippery elm bark 
to 2 lb. of the fat. Heat together for a few 
minutes. The bark shrinks and subsides, after 
which the fat is poured off. It gives an odor 
to the fat like that of a hickory nut. 

Red Oil.— One pt. linseed oil, Y± lb. alkanet 
root. If mahogany be allowed to stand all 
night wiped over with this previous filling in, 
it will impart a deep rich color, also useful for 
walnut and rosewood. 

Refining Oils. — 1. Mr. Bancroft refines oils for 
machinery and lubricating purposes generally 
by agitating them with a lye of caustic soda 
of the sp. gr. 1*2. A sufficient quantity is 
known to have been added when, after re- 
pose, a portion begins to settle down clear at 
the bottom. About four to eight per cent, is 
commonly required for lard oil and olive oil. 
After twenty-four hours' repose the clear 
supernatant oil is decanted from the soapy 
sediment, and filtered. 
2. Fish Oil (Whale, Seal, etc.) is purified by — 
a. Violently agitating it with boiling water 
or steam, by placing it in a deep vessel with 
perforated bottom, through which high pres- 
sure steam is forced for some time ; it is after- 
ward clarified by repose, and filtered through 
coarse charcoal. 

h. The oil is violently agitated with a boiling 
hot and strong solution of oak bark, to remove 
albumen and gelatine, and next with high 
pressure steam and hot water ; it is lastly dried 
and filtered. 

c. Each ton is boiled for half an hour with 
caustic soda, Yz lb-> previously made into a 
weak lye with water; or steam is blown 
through the mixture for a like period ; sul- 
phuric acid, Yz lb., diluted with six times its 
weight of water, is next added; the whole 
again boiled for fifteen minutes and allowed to 
settle for an hour or longer, when the clear 
oil is run off from the water and sediment into 
the bleaching tubs; here solution of bichro- 
mate of potash, 4 lb., in oil of vitriol, 2 lb., pre- 
viously diluted with water, q. s., together with 
a little nitric acid and some oxalic acid, are 
added, and after thorough admixture of the 
whole, by blowing steam through it, strong 
nitric acid, 1 lb., diluted with water, 1 qt., is 
poured in, and the boiling continued for half 
an hour longer ; a small quantity of naphtha 
or rectified spirit of turpentine is then mixed 
in, and the oil is finally well washed with hot 
water and left to settle. 

3. For Palm Oil.— The oil is melted by the 
heat of steam, and after it has settled and 
cooled down to about 130° F., is carefully de- 
canted from the water and sediment into the 
steaming tubs ; here a mixture of a saturated 
solution of bichromate of potash, 25 lb., and 
sulphuric acid, 8 or 9 lb., is added, and after 
thorough admixture, hydrochloric acid, 50 lb., 
is poured in; the whole is then constantly 
stirred until it acquires a uniform greenish 
color, or is sufficiently decolored, a little more 
of the bleaching materials being added if the 
latter is not the case, after which it is allowed to 
repose for half an hour to settle ; it is next run 



Oils. 



353 



Oils. 



into a wooden vat, where it is washed, etc., as 
before. 

4. Almond, castor, linseed, nut, olive, rape, 
and some other vegetable oils are readily 
bleached by either of the following' processes : 

Exposure in glass bottles to the sun's rays on 
the leads or roofs of houses, or in any other 
suitable position, open to the southeast and 
south. This is the method employed by drug- 
gists and oilmen to whiten their castor and lin- 
seed oils. Fourteen to twenty-one days' expo- 
sure to the sun in clear weather during sum- 
mer is usually sufficient for castor oil when 
contained in 2 to 4 qt. pale green glass bottles 
(preferably the former), and covered with 
white gallipots inverted over them. The oil is 
filtered before exposing it to the light, as, if 
only in a slight degree opaque, it does not 
bleach well. Almond and olive oil are, when 
thus treated, apt to acquire a slight sulphur- 
ous smell ; but this may be removed by filtra- 
tion through a little animal charcoal, or still 
better, by washing the oil with hot water. 

Restoration of Besinified Volatile Oils.— "When 
oils have become resinified, they may be re- 
stored by rectification. This is accomplished 
by mixing the volatile oil with half of its own 
weight of an inodorous fat, and distilling the 
mixture from a 3% solution of table salt. If 
the quantity of resinified oil is too small to be 
distilled, it may be treated as follows : Agitate 
the oil for about 15 or 20 minutes with a magma 
formed by mixing a solution of borax with 
animal charcoal, when the resinified portion 
will unite with the borax, leaving the oh limpid 
and the odor restored. 

Rosin Oil.— 100 lb. of dry, thick rosin oil are 
heated until thin; the fire is then removed and 
2 lb. fuming sulphuric acid (Nordhausen) are 
gradually added, with constant stirring. After 
mixing for half an hour allow it to stand for 
twelve hours; then siphon off and wash with 
hot water until the water shows no acid reac- 
tion. After several days' separation, a dark 
yellow, faintly odorous rosin oil is obtained 
without blue reflection. This oil mixed with 
other oils may be used advantageously for lu- 
bricating the heavy parts of machinery. 

Seal Oil.— This oil is chiefly prepared from the 
blubber of the hooded seal (Phoca cristata), and 
of the harp seal (Phoca Greenlandica), but also 
from several other species of seal. Pale seal 
oil is that which drains from the blubber be- 
fore putrefaction commences, and forms about 
60$ of the whole quantity of oil obtained. It 
is very clear, odorless, and when recently pre- 
pared not unpleasant to the taste. 

Refined seal oil is the last washed and filtered. 
It ranks close after sperm oil. 

Brown or dark seal oil is that which subse- 
quently drains from the putrid mass. It is very 
strong scented and nauseous, and smokes in 
burning. A full grown seal yields from 8 to 12 
gal. of oil, a small one 4 to 5 gal. 

Rock Oil.— Name sometimes given to petro- 
leum. 

Rosin Oil.— A product of the dry distillation 
O^ resin. 

Shark or Shark Liver Oil.— Prepared from the 
liver of various species of shark. One liver 
yields from 15 to 60 gal. of oil. It is the lightest 
of the fixed oils,its specific gravity ranging from 
0'865 to 0*876. Besides being employed in the 
adulteration of cod fiver oil, it is largely used 
in tanneries. 

Sheldrake's Oil, for Grinding Colors.— Pale 
old boiled oil, copal varnish, equal parts. Mix. 
This will remain good for a long time if kept 
in well corked bottles. 

Sperm Oil.— This oil is procured from the 
head matter of the sperm whale or cachalot 
(Physetermacrosephalus), a species once common 
in all the principal seas, but now chiefly con- 
fined to the Southern oceans. It is a very lim- 
pid oil, comparatively free from smell, and 
burns well. It has long been reputed the best 
oil for lamps and machinery, as it does not 



thicken by age or friction. Its specific gravity 
is 0'875. Refined seal is a common adulter- 
ant. The solid portion is refined for candle 
making. 

Spike Oil, (Farrier's).— Oil of turpentine, 1 qt.; 
Barbadoes tar, 1^ oz.; alkanet root, J^ oz.; di- 
gested together for a week. Used as a stimu- 
lating liniment by farriers. 

1. Painter's. —Rectified oil of turpentine, 3pt : 
oil of lavender 1 pt. Mix. 

2. Oil of turpentine, warm, 5 parts; lavende 
oil bottoms, genuine, 3 parts; agitate well to 
gether and in two weeks decant the clear away. 
Used by artists and enamelers. 

Styrax Oil.— Liquid styrax, pure, 5 drm.; oil of 
nutmeg, 10 drops; ambergris, 6grn=; oil, lpt.; by 
infusion. 

Tallow Oil.— Tallow is the name given to the 
fat separated from the membranes inclosing it 
in the suet or solid fat as obtained from oxen, 
sheep and other ruminants. This oil corre- 
sponds to tallow as lard oil to lard, and is ob- 
tained from tallow by pressure. The tallow is 
first melted, and the clear portion is drawn off, 
after the subsidence of impurities, into tubs 
fitted with perforated diaphragms covered with 
coarse flannel. As cooling proceeds, olein sepa- 
rates from the solid portions of the fat, the 
liquid oil is run off, pressure applied, and more 
oil obtained. It is very useful in the manufac- 
ture of the finer kinds of soap. 

Oil of Turpentine.— Spirit of T., essence of T., 
Turps, Camphene, Camphine, Terebinthinas 
Oleum, Spiritus Terebinthinge, Essentia T., 
Oleum Terebinthinae, O. T. Purificatum. 

The oil of turpentine of commerce is ob- 
tained by distilling strained American turpen- 
tine along with water. The residuum in the 
still is resin or rosin. The product in oil varies 
from 14$ to 16$. It may be rectified by redistill- 
ing it along with 3 or 4 times its volume of 
water, observing not to draw over quite all of 
it. The portion remaining in the retort, bal 
sam of turpentine, is viscid and resinous. A 
better plan is to well agitate it with an equal 
measure of solution of potassa or milk of lime 
before rectifying it. This is the plan adopted 
for the camphine used for lamps. By agitating 
crude oil of turpentine with about 5° of sul- 
phuric acid, diluted with twice its weight of 
water, and after repose and decantation, recti- 
fying it with five or six times its volume of the 
strongest lime water, a very pure and nearly 
scentless oil may be obtained. Pure oil of tur- 
pentine is colorless, limpid, very mobile, neu- 
tral to test paper, has an odor neither powerful 
nor disagreeable when recently prepared, but 
becoming so by exposure to the air. Hot strong 
alcohol dissolves it freely, but the greater part 
separates in globules as the liquor cools. It 
congeals at 14° and boils at 312° F. It is exten- 
sively used in the manufacture of varnishes 
and paints. To prevent accident it is proper to 
caution the operator of the extremely pene- 
trating and inflammable nature of the vapor of 
this oil, even in the cold. During the process 
of distillation, without the greatest precautions 
are taken, an explosion is almost inevitable. 

Vanilla Oil.— Huile & la Vanille.— Purest olive 
or almond oil, V& pt.; vanilla, finest in powder, 
2 oz.; oil of bergamot, 1 drm. ; otto of roses, 
finest, 15 drops; by infusion. 

Oil, Watchmaker's.— Prepared by placing a 
clean strip or coil of lead in a small white glass 
bottle filled with pure almond or olive oil, and 
exposing it to the sun's rays at a window for 
some time, till a curdy matter ceases to be de- 
posited and the oil has become quite limpid and 
colorless. Used for fine work; does not become 
thick by age. 

Oil, Whale, Train Oil, Whale Train Oil, Oleum 
Baleenee, Oleum Ceti.— From the blubber of 
the Balcena mysticetus, Linn, or the common or 
Greenland whale, by heat. Coarse with bad odor. 
Southern whale oil is the best. Used for lamps, 
machinery, etc. Product per fish about 13^ ton? 
for each foot of bone. 



Oilskins. 



354 



Ointments. 



White Oils. -I. White Egg Oils. -Yelks of 4 
eggs; oil of turpentine, 34 P,t.; mix, add of am- 
monia liquor, 3 oz.; oil of origanum, Yl oz.; 
soaper's lye, % pt.; water, %pt.; agitate well 
and strain through a coarse hair sieve. 

2. Rape oil, % pt.; liquor of ammonia and oil 
of turpentine, of each, 3 oz.; agitate until they 
form a milk. 

3. Redwood.— Whites and yelks of 2 eggs; 
oil of turpentine, 1Y oz.; triturate together; 
add of Goulard's extract, Y oz.; mix ; next 
add of distilled vinegar, V/% pt.; and lastly of 
rectified spirit, V/% oz. Stimulant and deter- 
gent. Used by farriers. 

Oilskins. See Waterproofing. 

Oilstones.— Oilstones, to Face.— Take a piece 
ot iron with even or straight face (it ought to 
be planed); scatter a little emery or fine sand 
about as coarse as No. \Y sand paper on the 
iron plate, add a little water and rub the face 
of the stone, renewing the emery or sand and 
water as requisite, finishing with an addition 
of water without emery or sand. This is the 
quickest and truest way, making the stone per- 
fectly straight, and occupying from five to ten 
minutes' time. 

Oilstones, to Renew. — Try turpentine to 
clean with. The reason of oilstones becom- 
ing hard is that the pores fill up by the oil 
becoming viscid or gummy and mixed with 
the particles of steel rubbed off in the process 
of sharpening, thus preventing the tool from 
touching the stone, by causing it to ride upon 
the surface of a substance as hard as itself. 
There is a secret, known only to a limited num- 
ber, that oil mixed with a small portion of tur- 
pentine makes a stone cut freely; and here let 
me remark that no oil that is of a vegetable 
character, such as sweet oil, is fit for a stone ; 
petroleum is little better. The very best that 
can be used is neatsf oot oil, which may become 
thick and pasty, but is always reliable ; so are 
all of the animal or fish oils. That which is ob- 
tained from poultry is good ; some prefer goose 
oil to use on a stone for razors, and some me- 
chanics in Philadelphia substitute soap suds for 
the purpose. 

Oilstones, to True.— For truing an ordinary 
oilstone for sharpening planes, take a sheet of 
glass paper No. 2, and place it on the bench. 
Rub the stone over it. In this way the stone 
can be trued in one quarter the time required 
by the ordinary process. 

Ointments.- Ointment of Benzoin.— Though 
benzoin is introduced into lard to keep it, and 
this is not needed with vaseline, an ointment 
made as follows (similar to TJ. S. P.) yields a 
preparation that preserves the odor of the 
resin without dissolving the same, and has 
when finished an elegant quinescent appear- 
ance. As an addition to a lard ointment this 
would be good, probably preventing rancidity 
without introducing the irritating effect of 
the resin. 

Tincture of benzoin 2 fl. oz. 

Vaseline 16 oz. 

Melt the vaseline on a water bath, add the 
tincture, stir till all alcohol is dissolved and 
pour off the liquid from the precipitated resin 
which adheres to the sides and bottom of the 
vessel. 

It would be needless to remark that, on ac- 
count of the difficulty of solubility of resins 
in vaseline, ointment of mezereon cannot be 
made readily with it. 

Ointment of Borax.— 

1. Borax in very fine powder. ..... .1 drm. 

Spermaceti ointment 1 oz. 

Mix by trituration. In excoriations, chaps, 
etc. It also forms an excellent lip salve. A 
drop of neroli, or Y drop of otto of roses, x^en- 
ders it more agreeable. 

2. To the last add, of— 

Glycerine 1 drm. 



Using a slightly warmed mortar for the mix- 
ture. Very effective. 

Citrine ointment cannot be prepared with vas- 
eline alone, as the water in the nitrate of mer- 
cury solution is repelled by the oil. The vase- 
line becomes decomposed at 400° F., giving rise 
to brisk effervesence of nitrous fumes, turning- 
red in color. This color cannot be washed out 
with water, showing that it is not due to an 
absorption of the red fumes, but rather to 
some change produced. A writer in The Drug- 
gists' Circular suggests the addition of % of 
vaseline in place of the same quantity of lard, 
adding it after the decomposition has taken 
place, as rendering the ointment soft and per- 
manent. 

Glycerine Ointment. — 

Starch 3 parts. 

Glycerine 10 parts. 

The starch, finely pulverized, is digested for 
for about an hour with the glycerine, at the 
heat of a water bath. 

Ointment of Iodine. — Todine is very soluble 
in vaseline, and it is supposed enters partially 
into combination with the hydrocarbon, giving 
rise to a considerable effervescence (probable 
hydrogen being displaced). Iodine dissolves 
slowly in vaseline if allowed to macerate in it 
or if rubbed up with it, but for ointment of 
iodine the following gives the best results : 

Iodine 20grn. 

Alcohol sufficient. 

Vaseline loz. 

Dissolve the iodine in the alcohol, and mix 
with the vaseline placed on a hot water bath. 
Very little iodine will be evaporated during the 
operation. 

Iodide of Iron Ointment.— It iron be added to 
a solution of iodine in vaseline and repeatedly 
shaken (the whole kept liquid on a water 
bath), the almost black color of the iodine dis- 
appears, and if an excess of iron be employed 
the color becomes green, and if it be then fil- 
tered the ointment will have a beautiful eme- 
rald green color through transmitted light and 
almost black by reflected light. 

Iodine 4 drm. 

Iron filings 12 drm. 

Vaseline. 16 oz. 

This iodide of Iron ointment is stable and al- 
most without taste. Prepare from it a jelly by 
adding an equal quantity of very fine sugar, 
in which manner it could be easily taken by 
children. Mr. E. Fougera, of Brooklyn, has 
also prepared a bromide and chloride in like 
manner, and suggests its use in keeping the 
protosalts of iron by enveloping them in it. 

Ointments for the Itch.— The usual treatment 
of itch has been noticed elsewhere, and various 
lotions, ointments and pommades, of more or 
less value in its treatment, will be found under 
the names of their leading ingredients. Here 
are a few additional formulas : 

1. (French Hospital) : 

Chloride of lime 1 drm. 

Rectified spirit 2 fl. drm c 

Rub together, add of — 

Sweet oil Yz fl. drm. 

Soft soap. 2 oz. 

Oil of lemon Yi fl. drm 

Mix perfectly, and then further add, of— 

Common salt 1 oz. 

Sulphur , , 1 oz. 

Cheap, very effective, and much less offensive 
than sulphur ointment. 

2. (Le Gros) : 

Iodide of potassium ^drm. 

Lard . 1 oz. 

Mix. Cleanly, harmless and effective. 



Ointments. 



355 



Ornaments. 



3. (Robertson) : 

Soft soap 1 oz. 

Rum or (proof spirit) ... 1 tablespoonf ul. 
Chloride of lime (dry } w 
and good) f VA oz> 

Mix and add of— 

Lard 2 oz. 

Said to be a very effective and cleanly remedy. 

4. (Jackson) : 

Palm oil 1 oz. 

Sulphur 1 oz. 

White hellebore 1 oz. 

Lard..., 2 oz. 

Mix. Should be used with caution. 

5. Take bichloride of mercury, 1 part; lard, 
15 parts. Mix well together, 

Ointment of Iodide of .Mercwrj/.— Lard, 3 oz.; 
iodide of mercury, 45 grains. Mix well. 

Neuralgic Ointment: 

Menthol 45 grn. 

Cocaine 15 grn. 

Chloral 10 grn. 

Vaseline 5 drm. 

To be applied to the painful part. 

Ointment, Simple.— 1. Olive oil, 514 A- oz.; 
white wax, 2 oz.; melted together and stirred 
while cooling. 

2. Prepared lard, 4 lb.; white wax, 1 lb.; as 
the last. 

3. White wax, 2.; prepared lard, 3.; almond 
oil, 8.; melt together and stir until it be- 
comes solid. The above are mild emollients, 
useful in healthy ulcers, excoriations, etc., but 
chiefly as forming the basis of other ointments. 

Sulphur Ointment : 

Sublimed sulphur 1 oz. 

Lard 4 oz. 

Mix thoroughly, by trituration. These are the 
proportions of the new Br. and the E. and D. 
Ph. In the last London Ph. a larger quantity 
of sulphur is ordered. 

The compound sulphur ointment of the Lon- 
don Ph. consists of— 

Nitrate of potassa (in 

fine powder) 40 grn. 

White hellebore (in fine 

powder) 10 drm. (troy) 

Sulphur 4 oz. (troy). 

Soft soap 4 oz. (troy). 

Lard 1 lb. (troy). 

It is said to be more efficacious than the simple 
ointment; but is apt to irritate a delicate skin. 

Ointment of White Wax: 

1. White wax (pure) 2 oz. 

Prepared lard 3 oz. 

Almond oil 3 fl. oz. 

Melt them together, and stir the mixture until 
it solidifies. This is the unguentum simplex of 
the new British Pharmacopoeia. 

2. White wax 2 oz. 

Olive oil 5)4 fl. oz. 

As before. A mild emollient, in various appli- 
cations, but chiefly as a basis for other oint- 
ments and medicated pommades. On the Con- 
tinent it is regarded as more healing when 
made with yellow wax. 

Spermaceti Ointment. — Simple ointment, 
emollient dressing, etc. 

1. Spermaceti 5 oz. 

White wax (pure) 2 oz. 

Almond oil 1 pt. 

Melt them together by a gentle heat, and stir 
constantly until the whole solidifies. 

Ointment of Creosote: 

Creosote 1 fl. drm. 

Spermaceti ointment 1 oz. 

Triturate them together, in a slightly warmed 
mortar, until perfectly united, and subse- 
quently until nearly cold. 



Onions, Metal. See Alloys. (Fusible.) 

Opals, to Restore the Polish. —By rub- 
bing with oxide of tin or putty powder on a 
piece of chamois skin, wet ; finish with refined 
chalk, also on chamois skin, wet, then wash the 
opal with a soft brush and water. With a little 
care this may be done without taking it from 
the setting. 

Opodeldoc.— Steer's opodeldoc is as fol- 
lows : White Castile soap, cut small, 2 lb.; cam- 
phor, 5 oz.; oil of rosemary, 1 oz.; oil of ori- 
ganum, 2 oz.; rectified spirit, 1 gal.; dissolve in 
a corked bottle by the heat of a water bath, 
and when quite cool, strain; then add ammon- 
ium hydroxide, aqua ammonia, 11 oz.; immedi- 
ately put it in bottles, cork close, and tie over 
with bladder. It will be very fine, solid, and 
transparent when cold. The liquid opodeldoc 
is prepared by taking 2 oz. Castile soap shav- 
ings, and dissolving them in one quart alcohol, 
with gentle heat; then add 1 oz. camphor, % oz. 
oil rosemary, and 2 oz. spirits hartshorn, aqua 
ammonia. 

Optical Instruments.— Blue or Gray 
Finish on. — The steel gray or bluish tint upon 
instruments is made by dipping or washing 
with chloride of platinum solution, which is 
made by dissolving platinum in 2 parts muri- 
atic (hydrochloric) acid, 1 part nitric acid, 
mixed; as much platinum as the quantity of 
acid you may wish to prepare will take up. 
Use platinum foil, put the whole in a glass bot- 
tle with wide mouth, cover loosely, and place 
in warm sand bath or any place where it will be 
as hot as boiling water for a few days, when it 
will be ready for use. As soon as the proper 
color is produced wash the articles in water. If 
the solution is not saturated, the brass will 
turn brown and rough. 

Orangeade. — 1. Pare off the thin, yellow 
rind of 4 oranges and infuse in J4 pt. boiling 
water. Express the juice of 12 Florida oranges 
and strain through a hair sieve ; add to this % 
lb. of fine white sugar, the infusion from the 
rinds and 1 qt. of water. Ice the orangeade. 

2. Slice crosswise 4 oranges and 1 lemon ; put 
them into an earthen jug with 4 oz. of lump 
sugar ; pour upon these 1 qt. of boiling water 
and allow to stand covered for 1 hour. Decant 
and ice. 

3. Simple sirup, y& A- oz.; tincture of orange 
peel, )4 dr.; citric acid, 1 scruple; fill the bottle 
with aerated water. 

Orangeade, Effervescing or Aerated or Sherbet. 
— 1. Mix 1 lb. of sirup of orange peel, I gal. 
of water, and 1 oz. citric acid, charge strongly 
with carbonic acid gas, with a machine. 

2. Sirup orange juice, % oz.; aerated water, 
^Pt. 

3. Mix 1 lb. sirup of orange peel, 1 gal. water 
and 1 oz. citric acid, and charge it strongly with 
carbonic acid gas, with a machine. 

4. Sirup of orange juice, % fl. oz.; aerated 
water, % pt. 

Orange Glass Substitutes. See Pho- 
tography. 

Orcein. —Lichen Lake. —A brownish-red 
powder, nearly insoluble in water, obtained by 
dissolved orcin in ammonia, exposed to air and 
precipitated with dilute acetic acid. Produces 
purple when dissolved in solution of ammonia. 

Orcin.— The general product of the decom- 
position of the acids obtained from the tinc- 
torial lichens under the influence of heat or 
the alkaline earths. 

Ore.— An ore is a substance containing a 
metal in its natural state, chiefly as sulphide, 
oxide, or carbonate, and less frequently as 
arsenide, chloride, sulphate, phosphate and 
silicate. — Hiorns. 

Or Molu, or Ormulu. See Alloys. 

Ornaments, Composition for. See 
Compositionsc 



Oroide. 



356 



Ozouin, 



Oroide. See Alloys. 

Orpiment.— Yellow sulphide of arsenic. It 
forms the basis of the pigment called king's 
yellow. 

Ostrich Feathers, to Clean. See Cleans- 
ing, Feathers. 

Ostrich Feathers, to Dye. See Dye- 
ing. 

Ottawa Beer. See Beers. 

Oxidation.— This term means the combina- 
tion of bodies with oxygen. It is of the great- 
est importance, and cannot afford to be over- 
looked. Many chemicals oxidize instantly 
when exposed to the air— this must be borne in 
mind . Many of the greatest processes in manu- 
facturing chemicals depend upon this union 
with oxygen. Rust (which see) is the result 
of the oxidation of the iron. 

Oxidizing with Solution of Platinum. — Dis- 
solve sufficient platinum in aqua regia, and 
carefully evaporate the resulting solution 
(chloride of platinum) to dryness. The dried 
mass may then be dissolved in alcohol, ether, or 
water, according to the effect which it is desired 
to produce, a slightly different effect being pro- 
duced by each of the solutions. Apply the so- 
lution of platinum with a camel's hair brush, 
and repeat the operation as often as may be 
necessary to increase the depth of tone. A sin- 
gle application is frequently sufficient. The 
ethereal or alcoholic solution of platinum must 
be kept in a well stoppered bottle, and in a cool 
place. The aqueous solution of platinu m should 
be applied hot. 

Oxidizing Copper and Brass.— Immerse the ar- 
ticles in a solution of 2 oz. nitrate of iron and 2 
oz. hyposulphite of soda to 1 pint of water, 
until the desired shade of oxidation is acquired, 
then wash, dry, and brush. 

Silver, to Oxidize.— 1. Add 4 or 5 thousandths of 
ammonium sulphide or potassium sulphide to 
water, at a temperature of 160° to 180° F. When 
the articles are dipped into this solution, an iri- 
descent coating of silver sulphide is produced, 
which after a few seconds turns blue black if 
allowed to remain in the liquid. Remove, 
rinse, scratch-brush, and burnish when desired. 

2. There are two distinct shades in use, one 
produced by a chloride, which has a brownish 
tint, and the other by sulphur, which has a 
bluish black tint. To produce the former, it is 
only necessary to wash the article with a solu- 
tion of sal ammoniac (ammonium chloride). 

3. A much more beautiful tint may be ob- 
tained by employing a solution composed of 
equal parts of copper sulphate and ammonium 
chloride in vinegar (or dilute acetic acid). The 
fine black tint may be produced by a slightly 
warm solution of sodium or potassium sul- 
phide. 

4. Bromine, 5 grn.; potassium bromide, 5 
dwt.; water, 10 oz.; boil the silver in this usually 
two to five minutes, then polish with rouge. 

5. Dissolve sulphate of copper, 2 dwts .; ni- 
trate of potash, 1 dwt.; ammonium chloride, 
2 dwts.; in a little acetic acid. Warm the arti- 
cle and apply the solution with a camel hair 
pencil and expose to the fumes of sulphur in a 
closed box. Parts not to be colored must be 
coated with wax. 

6. Dip the clean silver article in a solution of 
sulphide of potassium (liver of sulphur), 2 drm., 
to a pt. of water. Heat this solution to a tem- 
perature of 175° F. Immerse for a few seconds 
only, when the article becomes blue black. 
For a velvet black, dip the article, previous to 
oxidizing, in a solution of mercurous nitrate 
and water and rinse. Then dip in the sul 
phide solution as above. For a brown shade, 
oxidize in the potassium sulphide as above, 
then dip in a liquid composed of 10 parts blue 
vitriol and 5 parts sal ammoniac to 100 parts 
vinegar. After oxidation brush with a scratch- 
brush very lightly, to brighten and variegate 
the surface. There are many other methods, 



among which will be found the following : 

7. Expose to the vapor of chlorine. 

8. Use a solution of equal parts copper sul- 
phate and ammonium chloride dissolved in 
vinegar. 

9. Potassium sulphide dissolved in warm 
water. 

10. Sodium sulphide dissolved in warm water. 

11. Wash with a solution of ammonium chlo- 
ride. 

Oxychloride. — A term often loosely ap- 
plied to compounds of an oxide and chloride. 

Oxygen. — Oxygen may be obtained on a 
small scale very readily by simply heating in a 
close retort a mixture of 4 parts chlorate of 
potash and 1 part black oxide of manganese. 
If large quantities are desired, the continuous 
process of T. Du Motay may be employed. The 
principle of this process resides in the fact 
that the manganates and permanganates of 
potash, soda and baryta, the ferrates and 
chromates of the same bases, and in general 
all metallic oxides and acids which will form, 
with potassa, soda or baryta, binary com- 
pounds capable of superoxidizing, possess the 
property of yielding their oxygen, at a more 
or less elevated temperature, when they are 
submitted to the action of a current of steam. 
These bodies, thus deoxidized, also possess the 
property of reoxidizing themselves when they 
are exposed to a temperature more or less 
great. The atmosphere is therefore the con- 
stant source from which the oxygen is derived. 
The mode of operation is the following : One 
of the binary compounds just enumerated is 
placed in a distilling vessel, whether at the 
maximum or minimum state of oxidation. If 
the compound is in the latter condition, it is 
oxidized by means of a current of air mechani- 
cally drawn over it; if at the former stage, it 
is deoxidized by means of a current of steam. 
The oxygen and steam, on issuing from the 
mouth of the retort, pass together into a con- 
denser, where the steam is separated by con- 
densation, while the oxygen passes over into a 
gas holder, and is there collected. When all 
the utilizable oxygen has been disengaged by 
the steaming process, the action of superoxida- 
tion by means of the air current is recom- 
menced. By this alternate process the oxygen 
is generated as long as may be required. 

Oxymel. — An acidulous sirup made of 
honey and vinegar. 

Oxymel. — Clarified honey, 0'32 oz. (avoirdu- 
pois); acetic acid, 4 fl. oz.; distilled water, 4 fl. 
oz. Liquefy by heat (Br Ph.). 

Oysters, to Preserve. — A method of pre- 
serving oysters is adopted by the Chinese. The 
fish are taken from the shells, plunged into boil- 
ing water for an instant, and then exposed to 
the sun till all the moisture is removed. They 
remain fresh for a long time, and retain their 
full flavor. Only the fattest can be so treated. 
Oysters are also largely canned, much in the 
same way as salmon. 

Ozolterit.— Syn. Mineral Wax.— A brown 
(sometimes yellow or black) compact substance 
found in the tertiary strata, mostly in close 
proximity to coal measures. Melts at a tem- 
perature of from 60° to 80° C. 

Ozone Paper. See Paper. 

Ozone, to Produce.— Ozone maybe easily 
produced by means of an aqueous solution of 
permanganate of potash and oxalic acids. A 
very small quantity of these salts, placed in an 
open porcelain dish, is all that is necessary, the 
water being renewed occasionally, as it evapor- 
ates. Metallic dishes should not be used. 

Ozonin. — Ozonin is a patented bleaching 
compound. It is prepared by dissolving 125 
parts of rosin in 200 parts of oil of turpentine, 
and then stirring in, first a solution of 22*5 
parts of potassium hydrate in 40 parts of 



Packfong. 



357 



Paints. 



water, and after that 90 parts of hydrogen 
peroxide. The resulting gelatinous mass, when 
exposed to sunlight for two or three days, is 
converted into a mobile liquid, and is then 
ready for use. Mix with water in the propor- 
tion of 1 grm. to 1 liter. This ozonin acts as an 
energetic bleacher, and may be used in either 
alkaline or acid fluids. 
Packfong. See Alloys. 

Pads, Composition for Padding 

Paper.— The regular composition used is 
made from best glue and glycerine and water 
colored with aniline. This needs heating. A 
solution of gum tragacanth with a little glyce- 
rine might answer your requirements, but we 
advise the first. For 5 lb. of dry glue allow 1 
lb. of glycerine. 

Pad, Copying. See Hektograph. 

Pads, Glue for. See Glues. 

Pads, Paste for. See Pastes. 

Pad (Ever Ready) for Rubber Stamps. 

— The following is said to be a cushion that will 
give color permanently. It consists of a box fill- 
ed with an elastic composition, saturated with a 
.suitable color. The cushion fulfills its purpose 
for years without being renewed, always con- 
tains sufficient moisture, which is drawn from 
the atmosphere, and continues to act as a color 
stamp cushion so long as a remnant of the mass 
or composition remains in the box or recepta- 
cle. This cushion or pad is too soft to be self- 
supporting, but should be held in a low, flat 
pan, and have a permanent cloth cover. The 
composition consists preferably of 1 part gela- 
tine, 1 part water, 6 parts glycerine, and 6 parts 
coloring matter. A suitable black color can 
be made from the following materials : 1 part 
gelatine glue. 3 parts lampblack, aniline black, 
or a suitable quantity of logwood extract, 10 
parts of glycerine, part absolute alcohol, 2 parts 
water, 1 part Venetian soap, i part salicylic 
acid. For red, blue or violet, 1 part gelatine 
glue, 2 parts aniline of desired color, 1 part 
absolute alcohol, 10 parts glycerine, 1 part 
Venetian soap, and i part salicylic acid. The 
following are two additional receipts used for 
this purpose: 1. Mix and dissolve 2 to 4 drm. 
aniline violet, 15 oz. alcohol, 15 oz. glycerine. 
The solution is poured on the cushion and rub- 
bed in with a brush. The general method of 
preparing the pad is to swell the gelatine with 
cold water, then boil and add the glycerine, 
etc. A full description of the general method 
will be found under the Hektograph. 

2. Aniline violet, 90 gr.; boiling rain water, 1 
oz.; to which is added a little glycerine and a 
small quantity of molasses. The quantities of 
last two ingredients will vary with the season, 
but halt a teaspoonf ul will be ample for the 
quantities of violet and water specified. 

Pain Killer. —Spirit of camphor, 2 oz.; 
tincture of capsicum, 1 oz.; tincture of guaiac, 
K oz.; tincture myrrh, y% oz.; alcohol, 4 oz. 

Paint Brushes, to Clean. See Cleans- 
ing. 



Painters' .Cream. 
ers>. 



See Cream, Paint- 



Paint, Fireproof. See Fireproonng. 

Paint, to Remove. See Cleansing. 
. Paints, Face. See Rouges. 

Paints and Painting. — Papering and 
painting are best done in cold weather, espe- 
cially the latter, for the wood absorbs the oil 
of paint much more than in warm weather; 
while in cold weather the oil hardens on the 
outside, making a coat which will protect the 
wood instead of soaking into it. 

Preparing the Work.— In preparing work for 
painting, too much care cannot be exercised, 
as suceceeding coats and the final result de- 
pend very much on the proper condition of the 



work when the priming coat is applied. First 
all the rough places in the wood should be 
rubbed down with a block covered with sand- 
paper, and the mouldings and deals should be 
well cleaned out with sandpaper. Then, as this 
is a matter of prime importance, every knot, 
however small, every indication of sap on the 
wood, or discoloration of any kind, and every 
appearance of pitch or gum, should be care- 
fully varnished over with white shellac varnish, 
if the work is to be finished in white or light 
tints, or with varnish made from unbleached or 
common shellac, if the work is to be finished 
in dark shades. The common shellac, in the 
latter case, answers equally well with the 
bleached article, and at less cost. This should 
not, under any circumstances, be neglected, as 
it is impossible, in the nature of things, other- 
wise to make good work. 

When work is to be finished in two coats, the 
putty used for stopping the nail heads and other 
indentations should be made of white lead, 
worked up with common whiting to the proper 
consistency, and the filling should be done af- 
ter the first coat shall have become well dried. 
When more than two coats are to be applied, 
the filling should be done between the first and 
second coats, with ordinary pure linseed oil 
putty. 

It should be adopted, as a rule, never to apply 
pure white as a priming coat; no matter 
whether the work is to be finished with one or 
four coats, the result will always be more satis- 
factory if the first coat be stained. A little 
finely ground lampblack answers as well for 
this as anything. 

The only way to produce solid, uniform work 
is by making every suceeding coat fighter in 
tint than the one which preceded it. This is es- 
pecially the case with walls and other extended 
flat surfaces. No matter what the finish is to 
be, the first coat should always be darker than 
the one which succeeds it; and the darker the 
shade of the finishing coat, the more important 
it is that this rule should be observed. Tf the 
work is to be finished with black, prime with 
black. If with green, let that be the color 
of all the preceding coats. If with blue, 
let that color be the groundwork. What can 
be more stupid than applying to work which is 
to be finished in imitation of black walnut a 
priming coat of white? All work should be 
primed especially with regard to the finishing 
color. 

The exact proportions of ingredients best to 
be used in mixing paints vary according to 
their quality, the nature of the work required, 
the climate, and other considerations. The 
composition of paints for different coats also 
varies considerably. The proportions given in 
the table on page 358 must only be taken as an 
approximate guide when the materials are of 
good quality. 

Proportions of Colors for Ordinary Paints. 





Ingredients by weight 




Colors 


100 


o 

tf 

p- 

a 

1-3 


tf 
_© 

03 

tf 




O 

o 

tf 


> 


o 
£> 

■ a 

3 

a 

s 
tf 


O 
u 

M 

09 

'3 
tf 

GO 


White 




Black 


100 
2 


50 










Green 


25 

99 

98 


50 


75 






Red 


1 


.... 


Chocolate 




4 






m 










1 







Paints. 



358 



Paints. 



Table showing the Composition of the Different Coats of White Paint and the Quantities required to 
Cover One Hundred Yards of Newly Worked Pine. 





0) 

© 


© 
© 


o 


-co 

"S © 


© 

© 

rv 

U 

H 


1M 

© 


Kemarks. 


Inside work, 
four coats not flatted. 

Priming 1 


lb. 


lb. 

16 
15 
13 

13 

16 
12 
12 

12 
9 

18^ 

15 

15 

15 


pt. 
6 

%Yz 
%Yz 

6 
4 
4 
4 


2 
2 
2 
3 






lb. 

M 

Y± 

Yi 

1-8 

1-10 

1-10 

1-10 

1-10 

1-8 
1-10 
1-10 
1-10 


Sometimes more red lead is 


Second coat 


2 
2 

2 
2^ 


3^ 

V4 

Yz 
Wz 



Wz 

y* 

Yz 



used and less drier. 


Third coat 


* Sometimes just enough red 


Fourth coat 




lead is used to give a flesh-colored 


Inside work, 
four coats and flatting. 

Pi'iming* 


V/o 


tint. 


Second coat 




Third coat 






Fourth coat 

Outside work, 
four coats not flatted. 


2 


When the finished color is not 
to be pure white, it is better to 
have nearly all the oil boiled oil. 
All boiled oil does not work well 


Second coat 


For pure white, a larger propor- 
tion of raw oil is necessary, be- 
cause boiled oil is too dark. 


Third coat 




Fourth coat 











For every 100 sq. yd. besides the materials 
snumerated in the foregoing, 2)4, lb. white lead 
and 5 lb. putty will be required for stopping-. 
The area which a given quantity of paint will 
cover depends upon the nature of the surface 
to which it is applied, the proportion of the in- 
gredients, and the state of the weather. When 
the work is required to dry quickly, more tur- 
pentine is added to all the coats. In repainting 
old work, two coats are generally required, the 
old paint being considered as priming. Some- 
times another coat may be deemed necessary. 
For outside old work exposed to the sun, both 
coats should contain 1 pt. turpentine and 4 pt. 
boiled oil, the remaining ingredients being as 
stated in the foregoing table. The extra tur- 
pentine is used to prevent blistering. 

There is not half enough of dark colors used 
in priming applications. Venetian red, finely 
ground in boiled oil, deeply stained with black 
—and used very thin, in order to stain the wood 
as much as possible— is the best first coat for 
work which is to be finished in imitation of 
black walnut or other dark wood. The suc- 
ceeding coats should be as dark as may be with 
a view to the proper shade of groundwork for 
the graining. In such case, if (as must happen 
in the ordinary course of events) the work be- 
comes bruised or chipped— by an accidental 
knock from a chair leg or other article of house 
furniture— the general appearance of it is little 
impaired thereby. Quite the contrary, how- 
ever, is the case if the underneath coats are 
white. Then an accident of the kind before 
mentioned, shows a white spot, which staringly 
proclaims the work to be a delusion and a sham. 
Dark colors, too, as the Venetian red before 
mentioned, make better foundations than 
white lead or zinc. They dry harder and rub 
better, and, what is most important, cost less. 

This matter having been duly considered, let 
us now proceed to the coats succeeding the 
first. Before applying a second coat, the first 
should be carefully rubbed, and all the nail 
heads and other indentations carefully stopped 
with pure linseed oil putty— using for flat sur- 
faces a square bladed putty knife. Puttying 



with the fingers should never be tolerated (good 
work is now the subject under consideration). 
This done, the whole should be carefully exam- 
ined to ascertain if the oil in the former coat 
shall have revealed any resinous or pitchy 
spots, not previously covered with the shellac. 
These preliminaries being attended to, the work 
may be considered ready for a second coat. 
The directions as to rubbing with sandpaper 
are to be observed in all the succeeding coats- 
As a rule, on interior work, paint should 
never be applied to a surface which has not 
been previously rubbed. 

Every painter has seen (the result, too, of un- 
pardonable negligence) plates of glass so cov- 
ered with spatters that to remove them would 
require more time than would serve to paint 
the woodwork of a full trimmed window. 

In priming work which is to be finished in 
oak, finely ground French ocher is recom- 
mended. The objection to this pigment, that it 
does not work smoothly and easily under the 
brush, has arisen from its coarseness. Finely 
ground in boiled oil, it works as smoothly 
as white lead, and makes an excellent foun- 
dation for the succeeding coats. 

For walls the first coat should be as dark in 
shade and as thin as practicable, the object be- 
ing to stain the plaster as much as possible. 
Indeed, if the whole mass of plaster could be 
stained through and through, it would be de- 
sirable to so stain it. 

The use of glue in wall painting is of doubt- 
ful propriety. It should never, under any cir- 
cumstance, be put on until after the second 
coat, and then rubbed on with a rag, very 
lightly. In first class work, however, its use is 
not recommended. 

Plaster mixed with weak glue size— which 
prevents its setting too rapidly — is the best 
material. for stopping walls preparatory to 
painting, and each coat of paint should be 
carefully rubbed with worn sandpaper, before 
the succeeding coat is put on. For preparing* 
walls a small pocket trowel will be found a 
most serviceable tool, or a trowel shaped putty 
knife, which article has come into general use. 



Paints. 



359 



Paints. 



The preparation of ceilings for whitewash- 
ing (or kalsomining as this operation is some- 
times pretentiously called) is an operation 
requiring some skill and knowledge of 
how to do it. A dirty ceiling, which has 
been subjected to successive coats of white- 
wash, whether of lime, or of whiting and 
glue size, cannot be made solidly and 
smoothly white by additional whitewash- 
ing. The mass has become spongy, and sucks 
up the water so quickly that the material can- 
not be evenly distributed. In such case the 
only way is to begin anew, to go at once down 
to hard pan by removing all the previous appli- 
cations by washing and scraping. This is best 
effected with a broad bladed, square pointed 
putty knife, keeping the ceiling wet meanwhile. 
Plaster (hard finish) is not of uniform density, 
and some spots are much more absorbent than 
others. To remedy this a mixture of soft soap 
and alum, dissolved in water, should be applied 
with a broad kalsomine brush. 

It is not assumed that mere verbal instruc- 
tions can teach the art of whitening or tinting 
walls and ceilings in water colors. To produce 
good results, great skill in preparing the ma- 
terials and dexterity in manipulation are re- 
quired; and such work should be intrusted only 
to competent hands. Amass of unsuitable ma- 
terial may be cheaply put upon a ceiling, but 
when the same shall require repainting, the 
cost of labor will be greater in removing the 
previous coating than will be the whole cost 
of repainting. These remarks, too, apply 
equally to all kinds of painting; and reference 
is made to the whitening and tinting of ceil- 
ings only, because of the general impression 
that this kind of work may be performed by 
anybody. The materials and tools used in 
painting are too costly to be wasted and worn 
by incompetent handling. 

Taste in Color. — In rooms to be lived in, sim- 
ple white for color of walls and paint, as well 
as any extremely dark treatment, should 
be avoided. The walls of rooms should 
be such backgrounds as will best suit the 
complexions and dresses of the larger num- 
ber of people. Delicate white intensifies by 
contrast any unpleasantness or want of per- 
fection; extreme dark would make people 
look white and ghastly. Neutral colors will 
be found the best— generally some gray or 
cool color that will contrast with warmth 
of complexions. On no account let an 
absolutely pure color be used for general sur- 
faces. Nature provides no such color in pig- 
ments. Her yellows are greenish or reddish, 
and so on. Nor does she use it to any extent in 
inanimate nature. So much so that you will 
find that if you have much difficulty in describ- 
ing a color, you may be certain it is good; the 
more difficulty the more beauty. Nature trusts 
mainly to gradations of tone, using vivid color 
in small quantities only, as in the touches on 
bright flowers and butterflies. This teaching 
of nature will be found seconded in the pic- 
tures of the greatest artists, and in following- 
such teaching, it is necessary to consider the 
object to which (in domestic work, say) the 
rooms are to be devoted. A drawing room, it 
is agreed, should be light, festive and gay; din- 
ing room at once more sober, and with more 
depth and warmth, as befits its uses. You 
must also consider the light and shade; open- 
ings, and the positions of them; for these may 
(or may not) effect for you contrast of tone, 
and may even touch the question of the good 
sense of your whole scheme of decoration. 

Anti-Corrosive Paint.— Take equal parts by 
weight of whiting and white lead, with half the 
quantity of fine sand, gravel, or road dust, and 
a sufficient quantity of coloring matter. This 
mixture is made in water and can be used as a 
water color ; but it is more durable to dry it in 
cakes or powder after mixing, and then use it 
as an oil paint by grinding it again in linseed 
oil. The preparation of oil recommended for 



this purpose is 12 parts by weight of linseed oil; 
1 part boiled linseed oil, and 3 parts sulphate 
of lime, well mixed, 1 gal. of this prepared oil 
is used to 7 lb. of the powder. 

Backgrounds, Paint for. — Mix common oil 
paint with a strong, hot solution of soap. When 
applied to the background as ordinary paint, 
it dries with a dull surf ace and is said not to 
crack. 

Bird Cages, to Paint.— Paint with zinc. Do 
not use lead. The zinc can be given any de- 
sired tint. It is then coated with light polish- 
ing copal varnish, after which it is baked or 
heated at from 100° to 150° F. The varnish 
known in the trade as extra light polishing- 
varnish is used by several of the prominent 
bird cage makers. 

Blackboards, Paint or Slating for.—l. Paint 
the board with ordinary black paint such as 
will dry with a gloss ; then apply a coat of black 
paint, mixed with turps instead of oil, which 
will dry a dead black. 

2. Take ^ lb. logwood and sufficient boiling 
water to cover it ; allow it to stand for twenty- 
four hours. Strain, and apply the solution, 
boiling, if possible, twice, allowing the board to 
dry in the interval. Then dissolve J4 lb. of 
copperas in about 1 pt. of boiling water, and 
apply it boiling, once or twice, according to 
the degree of blackness obtained. Before using 
it, rub it over well with rushes, straw, ferns, 
or shoemakers' heel ball. It may be a little 
difficult to rub the chalk off at first, but after 
a fortnight's use that will disappear. Use un- 
prepared chalk, which writes well. 

3. Place J4 lb. of lampblack on a flat piece of 
tin or iron on a fire till it becomes red, take it 
off and leave it until sufficiently cool, when it 
must be crushed with the blade of a knife on a 
flat board quite fine ; then get % pt. of spirits 
of turpentine, mix both together, and apply 
the mixture with a size brush. If the board 
is new, it would be well to give it one or two 
coats of lampblack — not burnt, but mixed with 
boiled oil— adding ^ lb. of patent driers. After 
the board is thoroughly dried, apply the burnt 
lampblack and turpentine. The preparation 
must be laid on quickly. 

4. Dissolve 4 oz. shellac in 1 qt. alcohol; add 
lampblack, 6 drm.; ultramarine blue, 1 drm.; 
pumice stone, powdered, 3 oz.; rotten stone, 
powdered, 2 oz. Have the board dry and free 
from grease. 

Sodium silicate, diluted with water, and col- 
ored with lampblack, suspended in a little of 
the silicate, makes an excellent slating. 

5. Lampblack and flour of emery mixed with 
spirit varnish. No more lampblack and flour 
of emery should be used than are sufficient to 
give the required abrading surface. The thin- 
ner the mixture the better. Lampblack should 
be first ground with a small quantity of spirit 
varnish or alcohol to free it from lumps. The 
composition should be applied to the smoothly 
planed surface of a board with a common paint 
brush. Let it become thoroughly hard and dry 
before it is used. Hub it down with pumice if 
too rough. 

6. Blackboard wash, or liquid slating.— Five 
pt. 95% alcohol, 8 oz. shellac, 12 drm. lamp- 
black, 20 drm. ultramarine blue, 4 oz. powdered 
rotten stone, 6 oz. powdered pumice. 

7. One gal. 9r>% alcohol, 1 lb. shellac, 8 oz. best 
ivory black, 5 oz. finest flour emery, 4 oz. ultra- 
marine blue. Make a perfect solution of the 
shellac in the alcohol before adding the other 
articles. To apply the slating, have the surface 
smooth and perfectly free from grease; well 
shake the bottle containing the preparation, 
and pour out a small quantity only into a dish, 
and apply it with a new flat varnish brush as 
rapidly as possible. Keep the bottle well 
corked, and shake it up each time before pour- 
ing out the liquid. 

8. Half gal. shellac varnish, 5 oz. lampblack, 3 
oz. powdered iron ore or emery ; if too thick, 
thin with alcohol. G ive 3 coats of the composi- 



Paints. 



360 



Paints. 



tion, allowing each to dry before putting on 
the next ; the first may be of shellac and lamp- 
black alone. 

9. To make 1 gal. of the paint for a black- 
board, take 10 oz. pulverized and sifted pumice, 
6 oz. powdered rottenstone (infusorial silica), M 
lb. good lampblack, and alcohol enough to form 
with these a thick paste, which must be well 
rubbed and ground together. Then dissolve 14 
oz. shellac in the remainder of the gal. of alco- 
hol by digestion and agitation, and finally mix 
i his varnish and the paste together. It is ap- 
plied to the board with a brush, care being 
taken to keep the paint well stirred, so that the 
pumice will not settle. Two coats are usually 
necessary. The first should be allowed to dry 
thoroughly before the second is put on, the 
latter being applied so as not to disturb or rub 
off any portion of the first. One gal. of this 
paint will ordinarily furnish 2 coats for 60 sq. 
yd. of blackboard. When the paint is to be 
put on plastered walls, the wall should be pre- 
viously coated with glue size— 1 lb. glue, 1 gal. 
water, enough lampblack to color ; put on hot. 

10. Instead of the alcohol mentioned in 7, take 
a solution of borax in water ; dissolve the shel- 
lac in this and color with lampblack. 

11. Dilute soda silicate (water glass) with an 
equal bulk of water, and add sufficient lamp- 
black to color it. The lampblack should be 
ground with water and a little of the silicate 
before being added to the rest of the liquid. 

Cheap Glossy Black Paint.— Gum amber, 16 oz.; 
melt in boiling linseed oil, H pint ; add genuine 
asphaltum and resin, each 3 oz. Mix thoroughly 
over a fire, remove to open air and graduaUy 
add 1 pt. of oil of turpentine slightly warmed. 

Boilers, Paint for.— 1. Use asphaltum varnish. 
There is little or no odor from it when dry. 

2. Coal tar and ground graphite thinned with 
turpentine make an excellent paint for boiler 
fronts and pipes in boiler room. The steam 
pipes for heating should not be painted, or if 
required, should only have a very thin coat of 
lampblack and linseed oil. Tin is unfit for 
roofs of boiler houses. Slate is best. You can 
make a temporary covering on the tin roof 
with asphalt and gravel. This will not save the 
tin, which will soon give out entirely. The 
cheapest way out of your trouble is to take off 
the tin and slate the roof. 

3. Rub it over with a mixture of boiled oil 
and lampblack. From the latter the grease 
should be taken before mixing by placing it in 
a flower pot, the top and bottom sealed with 
clay and subjected to a good heat. 

Branding Paint (Red).— Take of shellac, 2 oz.; 
borax, 2 oz.: water, 25 oz.; gum arabic, 2 oz. 
Boil the borax and shellac in water until they 
are dissolved, add the gum arabic and withdraw 
from the fire. When the solution has become 
cold, complete 25 oz.with water and add Vene- 
tian red enough to bring it to a suitable con- 
sistence and color. 

Bronze Paint for Plaster.— Boil 31b. pure lin- 
seed oil with 12 oz. finely powdered litharge; 
strain through a coarse canvas cloth and allow 
to stand until clear; 15 oz. of this soap varnish 
mixed with 12 oz. metallic soap powder made 
as follows : To a solution of soda soap in linseed 
oil, cleared by straining, add a mixture of 4 pt. 
* sulphate of copper solution and 1 pt. sulphate 
of iron solution, which precipitates a metallic 
soap of a peculiar bronze hue; wash with cold 
water, strain and dry to powder) and 5 oz. fine 
white wax are to be melted together at a gentle 
heat in a porcelain basin by means of a water 
bath and allowed to remain for a time in a 
melted state to expel any moisture that it may 
contain. It is then applied with a brush to the 
surface of the plaster, previously heated to 200° 
F., being careful to lay it on smoothly and with- 
out filling up any small indentations of the 
plaster design. Place it for a few days in a 
cool place and as soon as the smell of the soap 
varnish has gone off rub the surface over with 
cotton wool or fine linen rag, and variegated 



with a few streaks of metal powder or shell 
gold. Small objects may be dipped in the melt- 
ed mixture and exposed to the heat of a fire 
till thoroughly penetrated and evenly coated 
with it. 

Bronze Paint, for Iron or Brass.— Chrome 
green, 2 lb.; ivory black, 1 oz.; chrome yellow, 
1 oz.; good japan, 1 gill; grind all together and 
mix with linseed oil. 

Antique Bronze.— Sal ammoniac, 2 oz.; cream 
tartar, 6 oz.; common salt, 12 oz.; dissolve in 2 
pt. hot water, then add 4 oz. nitrate of copper 
dissolved in 1 pt. of water, mix well and apply 
with a brush several times to the article in a 
damp situation. 

Cheap Paint. — Three hundred parts washed 
and sieved white sand, 40 parts precipitated 
chalk, 50 parts rosin and 4 parts linseed oil are 
mixed and boiled in an iron kettle, and then 1 
part oxide copper and 1 part sulphuric acid are 
added. This mass is supplied with an ordinary 
paint brush while warm. If it is too thick it is 
diluted with linseed oil. This paint dries very 
rapidly, and gets very hard, but protects wood 
work excellently.— Corps. Qras. Ind. 

Contrast Colors, for Painting Machinery.— 
Deep blue and golden brown. Black and warm 
brown. Chocalate and light blue. Maroon and 
warm green. Deep red and gray. 

Copper Paint.— Precipate metallic copper out 
of any solution of a copper salt by introducing 
scrap iron into the liquid. Then mix the pre- 
cipitated copper with linseed oil or varnish. 

Paint, to Destroy.— Mix 1 part by weight of 
American pearlash with 3 parts quick stone 
lime by slaking the lime in water, and then ad- 
ding the pearlash, making the mixture about 
the consistence of paint. Lay the above over 
the whole of the work required to be cleaned, 
with an old brush ; let it remain fourteen or 
sixteen hours, when the paint can be easily 
scraped off. 

Distemper for Photographic Backgrounds.— 
Take whiting-, iy 2 to 2 lb.; lampblack, 3 oz.; 
damp blue, 4 oz.; glue, 1)4, oz. Dissolve the 
whiting in 2 qt. water, add nearly all the blue, 
then add the black, gradually drying after each 
addition by dipping in it a piece of paper and 
drying at the fire till you get the exact color 
inquired. Then having dissolved the glue in 
warm water, pour it in; to keep the color from 
falling off, mix thoroughly together and strain 
through canvas. 

Driers for Paints. See Driers. 

Economical Paint.— Skim milk, 2 qt.; fresh 
slaked lime, 8 oz.; linseed oil, 6 oz.; white Bur- 
gundy pitch, 2 oz.; Spanish white, 3 lb. The 
lime to be slaked in water, exposed to the air, 
and mixed in one-fourth the milk. Dissolve the 
pitch in the oil and add a little at a time. Then 
add the rest of the milk and the Spanish white. 

Flexible Paints for Oil Cloths.— 1. Size with hot 
soap and alum solutions, used alternately, dry 
and enamel with colors ground fine in oil with 
plenty of driers and a little turpentine. Finish 
with a thin copal varnish if high gloss is desired. 
Harden by drying at about 200° F. 

2. The following retains sufficient flexibility 
to enable the sheet to be rolled : 

Soft soap 2 oz. 

Boiling water 12 oz. 

Dissolve and work well into usual oil paint, 
6 lb. 

Coloring Floor Borders.— Use fine umber 
mixed with oil and a little turpentine. 

Glass, Transparent Paint .for.— Take for blue 
pigment, Prussian blue; for red, crimson lake; 
for yellow, Indian yellow; and for other shades, 
a mixture of the appropriate primary colors. 
Rub them in a size made as follows: Venice 
turpentine, 2 parts; spirits of turpentine, 1 part, 
and apply with a brush. The colors are moder- 
ately fast unless exposed too long to direct sun- 
light. A solution of the various aniline dyes in 
shellac varnish has also been recommended. 

Gold Paint.— Do not mix the gold size and 



. 



Paints. 



361 Paints. 



powder together, but go over the article to be 
gilded with the size alone, giving an even and 
moderate coating. Let it dry, which will not 
take long, till it is just sticky, or, as gilders call 
it, tacky. Then over a sheet of smooth writing 
paper dust on the dry gold powder by means of 
a stout, soft, sable brush. 

Grease Spots to Kill.— Before paintiug, wash 
the part with saltpeter, or very thin lime white- 
wash. If soap suds are used, they must be 
washed off thoroughly, as they prevent the 
paint from drying hard. 

Iron, Paints f or.— 1. A good cheap black paint 
or varnish for iron work is prepared as follows : 
Clear (solid) wood tar, 10 lb.; lampblack, or 
mineral black, 1M lb,; oil of turpentine, 5^ qt. 
The tar is first heated in a large iron pot to 
boiling, or nearly so, and the heat is continued 
for about'4 hours. The pot is then removed from 
fire out of doors, and while still warm, not hot, 
the turpentine mixedwith the black is stirred in. 
If the varnish is too thick to dry quickly, add 
more turpentine. Benzine can be used instead 
of turpentine, but the results are not so good. 
Asphaltum is preferable to the cheap tar. 

2. Iron Paint.— The Photographisclies Wochen- 
blatt mentions that Spangenberger has a paint 
composed of pulverized iron and linseed oil 
varnish. It is intended for painting damp 
walls, kettles, outer walls, or any place or ves- 
sel exposed to the action of the open, air and 
weather. Should the article be exposed to fre- 
quent changes of temperature, linseed oil 
varnish and amber varnish should be mixed 
with the paint intended for the first 2 coats, 
without the addition of any artificial drying- 
medium. The first coat should be applied 
rather thin, the second a little thicker, and the 
last in a rather fluid state. It is not necessary 
to free iron from rust, grease, etc., by means 
of acid before applying the paint, as a super- 
ficial cleaning is sufficient. The paint is equal- 
ly adapted as a weather-proof coating for iron, 
wood and stone. 

Lime Paints.— 1. For deal floors, wood, stone 
and brick work. Dissolve 15 dr. good glue by 
boiling with thickish milk of lime which con- 
tains 1 lb. caustic lime. Then add linseed oil, 
just sufficient to form a soap with the lime. 
This mixture can be used for making up any 
color which is not altered by lime. A solution 
of shellac in borax can be added for brown red 
or brown yellow colors, and is very suitable in 
painting deal floors. "With a coating of varnish 
or lake, the substances thus painted assume a 
fine luster. They can be polished with linseed 
oil or turpentine. 

2. A lime paint which will bear washing : 
Three parts flint, 3 parts marble fragments and 
sandstone, 2 parts calcined white china clay, 
and 2 parts slaked lime, all in powder, furnish a 
paint to which chosen colors that may be em- 
ployed with lime are added. This paint, by re- 
peated applications, becomes as hard as stone, 
without losing porosity. 

Luminous Paints and Colors.— The luminous 
•calcic sulphide (also called sulphide of calcium), 
now obtainable in the market, has a yellowish 
white tint, which considerably limits its direct 
application as a paint. On the other hand, the 
calcic sulphide, or the luminous paint obtained 
therefrom, loses its luminous property, if it is 
directly mixed with the ordinary commercial 
paints. An invention patented by Gustav 
Schatte, of Dresden, has for its object to pro- 
duce durable white or colored paints, contain- 
ing a luminous substance, which causes them to 
shine in the dark, without changing or neu- 
tralizing in daylight the tint of the coloring 
substance or substances contained in such 
paints. 

Zanzibar or Kauri copal is melted over a char- 
coal fire. Fifteen parts of the melt are dis- 
solved in 60 parts of French oil of turpentine 
and the filtered solution is mixed with 25 parts, 
previously heated and cooled, pui-e linseed 
oil. The varnish which is thus obtained is 



used in the following methods, in the manu- 
facture of luminous paints, by grinding be- 
tween granite rolls in a paint mill. Iron rolls 
should be avoided, because particles of iron, 
which are liable to be detached, would injure 
the luminous propeities. 

Varnishes, as they occur in commerce, gen- 
erally contain lead or manganese, which would 
destroy the phosphorescence of calcium sul- 
phide. 

1. A pure white luminous paint is prepared 
by mixing 40 parts of the varnish, obtained in 
the above described process, with 6 parts pre- 
pared barium sulphate, 6 parts prepared cal- 
cium carbonate, 12 parts prepared white zinc 
sulphide, and 36 parts good luminous calcium 
sulphide, in a proper vessel to an emulsion, and 
then grinding it very fine in a color mill. 

2. For red luminous paint, 60 parts varnish 
are mixed with 8 parts prepared barium sul- 
phate, 2 parts prepared madder lake, 6 parts 
prepared realgar (red arsenic sulphide) and 
30 parts luminous calcium sulphide, and treat- 
ed the same as for white paint. 

3. For orange luminous paint, 46 parts var- 
nish are mixed with 1T'5 parts prepared barium 
sulphate, 1 part prepared Indian yellow, 1*5 
parts prepared madder lake and 38 parts lumin- 
ous calcium sulphide. 

4. For yellow luminous paint, 48 parts var- 
nish are mixed with 10 parts prepared barium 
sulphate, 8 parts barium chromate and 34 parts 
luminous calcium sulphide. 

5. For green luminous paint, 48 parts varnish 
are mixed with ten parts prepared barium 
sulphate, 8 parts chromium oxide green, and 
34 parts luminous calcium sulphide. 

6. A blue luminious paint is prepared from 42 
parts varnish, 10"2 parts prepared barium sul- 
phate, 6 - 4 parts ultramarine blue, 5'4 parts co- 
balt blue and 46 parts luminous calcium sul- 
phide. 

7. A violet luminous paint is made from 42 
parts varnish, 10*2 parts prepared barium sul- 
phate, 2*8 parts ultramarine violet, 9 parts co- 
baltous arsenate and 36 parts luminous calcium 
sulphide. 

8. For gray luminous paint, 45 parts of the 
varnish are mixed with 6 parts prepared bar- 
ium sulphate, 6 parts prepared calcium carbon- 
ate, 0*5 part ultramarine blue, 6*5 parts gray 
zinc sulphide. 

9. A yellowish brown luminous paint is ob- 
tained from 48 parts varnish, 10 parts precipi- 
tated barium sulphate, 8 parts auri pigment 
and 34 parts luminous calcium sulphide. 

10. Luminous colors for artists' use are pre- 
pared by using pure East India poppy oil, in 
the same quantity, instead of the varnish, and 
taking particular pains to grind the materials 
as fine as possible. 

11. For luminous oil color paints, equal quan- 
tities of pure linseed oil are used in the place 
of the varnish. The linseed oil must be 
cold pressed and thickened by heat. All the 
above luminous paints can be used in the man- 
ufacture of colored papers,*,etc, if the var- 
nish is altogether omitted, and the di'y mix- 
tures are ground to a paste with water. 

12. The luminous paints can also be used as 
wax colors for painting on glass and similar 
objects, by adding, instead of the varnish, 10# 
more of Japanese wax and }4 the quantity of 
the latter of olive oil. The wax colors pre- 
pared in this way may also be used for painting 
upon porcelain, and are then carefully burned 
without access of air. Paintings of this kind 
can also be treated with water glass. The 
latest use made of luminous paints in England 
is the painting of harness, which is said to 
produce quite surprising effects in nocturnal 
driving.— Ztschr. Oest. Ap. Ver. 

14. Boil together for an hour 2J4 oz. caustic 
lime, recently prepared by calcining clean white 
shells at a strong red heat, with 1 oz. flowers of 
sulphur and 1 qt. of soft water. Set aside in a 
covered vessel for a few days, then pour off the 



Paints. 



362 



Paints. 



liquid, collect the clear orange colored crystals 
which have been deposited, and let them drain 
and dry on bibulous paper. Place the dried 
sulphide in a clear block lead crucible provided 
with cover. Heat tor half an hour at a temper- 
ature just short of redness, then quickly for 
about fifteen minutes at a white heat. Remove 
cover and pack in. clay until cold. The addition 
of a small quantity of pure calcium fluoride to 
the sulphide before heating- it is made. It may 
be mixed with alcoholic copal varnish. 

15. Luminous or Phosphorescent Paint for 
Clock Dials and Other Surfaces.— Heat stron- 
tium thiosulphate for fifteen minutes over a 
good Bunsen gas lamp, and then for five min- 
utes over a blast lamp. 

16. Heat equal parts strontium carbonate 
and lac sulphuris gently for five minutes, then 
strongly for twenty-five minutes over a Bun- 
sen lamp ; then, finally, over a blast lamp for 
five minutes. 

17. Precipitate strong aqueous solution of 
strontium chloride by means of sulphuric acid ; 
dry the precipitate, and heat it to redness for 
some time in a current of hydrogen ; then over 
a Bunsen lamp for ten minutes, and for twenty 
minutes over a blast lamp. Mix any of these 
with pure melted. paraffin for use as a paint, 
and expose for a time to sunlight. The two 
former yield a greenish phosphorescence in the 
dark, the latter a bluish light. 

Marine Paint.— ¥ov metals in salt water, red 
lead, 44 parts ; quicksilver, 24 parts ; thick tur- 
pentine, 5f parts. Mix to proper consistency 
with boiied linseed oil: Grind or rub the thick 
turpentine and quicksilver together until thor- 
oughly amalgamated. Then grind this mixture 
with the red lead and more boiled oil. Use as 
little oil as is necessary to make the paint lay 
on well. A coat of oxide of iron paint may be 
used first to make the marine paint adhere 
firmly. 

Metals, to Paint,— Paint frequently peels off 
when exposed to the weather. If the metal is 
slightly corroded by a solution of copper sul- 
phate slightly acidulated with nitric acid. 
After standing an hour or so, wash, dry and 
paint. 

Proof against Hot Water.— Clean the metal 
with turpentine or benzine. Put on two coats 
of a mixture of white lead, spirits of turpen- 
tine and carriage varnish. Follow immediately 
with a thick coat of carriage varnish and white 
lead 

Paints* Mixing. — In mixing paints, observe 
that for outdoor work you must use princi- 
pally or wholly boiled oil, unless it be for the 
decorative part of houses, etc.; then mix as for 
indoor work. For indoor work use linseed oil, 
turpentine and a little drier, observing that 
the less oil the less will be the gloss, and that 
for flatted white, etc., the color being ground 
in oil, will scarcely require any further addi- 
tion of that article, as the object is to have it 
dull. The best driers are ground litharge and 
sugar of lead ; the former for dark and middle 
tints, and the latter for light ones. 

Paint, Mixing Oil Colors.— In mixing differ- 
ent colored paints to produce any desired tint, 
it is best to have the principal ingredient thick, 
and add to it the other paints thinner. In the 
following list of the combinations of colors re- 
quired to produce a required tint, the first 
named color is the principal ingredient, and 
the others follow in the order of their import- 
ance. Thus, in mixing a limestone tint, white 
is the principal ingredient and red the color of 
which least is needed, etc., the exact propor- 
tions of each depending on the shade of color 
required. 

List of compound colors, showing the simple 
colors which produce them : 

Buff— White, yellow ocher, red. 

Chestnut— Ked, black, yellow. 

Chocolate— Raw umber, red, black. 

Clarefr^Tied, umber, black. 

Copper— Red, yellow, black. 



Dove— White, vermilion, blue, yellow. 

Drab— White, yellow ocher, red, black. 

Fawn— White, yellow, red. 

Flesh— White, yellow ocher, vermilion. 

Freestone— Red, black, yellow ocher, white. 

French Gray— White, Prussian blue, lake. 

Gray— White lead, black. 

Gold— White, stone ocher, red. 

Green Bronze— Chrome, green, black, yellow. 

Green Pea— White, chrome green. 

Lemon— White, chrome yellow. 

Limestone— White, yellow ocher, black, red. 

Olive— Yellow, blue, black, white. 

Orange— Yellow, red. 

Peach— White, vermilion. 

Pearl— White, black, blue. 

Pink— White, vermilion, lake. 

Purple— Violet, with more red and white. 

Rose — White, madder lake. 

Sandstone— White, yellow ocher, black, red. 

Snuff— Yellow, Vandyke brown. 

Violet— Red, blue, white. 

Durable Paint for Outdoor Work.— Grind pow- 
dered charcoal in linseed oil, with sufficient 
litharge as a drier. Thin for use with boiled 
linseed oil. 

Pottery Paints.— Paints for pottery are di- 
vided into: 1. Underglaze, gioss oven colors or 
couieurs de grand feu, a*s they are usually 
labeled. 

2. Hard kiln, for medium heat, or couieurs 
de demigrand feu. 

3 Regular kiln or couieurs de mouffle or- 
dinaire. The Lacroix colors are recommended 
by Janvier. 

To make paint stick to bright metal tin roofs, 
sand paper the metal. 

Rubber Paint.— (Matthews.) An extremely 
endurable paint may be made by first macerat- 
ing rubber in any of the solvents until of a 
pasty consistency, next dissolving it in linseed 
oil heated until the solvent is evaporated, and 
then mixing in by grinding a proportionate 
quantity of graphite. 

Silicate Paints.— I. When the surface to be 
painted is of a mineral nature, such as the 
exterior of a house, the pigments may be 
mixed with a vehicle consisting chiefly of 
water glass, or soda, or potash silicate. This 
method of painting requires some care, and a 
knowledge of the chemical nature of the pig- 
ments used. Some colors arc completely de- 
stroyed by the alkali contained in the water 
glass.. Among those pigments which are not 
altered by the alkali may be mentioned lime 
carbonate, baryta white, zinc white, cadmium 
yellow, Naples yellow, baryta chromate, 
chrome red, red ultramarine, blue ultrama- 
rine, cobalt blue, cobalt green, chrome green,, 
ivory black. When a wail is to be painted, it 
should first be prepared with a mortar com- 
posed of pure fat lime and clean sharp sand. 
The water used should also be free from saline 
impurities, as these might subsequently efflo- 
resce and destroy the surface of the paint. 
When the surface of this plaster is dry, a weak 
solution of water glass should be applied, and 
the operation repeated several times. 

2. Dilute silicate of soda solution until it 
works well with the brush, and add dry color- 
ing matter, such as will not be decomposed by 
the chemical. Ochers, Venetian red, smalts, 
umbers and siennas may be employed. 

Skins, Paint, to Remove.— To V\ lb. of sal soda, 
add y± gal. of rain water. The skins on the top 
of the paint can be made to be of use again 
by covering them with this mixture, and allow- 
ing them to soak about six days. Those who 
are doing a heavy business in paints can save 
many dollars by this easy process. Oil should 
be added to reduce the mixture to a proper 
consistence for use. 

Smell of Paint, to Remove.— L Place a vessel 
of lighted charcoal in the room, and thrown on 
it 2 or 3 handfuis of juniper berries; shut the 
windows, the chimney, and the door close; 
twenty-four hours afterward the room may 



Paints. 



303 



Paper. 



be opened, when it will be found that the sickly, 
unwholesome smell will be entirely gone. 

2. Plunge a handful of hay into a pail of 
water, and let it stand in the room newly 
painted. 

Stacks, Paint for.— I. Dissolve asphaltum in 
turpentine with the application of a gentle 
heat. Use when cold. Apply with a brush. 

2. Paint the stack with thin coal tar mixed 
with finely ground plumbago. Make of the 
consistency of ordinary paint. 

Stencil Paints.— Take shellac, 2 oz.; borax, 2 
oz.; water, 25 oz.; gum arabic, 2 oz.; lampblack, 
a sufficiency. Boil the borax and shellac in 
water till they are dissolved, and withdraw 
from the fire. When the solution has become 
cold, complete 25 oz. with water, and add lamp- 
black enough to bring the preparation to a 
suitable consistence. When it is to be used 
with a stencil, it must be made thicker than 
when it is to be applied with a marking brush. 
The above gives a black ink; for red, substitute 
"Venetian red for lampblack; for blue, ultra- 
marine; and for green, a mixture of ultra- 
marine and chrome yellow. 

Stoves, Sample, Paint for.— Paint the stove 
with paint made of powdered black lead and 
linseed oil, and polish in the ordinary way when 
dry. It may be left out in all kinds of weather 
without injury to the polish. 

Transparent Paints.— It in a position to coat 
the glass before putting in frame, excellent ef- 
fects may be got by using ordinary shellac 
varnish, made with bleached shellac, tinted 
with aniline dye. The glass must be slightly 
warmed before applying the varnish. Ninety 
per cent, alcohol should be used for dis- 
solving the shellac and the powdered, not 
liquid, aniline colors. Sufficient of the color 
must be added to the varnish to give the re- 
quired tint. One part of shellac to 8 parts of 
spirit is a good proportion. Methylated spirit 
will do. The varnish shouid be poured on and 
placed evenly over the glass, not painted on, 
and the superfluous quantity returned to the 
Dottle. 

Tungsten Paints.— The mineral colors from 
tungsten are obtained by decomposing soluble 
tungstates by means of salts of the metals 
yielding insoluble phosphates. The tungstate 
of nickel produces a light green, tungstate of 
chromium a dark gray, tungstate of cobalt a 
violet or indigo blue, and tungstate of barium 
a bright white color. Tungstic acid alone gives 
a fine light greenish yellow. All these colors 
may be employed for water or oil color paints; 
the last is a really desirable and probably quite 
unchangeable color. 

Vehicle for Color.— One oz. of borax, 2 oz. of 
shellac, 1 pt. of water. Boil a few minutes, stir 
with a piece of wood; or 1 oz. of liquid ammo- 
nia, 2 oz. shellac, 1 pt. of water. Add more or 
less shellac, as may be required. 

Vessels^ Paint for, Submarine Works, etc.— 
Concentrated solution of 160 lb. potash; grape 
sugar, 80 lb.; add a solution of 320 lb. sulphate 
of copper. When this solution is heated a pre- 
cipitate of hydrated oxide of copper is formed; 
this is filtered, carefully dried, and mixed with 
634 lb. 75$ carbolic acid. Heat the mass and add 
about 9)4 gal. crude linseed oil. When this 
paint is to be used, reduce with linseed oil. It 
is said to be poisonous to animal and vegetable 
bodies depositing themselves on vessels. 

Vitr-ifiable Paints.— The coloring matter is 
mixed with a flux in such a way that there is 
no chemical union with it. On heating the 
flux melts and envelops the coloring matter 
and glues it firmly to the body of the ware. 
The following are some of the requisites of a 
good vitrifiable paint: l.They must adhere firm- 
ly. 2. They must melt at a known tempera- 
ture. 3. They must undergo no chemical 
change either from water or the gases of the 
air. 4. They must have a gloss after being fired; 
5. Their contraction and expansion must be 
the same as the body. Great attention has 



been paid to the manufacture of these paints 
in Europe, and these paints possess all the 
qualities noted above, and they will prove the 
most economical to use in the end. 

Toys, Innoxious Color for Painting.— White 
fine chalk, 6 parts; calcined magnesia (thor- 
oughly calcined), 3 parts. Add a few drops of 
indigo solution. 

White Oil Paint, Substitute for.— A substitute 
for white oil paint may be made as follows: 
Four qt. of skim milk, 1 lb. of fresh slakeJ 
lime, 12 oz. of linseed oil, 4 oz. of white Bur- 
gundy pitch, 6 lb. of Spanish white, to be mixed 
as follows: The lime to be slaked in water, ex- 
posed to the air, mixed in about J4 of the milk; 
the oil, in which the pitch must be previously 
dissolved, to be added a little at a time, then 
the rest of the milk, and afterward the Spanish 
white. This quantity is sufficient for more 
than fifty square yards covered with two 
coats. 

White Paint for Metallic Surfaces.— Oil paints 
used on metallic surfaces exposed to heat 
frequently turn yellow. If instead of oil so- 
dium silicate be used no change of color will 
be noticed. Zinc white mixed with soluble 
glass of from 40° to 50° B., to the consistency 
of ordinary paint, makes an excellent paint f or- 
metals. 

Window Paint.— Mix with white lead, boiled 
oil or varnish, and a small quantity of driers 
(no turps, which hardens for the time, being a 
volatile oil, and therefore objectionable in 
this case); paint this over the glass thinly, and 
stipple it. If you have not a proper brush, 
make a large pledget of cotton wool or tow, 
cover it with a clean bit of linen rag, and 
quickly dab it over the paint. 

Golden Yellow.— Mix white with extract of 
saffron q. s., to give the desired shade. When 
dry these colors should be coated with a light 
mastic varnish. 

Zinc, to Prepare for Painting.— dissolve 1 part 
of chloride of copper, 1 part of nitrate of cop- 
per, and 1 part of sal ammoniac, in 64 parts of 
water, and add I part of commercial hydro- 
chloric acid. Brush the zinc over with this, 
which gives it a deep black; leave to dry twenty- 
four hours, when any oil color will firmly 
adhere to it, and withstand both heat and 
damp. 

Paintings, to Clean. See Cleansing. 

Paintings, Varnishes for. See Var- 
nishes. 

Palm Oil. See Oils. 

Panacea.— A term applied by the ancients 
to those remedies supposed to be capable of 
curing ail diseases. Unfortunately for man- 
kind, no such a medicine exists. The name is 
still applied to some quack medicines. 

Pancreatin, to Prepare.— Cut the fresh 
pancreas of the pig, free it from all foreign 
matter and digest in ether, distill the ether 
from the filtered liquid and the remainder will 
be the pancreatin. 

Paper.— A number of receipts for making 
paper are given first, followed by receipts for 
miscellaneous papers. 

Selection and Assortment of Rags.— The selec- 
tion and assortment of the raw material form 
a very important branch of the paper trade. 

Rags are brought to the mill in an unsorted 
condition, and are called mixed rags. 

The system of assorting and classifying rags 
in common use in this country, and the distin- 
guishing mark given to each sort, cause con- 
siderable confusion to the tyro in the trade, and 
rather retard than facilitate the work of this 
department, which ought to be conducted on 
principles readily comprehended and easily im- 
pressed upon the memory. 

The superiority of the system in vogue on 
the Continent— its greater simplicity and there- 
fore efficacy, and the great saving of tune (a 



Paper. 



364 



Paper. 



most important item in the economical work- 
ing of a factory) effected by it. 
The rags are known by number as follows : 

No. 1 Rags— White linen without seams, fine, 
clean. 

No. 2 Rags— White linen with seams, fine, clean. 

No. 3 Rags— White linen with seams, second 
quality. 

No. 4 Rags— White linen with seams, third qual- 
ity. 

The three last mentioned qualities are easily 
distinguished, for as the quality deteriorates 
the rags become thicker, and, the thicker the 
rags, the greater the quantity of sheive they 
contain. 

No. 5 Rags— Blue linen without seams, first 

quality. 
No. 6 Rags— Blue linen with seams, second 

quaiity. 
No. 7 Rags— Blue linen with seams, third qual- 
ity. 
No. 8 Rags— Good linen, seconds. 
No. 9 Rags— Coarse linen, seconds. 
No. 10 Rags— White cotton, fine, first quality. 
No. 11 Rags— White cotton, second quality. 
No. 12 Rags— Colored cotton, third quality. 
No. 13 Rags— Sailcloth without seams, first 

quality. 
No. 14 Rags— Sailcloth with seams, second qual- 
ity. 
No. 15 Rags— Fine hemp bagging, good, clean. 
No. 16 Rags— Good hemp bagging. 
No. 17 Rags— Hemp rope, fine, clean. 
.No. 18 Rags— Hemp rope, good, clean. 
No. 19 Rags— Hemp rope, free from tar, third 

quality. 
No. 20 Rags— Broke from all the above except 
the rope. 
The simplicity and efficiency of sorting the 
different rags by this method of numbers are 
evident; the workpeople having only to know 
that the higher the number is, the coarser is 
the quality of the rags. No. 1 is the equivalent 
for S. P. F. F. F. 

Blending or arranging the rags for the 
different stuffs suitable for the various quali- 
ties of paper to be made is a work of con- 
siderable difficulty, and requires the great- 
est care. For example, a paper of a 
certain quality is desired; the difficulty is to 
blend that porportion of cotton with linen rags 
which will produce a paper tough, strong, well 
;sized and possessing those elastic qualities 
which will permit it to be folded into any shape 
without showing signs of cracking, as is es- 
pecially necessary in book papers. 

The most convenient, and at the same time 
most efficacious mode of procedure is to form 
the various rags into stuffs, such as No. 1 stuff, 
No. 3 stuff. No. 4 stuff, No. 5 stuff, and stuff 
tspecially prepared for tissue and copying pa- 
pers, composed as follows : 

No. 1 Stuff. 

No. 2 Rags 12001b. 

No. 5 Rags 2800 lb. 

4000 lb. 
No. 3 Stuff. 

No. 4 Rags 400 lb. 

No. 6 Rags 1200 ib. 

No. 8 Rags. 2400 lb. 

4000 lb. 

The above No. 1 and No. 3 stuffs are for 
specially strong papers. 

No. 4 Stuff. 

No. 7 Rags 1600 lb. 

No. 9 Rags 2800 lb. 

No. 20 Broke 400 lb. 

4800 lb. 

If the broke accummulates, a larger propor- 
tion can be used in making colored papers; 



otherwise the above quantity is sufficient. 
Rags Nos. 10, 11 and 12 are specially reserved 
for blending, for thick papers, or for printings 
of a high class. Nos. 13, 14, 15 and 16 sup- 
ply the place of any of the num- 
bers for which they are suited. No. 1 can be 
drawn upon in the event of a special paper 
being desired. 

No. 5 Stuff. 

No. 6 Rags 16001b. 

No. 8 Rags 24001b. 

.. 40001b. 
This No. 5 stuff is principally used for mixing 
wit'h the rope stuff for tissue and copying 
papers, in proportions which will be given in 
the receipts for thin papers. 
Rope Stuff. 

No. 17 Ropes 2600 lb. 

No. 18 Ropes 1200 lb. 

No. 19 Ropes 200 lb. 

40001b. 

It may be mentioned that the qualities of 
paper on the Continent are known by numbers, 
No. 1 being the highest quality of writings and 
printings. The different qualities of paper that 
can be made from the various stuffs are as fol- 
lows: 

From No. 1 stuff, extra superfine, or No. 1 
papers. 

From No. 3 stuff, superfine and fine papers. 

From No. 4 Stuff, fines, fourths and colored 
papers. 

From No. 5 stuff, thin papers; also used for 
mixing with the rope stuff, for cigarette, copy- 
ing and tissue papers. 

Classification of Home and Foreign Bags.— Ac- 
cording to the method generally adopted with 
their distinguishing names. Superfines, S.P.F. 
F.F., S.P.F.F., S.P.F., Dark Fines, Gray or 
Green Linen, New Pieces, Sailcloth, F.F., L.F. 
X., C.L.F.X., C.C.L.F.X., Fines, Seconds, 
Thirds, Cords, both dark and light, Outshorts, 
Prints and the various qualities of hemp and 
jute bagging. 
Superfines consist of superfine new white 

shirt cuttings. 
S.P.P.F.F. consists of extra superfine white 

linen, first quality. 
S.P.F.F. consists of superfine white linen, sec- 
ond quality. 
S.P.F. consists of fine white linen, third quality. 
Dark Fines consist of fine white cotton rags, 

well adapted for blotting paper of a good 

qualitv. 
Green Linen consists of fine unbleached linen 

cuttings. 
New Pieces consist of fine bleached linen cut- 
tings. 
Sailcloth consists of canvas (worn) and new 

cuttings. 
F.F. consists of coarse Russian linen rags, first 

quality. 
L. F.X. consists of coarse Russian linen rags, 

second quality. 
C.L.F.X. consists of coarse Russian linen rags, 

third quality. 
C.C.L.F.X. consists of coarse Russian linen rags, 

fourth quality. 

Receipts for High Class Papers.— In making 
papers of superior quality, considerable experi- 
ence and skill are necessary in selecting and 
blending the material. The following receipts 
will produce papers, smooth, strong, tough, 
and possessing elasticity of feel and clearness 
of color : 

1. Extra Superfine Cream.— For 300 lb. dry 
paper: 

S.P.F.F., J4; Dark Fines, J4. 
Green linen, }4; New Pieces, V±. 
4 oz. ultramarine, marked B.B.A.C. 
1H> gill cochineal; 40 lb. pearl hardening. 



Paper. 



365 



Paper. 



2. Superfine Cream.— For 300 lb. dry paper : 
Dark fines, 34; S.P.F. 

Superfines, 34; Spanish esparto, fine, 34- 
6oz. ultramarine, B.B.A.C. 
1 gill cochineal; 40 lb. pearl hardening-. 
14 lb. dry starch. 

3. Fine Creams.— For 300 lb. dry paper: 
Medium Spanish esparto, 34> 

Fines, 34; F.F., 34. 

7 oz. ultramarine, marked B. B.R. V. 

13^ gill cochineal. 

4. Extra Superfine Commercial Post.— Ani- 
mal sized.— For 300 lb. dry paper: 
S.P.F.F.F., 34; dark fines, M- 

New pieces, 34- 

3 gal. engine size; 5 lb. pure alum. 

5oz. ultramarine, B.B.A.C. 

1 pt. cochineal; J4 oz. carmine. 

40 lb. pearl hardening. 

5. Superfine Commercial Post.— Animal Sized. 
—For 300 lb. dry paper: 

S.P.F.F., J^; dark fines, 34; supers, 34. 

3gal. engine size; 6^. pure alum. 

6oz. ultramarine, B.B.A.C. 

134 gill cochineal; 1 gill archil. 

14 lb. starch; 40 lb. pearl hardening. 

6. Fine Cream Commercial Post.— Animal 
Sized.— For 30U lb. dry paper: 

F.F. russian rags, 34; seconds, 34- 

No. 2 Spanish esparto, 34- 

6 oz. ultramarine, B.B.R.V.; 1 gill magenta. 

6 gal. size; 10 lb. alum. 

7. Fourth Creams.— For 300 lb. dry paper: 
Second fines, 34; F.F., M- 

No. 2 Spanish esparto, 34« 

6 pails size; 30 lb. alum. 

9oz. ultramarine, B.B.R.V.; 2 gills archil. 

8. Fourth Creams.— For 300 lb. dry paper : 
Fine oran esparto, V%. 

Tunis esparto, H ; F. F. rags, 34- 
Nine oz. ultramarine, B.B.R.V. 
Two gills magenta ; 4 lb. dry starch. 

9. Superior Quality of Drawing Cartridge.— 
No coloring matter : 

Cartridge, 34; good canvas, 34; good seconds, 

10. Extra Superfine Post Paper.— For 300 lb. 
dry paper : 

Supers; 34 ; green linen, 34. 

New pieces, 34 ; S.P.F.F.F., 34. 

Three oz. ultramarine, A.C.; 2 oz. carmine. 

(The above is the highest class of post paper 
made.) 

11. Extra Superfine Blue, High Color.— For 
300 lb. dry paper : 

S.P.F., 34 • dark fines, J£. 

Fine Spanish esparto, 34- 

Nine and a half Id. ultramarine, B.B.R.V. 

Half lb. magenta lake. 

12. Card Paper, Superfine, Animal Sized.— For 
300 lb. dry paper : 

S.P.F., 34 ; fines, J4 ; seconds, M- 
Three oz. ultramarine, B.B.A.C. 
One gill archil ; 30 lb. pearl hardening. 

13. Superfine Cream Envelope Paper, Animal 
Sized.— For 300 lb. dry paper : 

S.P.F., 34 ; seconds, 34 ; new pieces, 34« 

Three oz. ultramarine, B.B.A.C. 

One and a half pt. cochineal ; 121b. starch. 

14. Superfine High Blue— For 300 lb. dry 
paper : 

S.P.F., 34 ; medium Spanish esparto, 34. 
Scotch fines, 34- 

Twelve lb. ulramarine, marked A. 
Three-quarter lb. magenta lake. 

15. Fine High Blue.— For 300 lb. dry paper : 
F.F., 34 ; fine Oran esparto, 34- 

Eight lb. ultramarine, marked B.B.R.V. 
Half lb. magenta lake. 



Colored Papers.— 16. Deep Lilac— For 250 lb., 
dry paper : 

No. 3 stuff ; 5 pails size ; 20 lb. alum. 
Thirty oz. violet methyl, marked B.B.B. 
Half oz. eosine, marked A. 

17. Deep Green.— For 250 lb. dry paper : 

No. 3 stuff ; 5 pails size ; 20 lb. alum. 
Twenty-two lb. silk green paste, extra fine. 
(This is a beautiful clear green.) 

18. Deep Lilac— For 250 lb. dry paper : 

No. 4 stuff ; 20 lb. alum ; 4 pails size. 

Eight oz. diamond f uchsine ; 3 oz. aniline blue. 

Fifty lb. straw pulp. 

19. Pale Green.— For 250 lb. dry paper : 

No. 4 stuff, full bleached : 4 pails size ; 20 lb- 
alum. 

Three-quarter lb. bichromate, ten minutes 
later. 

Two and one-quarter lb. sugar of lead, ten min- 
utes later. 

Fifteen oz. Paris blue, dissolved in hot water, 
adding 34 gill of sulphuric acid. 

20. Green, Medium Deep Shade. — For 250 lb. 
dry paper : 

No. 4 stuff; 60 lb. mechanical wood pulp; 5; 

pails size. 
Twenty lb. alum ; 234 lb- bichromate, fifteen 

minutes later. 
Six lb. sugar of lead, fifteen minutes later ; 1*4 

lb. Paris blue. 

21. Green.— For 250 lb. dry paper : 

No. 4 stuff ; 60 lb. mechanical wood pulp. 
Two and one-half lb. bichromate, fifteen min- 
utes later. 
Six lb. sugar of lead, fifteen minutes later. 
Seven oz. Paris blue ; 4 pails size ; 15 lb. alum. 

22. Pale Green.— For 250 lb. dry paper : 
No. 4 stuff, full bleached ; 60 lb. wood pulp. 
Three oz. bichromate; 6 oz sugar of lead. 
Four pails size ; 15 lb. alum ; 31b. Paris blue. 

23. Green, Deep Clear Tint.— For 250 lb. dry 
paper : 

No. 3 stuff; 134 lb. bichromate. 
Three lb. sugar of lead, fifteen minutes later. 
Two lb. Paris blue, ten minutes later. 
Five pails size ; 20 lb. alum. 

24. Deep Orange.— For 250 lb. dry paper : 
No. 4 stuff ; 40 lb. wood pulp ; 4 pails size. 
Twenty lb. alum ; 6 lb. bichromate ; 18 lb. sugar 

of lead. 
Twenty-five lb. Venetian red; 50 lb. straw 
pulp. 

25. Skin Color.— For 250 lb. dry paper : 
No. 4 stuff ; 60 lb. wood pulp ; 4 pails size. 
Twenty lb. alum ; 9J4 lb. green copperas. 

Ten and one-half lb. crystal soda ; 8 oz. bichro- 
mate. 
One and one-half lb. sugar of lead, 

26. Deep Olive.— For 250 lb. dry paper : 
No. 4 stuff ; 60 lb. wood pulp ; 4 pails size. 
Fifteen lb. alum ; 2 lb. green copperas. 
Two lb. crystal soda ; 234 lb. Venetian red. 

27. Buff —For 250 lb. dry paper : 
No. 4 stuff ; 60 lb. yellow wood. 

Four pails size ; 20 lb. alum ; 13 lb. yellow 

ocher. 
Ten oz. Venetian red ; 1 gill Brazil wood dye. 

28. Nankeen Tissue.— For 200 lb. dry paper : 
Nos. 17 and 18 rope stuffs, 34 ; canvas, 34. 
Three lb. potash ; 3 lb. green copperas. 

Two lb. crystal soda. 

29. Lilac Tissue, Deep Shade.— For 200 lb. dry 
paper : 

Nos. 17 and 18 rope stuffs, 14 ', No. 5 stuff, V 2 . 
Eight oz. aniline blue ; 3 oz. diamond fuchine. 
Two oz. violet methyl, R.R.R.R. brand. 



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30. White Tissue.— For 200 lb. dry paper : 
Nos. 17 and 18 rope stuffs, y 2 ; No. 5 stuff, y % . 
Five oz. ultramarine, B.B.A.C.; 2 gills Brazil 

wood dye. 

31. Blue Tissue.— For 200 lb. dry paper: 
Rope stuff, )4 ; good sailcloth, J^. 

Two lb. ultramarine, B.B.A.C.; 5 gills Brazil 
wood dye. 

32. Fine Gray Writings.— For 250 lb. dry 
paper : 

No. 4 stuff, full bleached ; 6 pails size. 

Twenty-five lb. alum, 12 oz. bichromate, 2 lb. 
sugar of lead, to be dissolved together in one 
pail, and put into the engine whiie hot. 

Three oz. Paris blue, half an hour later. 

Four oz. logwood extract. 

33. Fine Gray Writings.— For 250 lb. dry 
paper : 

No. 4 stuff, full bleached ; 6 pails size. 
Twenty-five lb. alum ; 15 oz. bichromate ; 2)4 

lb. sugar of lead. 
Six oz. Paris blue, half an hour later. 
Seven oz. logwood extract. 

34. Fine Gray Writings.— For 250 lb. dry 
paper : 

No. 4 stuff, full bleached. 

Three lb. ultramarine, B.B.R. V.; 2 lb. Venetian 

red. 
Four lb. yellow ocher ; 6 pail? size ; 20 lb. alum. 

35. Superfine Gray Writings.— For 250 lb. dry 
paper : 

No. 3 stuff, full bleached. 

Four lb. ultramarine, B.B.A.C; 1 lb. bichro- 
mate ; 
One and a half lb. sugar of lead ; 3 lb. Venetian 

red. 
Six pails size ; 25 lb. alum. 

36. Catechu Brown Wrapping.— For 250 lb. 
dry paper : 

Hemp bagging, )4 ; No. 4 stuff, %. 

Seven pails catechu; 5 pails size ; 15 lb. alum. 

Three lb. bichromate. 

37. Catechu Brown, Deep Color.— For 150 lb. 
Dry Paper : 

No. 4 stuff, unbleached; 3 pails size; 10 lb. 

alum. 
Three pails catechu ; 2 lb. green copperas. 
Three lb. bichromate. 

38. Aniline Blue, Deep Shade.— For 250 lb. dry 
paper : 

No. 4 stuff, full bleached ; 5 pails size ; 20 lb. 

alum. 
Four oz. aniline blue ; § oz. diamond f uchine. 

39. Aniline Blue.— For 250 lb. Paper : 

No. 4 stuff, full bleached ; 5 pails size ; 15 lb. 

alum. 
Three oz. aniline blue ; | oz. diamond f uchine. 

40. Aniline Blue, Deep Color.— For 250 lb. dry 
paper : 

No. 4 stuff, full bleached ; 4 pails size. 

Fifteen lb. alum ; 2 oz. aniline blue. 
One-sixth oz. diamond fuchine ; 6 oz. Berlin 
blue. 

41. Lilac— For 250 lb. dry paper : 

No. 4 stuff, full bleached ; 5 pails size ; 20 lb. 

alum. 
Three oz. aniline blue ; y% oz. diamond fuchine. 

42. Deep Lilac— For 250 lb. dry paper : 

No. 4 stuff, full bleached ; 5 pails size ; 20 lb. 

alum. 
Four oz. aniline blue ; 1 oz. diamond fuchine. 

43. Deep Aniline Blue.-- For 250 lb. dry paper: 
No. 3 stuff, full bleached ; 6 pails size ; 20 lb. 

alum. 
Four and one half oz. aniline blue; \ oz. dia- 
mond fuchine. 



44. Deep Lilac— For 250 lb. dry paper: 

Nos. 3 and 4 stuffs, half and half ; 4 pails size. 

Fifteen lb. alum ; 2 oz. aniline blue. 

Two oz. diamond fuchine ; 3^ oz. Paris blue. 

45. Berlin Blue.— For 250 lb. dry paper : 
No. 4 stuff, half bleached ; 5 pails size. 
Twenty lb. alum ; ^ oz. fuchine ; 5 lb. Paris 

blue. 

46. Deep Aniline Blue.— For 250 lb. dry pa- 
per : 

No. 4 stuff, full bleached ; 5 pails size. 
Twenty lb. alum ; 9 lb. Paris blue. 
Three and one-half oz. aniline blue ; 3 oz. dia- 
mond fuchine. 
(The above blue presents a fine clear color, very 
deep and uniform.) 

47. Venetian Red.— For 250 lb. dry paper : 
No. 3 stuff , unbleached ; 50 lb. chemical wood 

pulp. 
Four pails size; 15 lb. alum ; 601b. Venetian red. 
Three pts. Brazil wood dye. 

48. Fine Yellow Printings.— For 200 lb. dry 
paper : 

Spanish esparto, J^; Oran esparto, y*,. 
Two lb. bichromate; 41b. sugar of lead. 
Three pails size; 10 lb. alum. 

49. Deep Venetian Red.— For 200 lb. dry paper: 
No. 4 stuff, unbleached; 5 pails size. 

Twenty lb. alum; 2}4 lb. yellow ocher. 
Fifty lb. Venetian red; 3 pt. Brazil wood dye. 

50. Pink.— For 250 lb. dry paper : 

No. 4 stuff; 5 pails size; 20 lb. alum. 

Three oz. diamond fuchine, dissolved in 300 oz. 

of boiling water, and strained through a fine 

flannel or silk bag. 

51. Deep Eosine Pink.— For 2501b. dry paper: 
No. 3 stuff; 5 pails size; 20 lb. alum. 

Twelve oz. eosine, marked B. N., dissolved in 
boiling water, and strained through a flannel 
bag into the engine. 

52. Pale Eosine Pink.— For 250 lb. dry paper : 

No. 3 stuff; 5 pails size; 20 lb. alum. 
Three oz. eosine, marked B. N. 
One-half oz. violet methyl. Strain into the 
engine. 

53. Eosine A, Deep Pink to Blood Red.— For 
250 lb. dry paper : 

No. 3 stuff, fuil bleached. 

Thirteen oz. eosine, marked A; }4 oz. violet 
methyl. 

(This is a deep pink of a beautiful shade.) 

54. Yellow Wrapping for Post Paper.— For 
250 lb. dry paper : 

No. 4 stuff; 60 lb. mechanical wood pulp. 

Two lb. bichromate of potash, fifteen minutes 

later. 
Four lb. sugar of lead; 20 lb. alum; 4 pails size. 
Fifty lb. straw pulp, by Lahosse's system. 

55. Yellow Printings.— For 250 lb. dry paper : 
No. 4 stuff, half bleached. 

Fifty lb. mechanical wood pulp. 

One and a quarter lb. bichromate, twenty 

minutes later. 
Three-quarter lb. sugar of lead, half an hour 

later. 
Fifteen lb. alum; 3 pails size; 50 lb. straw pulp. 

56.— Yellow.— For 250 lb. dry paper : 
No. 4 stuff; 4 lb. bichromate, twenty minutes 

later. 
Eight lb. sugar of lead, half an hour later. 
Twenty lb. alum; 6 pails size; 40 lb. straw pulp^ 

57. Yellow.— For 250 lb. dry paper : 

No. 4 stuff; 20 lb. mechanical wood pulp. 

Two and a quarter lb. bichromate, twenty 

minutes later. 
Seven and a half lb. sugar of lead, half an hour 

later. 
Twenty lb. alum; 4 pails size. 



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58. Yellow.— For 250 lb. dry paper : 
No. 4 stuff; 40 lb mechanical wood pulp. 
Fifteen lb. alum; 4 pails size; 5 lb. bichromate. 
Eight lb. sugar of lead. 

59. Yellow.— For 250 lb. dry paper : 
No. 4 stuff; 15 lb. alum; 4 pails size. 

One and one-fourth lb. bichromate; 5 lb. sugar 
of lead. 

60. Yellow.— For 250 lb. dry paper : 
No. 4 stuff; 40 lb. mechanical wood pulp. 
Fifteen lb. alum ; 4 pails size ; 5 lb. bichro- 
mate. 

Eleven lb. sugar of lead. 

61. Yellow Printings.— For 450 lb. dry paper : 

Tunis esparto, y^\ No. 2 Spanish esparto, y%. 
Twenty lb. French ocher; 4 lb. dark English 

ocher. 
Eight lb. sugar of lead; 4*4 lb. bichromate. 
Two lb. red chrome. 

62. Yellow Printings.— For 450 lb. dry paper: 

Tunis esparto, %; Oran esparto, %. 
Three and one-half lb. bichromate; 7 lb. sugar 
of lead. 

63. Catechu Brown.— For 250 lb. dry paper : 
No. 4 stuff, unbleached ; 4 pails size. 
Twenty lb. alum; 12 pails catechu. 

Six lb. bichromate; 31b. crystal soda. 

64. Catechu Brown.— For 250 lb. dry paper : 

No. 4 stuff, half bleached; 4 pails size. 
Four pails catechu; 20 lb. alum; Wu, lb. bichro- 
mate. 

65. Catechu Brown.— For 250 lb. dry paper : 
No. stuff, full bleached; \y 2 lb. green copperas. 
Four pails size; 3 pails catechu; 20 lb. alum. 
Three and one-half lb. bichromate. 

66. Orange.— For 200 lb. dry paper : 

No. 4 stuff; 50 lb. yellow mechanical wood pulp. 
Twenty lb. orange mineral; V/% lb. Venetian 

red. 
Four pails size; 20 lb. alum. 

(The orange and the Venetian red must be 
carefully strained through a fine wire or flan- 
nel bag.) 

67. Orange.— For 250 lb. dry paper : 

No. 4 stuff; 601b. mechanical wood pulp. 
Fifteen lb. alum; 4 pails size; 30 lb. orange min- 
eral. 

68. Orange.— For 250 lb. dry paper : 

No. 4 stuff; 60 lb. mechanical wood pulp. 
Fifteen lb. alum; 4 pails size; 15 lb. orange min- 
eral. 
One lb. Venetian red. 

69. Orange.— For 250 lb. dry paper : 
No. 4 stuff; 50 lb. mechanical wood pulp. 
Twelve lb. orange mineral; 15 lb. alum; 4 pails 

size. 

70. Oi'ange. — For 250 lb. dry paper: 

No. 4 stuff, only half bleached or gas bleached, 

and not potched. 
Three pails size; 15 lb. alum; 6 lb. bichromate. 
Eight lb. sugar of lead; 60 lb. superfine orange. 

71. Venetian Red.— For 2501b. dry paper: 
No. 4 stuff, half bleached; 2% lb. yellow ocher. 
Forty-five lb. Venetian red; 20 lb. alum; 5 pails 

size. 

72. Orange Yellow.— For 250 lb. dry paper : 
No. 4 stuff, 40 lb. mechanical wood pulp. 
Three pails size; 15 lb. alum; 6 lb. bichromate. 
Eight lb. sugar of lead; 25 lb. Venetian red. 
Fifty lb. straw pulp. 

73. Yellow Wrapping.— For 250 lb. dry paper : 
No. 4 stuff, unbleached. 

Fifty lb. wood pulp, No. 2 quality; 4 pails size. 
Twenty lb. alum; 1Q}4 lb. sugar of lead, brown. 
Eight lb. bichromate; 20 lb. Venetian red. 



74. Yellow Ocher, for Wrapping.— For 250 lb. 
dry paper : 

No. 4 stuff, unbleached. 

Sixty lb. wood pulp, No. 2 quality; 4 pails size. 
Fifteen lb. alum; 20 lb. yellow ocher. 
Five oz. Venetian red; 4 oz. magenta lake. 

75. Pale Orange.— For 250 lb. dry paper : 
No. 4 stuff; 40 lb. wood pulp; 4 pails size. 
Fifteen lb. alum; 15 lb. superfine orange. 

76. Gray.— For 250 lb. dry paper : 
No. 4 stuff, half bleached; 4 pails size. 
Twenty lb. alum; 3 lb. green copperas. 

Three lb. crystal soda; 4 lb. yellow ocher, dark. 
Four lb. yellow ocher, light; 5 oz. Venetian 
red. 

77. Venetian Bed.— For 250 lb. dry paper. 
No. 4 stuff; 40 lb. yellow wood pulp. 

Four pails size; 151b. alum; 48 lb. yellow ocher. 
Fifty lb. Venetian red. 

(This is a beautiful deep Venetian red, princi- 
pally used for the covers of serials.) 

78. Fawn.— For 250 lb. dry paper : 
No. 4 stuff; 4 pails size; 20 lb. alum. 

Two lb. green copperas; 2 lb. crystal soda. 
One and a half lb. Venetian red. 

79. Fawn.— For 250 lb. dry paper : 
No. 4 stuff; 20 lb. chemical wood pulp. 
Five oz. ultramarine; 1 lb. Venetian red. 
Four lb. yellow ocher, French. 

80. Deep Paris Blue.— For 250 lb. dry paper : 
No. 4 stuff, half bleached; 4 pails size. 
Twenty lb. alum; 2 lb. logwood extract. 

Six lb. Berlin or Paris blue; 2 pints cochineal. 

81. Saturnine Bed.— For 250 lb. dry paper : 
No. 3 stuff; 4 pails size; 20 lb. alum. 

Fifty lb. saturnine red; 5 lb. superfine orange. 

82. Chrome Orange.— For 300 lb. dry paper : 
No. 1 stuff, full bleached; 25 lb. alum. 

Six pails size; 56 lb chrome orange paste, No. 1. 
(This is a fine clear orange for a good quality 
of paper.) 

83. Soluble Brown.— For 250 lb. dry paper : 
No. 4 stuff, half bleached; 5 pails size. 
Twenty lb. alum; 15 lb. soluble brown. 

(This coloring matter must be carefully 
strained into the engine. It is the best substi- 
tute for catechu dyed papers, and has all the 
characteristics of catechu, and also the advan- 
tage of being much cheaper.) 

84. Violet, Deep Shade.— For 250 lb. dry 
paper : 

No. 3 stuff, full bleached; 25 lb. alum. 

Five pails size; 6 lb. violet methyl, marked R. R. 

R.R. 
Three oz. blue methyl. 

Colored Esparto Papers. — 

85. Dark Yellow. -For 400 lb. dry paper : 
Fourteen lb. bichromate of potash. 

One and three-quarters lb. sugar of lead, dis- 
solved in 1 pail of hot water; strain into the 
engine through a flannel bag. 

Two and one-half lb. green copperas, one hour 
later; 25 lb. alum. 

86. Orange Yellow.— For 400 lb. dry paper : 

Oran esparto; V/% lb. bichromate. 

Fifteen lb. brown sugar of lead, dissolved in 5 

Eails of hot water; strain through a flannel 
ag. 
One quarter lb. Venetian red; 25 lb. alum; 7 
pails size. 

87. Fine Deep Blue.— For 400 lb. dry paper: 

Oran esparto; 1 lb. crystal soda. 

Ten lb. prussiate of potash. 

Three lb. green copperas, dissolved in 4 pails of 

hot water. 
Four qt. iron liquor. 
One oz. magneta, dissolved in one pail of hot 

water. 
Twenty-five lb. alum. 



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88. Chocolate Brown.— For 400 lb. dry paper : 
Four hundred lb. Oran esparto; 37 lb. Venetian 

red. 
Three lb. catechu; 5 lb. bluestone; 5 lb. green 

copperas. 
Four lb. ultramarine; all one hour apart. 
Twenty lb. alum; 7 pails size. 

89. Fine Rose Tint.— For 400 lb. dry paper : 
Medium Spanish esparto, J^; good Oran es- 
parto, y 2 . 

Two oz. eosine, marked A, dissolved in one pail 
of boiling water, and strained through a 
flannel bag. 

90. Rose Tint.— For 400 lb. dry paper : 

Four hundred lb. Oran esparto, 14 lb. Venetian 

red. 
One lb. chrome yellow; 20 lb. alum. 

91. Straw Tint.— For 400 lb. dry paper : 

Four hundred lb. Oran esparto; 1}4 lb. bichro- 
mate of potash. 

Three lb. white sugar of lead, dissolved in one 
pail of hot water. 

Quarter lb. ultramarine; 1V^ pt. iron liquor. 

92. Amber.— For 400 lb. dry paper : 

Four hundred lb. Oran esparto. 

Half lb. chrome yellow, mixed in the engine 

one hour. 
One pt. iron liquor; 20 lb. alum; 6 pails size. 

93. Light Buff .—For 400 lb. dry paper : 

Four hundred lb. Oran esparto ; 4 lb. green 
copperas. 

Four oz. sugar of lead; 3 lb. bichromate of pot- 
ash. 

Fifteen lb. alum; 5 pails size. 

94. Orange Buff.— For 400 lb. dry paper : 

Four hundred lb. Oran esparto; 6 lb. bichro- 
mate of potash. 
Eight lb. sugar of lead; 14 lb. Venetian red. 
Twenty lb. alum; 6 pails size. 

95. Fine Amber Writings.— For 300 lb. dry 
paper : 

Medium Spanish esparto, \i\ F. F. rags, M; 

thirds, *4- 
Six and a half oz. nitrate of lead; 3 oz. bichro- 
mate of potash. 
Eleven oz. Venetian red, strained through a 

silk bag. 
Thirty lb. alum; 8 pails size. 

—Practical Papermaker. 
American Combinations for Coloring. — Hof- 
mann gives the following examples of the com- 
binations of colors which have been adopted 
by American manufacturers : 

1. Yellow gold envelope of fine quality is 
made of bichromate of potash, 10 lb.; nitrate of 
lead, 181b.; orange mineral, 561b.; porous alum, 
30 lb.; each substance being separately dis- 
solved and added to 400 lb. pulp. 

2. Orange red gold envelope.— Bichromate of 
potash, 7 lb.; nitrate of lead, 10}^ lb.; orange 
mineral, 60 lb.; porous alum, 20 lb. Those sub- 
stances are dissolved separately and added to 
4001b. of pulp. 

3. Buff envelope of fine deep shade is made 
from bichromate of potash, 3 lb.; nitrate of 
lead, 5 lb.; orange mineral, 10 lb.; American 
ocher, 20 lb.; porous alum, 301b.; some half stuff 
of red jute bagging; for 400 lb. of pulp. 

4. Tea color is made from a decoction of quer- 
citron bark, the liquid being poured into the 
engine, and 2 lb. of copperas in solution are 
added for every gallon of the bark extract. 
A little ultramarine may be used to brighten 
the color. 

5. Drab.— Venetian red, well washed, added to 
a pulp of tea color made as above will give a 
fine drab. 

6. Brown.— Is composed of several colors, or a 
very fine dark green tea color brown, contain- 
ing tea, buff, drab and ink gray, may be made 
of: Quercitron bark, liquid, 15 gal.; bicarbon- 
ate of soda, 2 lb.; Venetian red, 4 lb.; extract 



of nutgalls, 2)4 lb.; copperas, 18 lb.; porous alum„ 
30 lb. The above proportions are for 400 lb. of 
pulp. 

Miscellaneous Papers.— Adhesive Paper.— Use 
a good quality of mucilage (see Mucilages) and 
paint the paper, which should be stretched with 
this, and when dry cut up for use. Paper may 
be gummed on both sides; affords a very con- 
venient mode of mounting pictures, etc. 

Paper, to Bronze. See Bronzing. 

Paper Bowls, to Make.— Get a block of wood 
turned to the size and shape of your bowls,, 
and with a stem to serve as a mount. This, 
must be well covered with French chalk. Take 
your sheets of paper, well wetted, paste them 
and mould round the block one after the other 
until requisite thickness is obtained. You can- 
not easily reduce the paper to pulp, and if you 
did you would then want hydraulic pressure to 
mould the bowls. 

Paper Canoes. — Sheets of stout manila passed 
through a hot bath of aqueous solution of zinc 
chloride, at 75° B., pressed strongly together 
and then soaked in dilute aqueous soda solu- 
tion containing a small amount of glycerine,, 
cohere to form a strong, stiff, waterproof board 
admirably adapted to the construction of small 
boats. Single sheets of paper passed quickly 
through the zinc chloride bath, pressed and 
washed and dried, are waterproof, and may be 
otherwise joined to form waterproof boards, 
by any suitable cement. 

Carbolic Acid Paper. — 1. Parafnne, 9 parts; 
carbolic acid, 3 parts; stearine, V/i parts. Melt 
and apply with a brush to the paper. It is used 
for disinfecting purposes. 

2. Melt 5 parts of stearine at a gentle heat, 
and stir in 2 parts of carbolic acid; then add 5 
parts of melted paraffine and stir the whole 
well together until cold. When required for 
use melt the mixture over a water bath and 
brush it over the surface of the paper with a 
soft brush. 

Carbon Paper.— Melt 10 parts lard, 1 part of 
wax and mix with a sufficient quantity of fine 
lampblack. Saturate unglazed paper with this, 
remove excess and press. 

Charred Paper, to Preserve. — CoDodion is 
poured over tbe charred paper. In a few 
minutes this dries, and a tough transparent 
coating is produced, through which the print- 
ing, etc., can be seen. Bank notes and other 
documents charred by fire have been thus suc- 
cessfully treated.— Scient. Amer. 

Paper Chemically Prepared. — 1. Chemically 
prepared paper for autographic and automatic 
telegraphy is prepared by soaking it in either 
of the following solutions: Nitrate of ammonia, 
2 lb.; ferricyanide of potassium, y>, oz.; gum 
tragacanth, 2 oz.; glycerine, 2 oz.; water, Yz gal. 
Or, iodide of potassium, % lb.; bromide of po- 
tassium, 1 lb.; starch, y% oz.; water, 2 qt. 

2. Iodide potassium ^ lb. 

Bromide potassium 2 lb. 

Dextrine or starch 1 oz. 

Distilled water 1 gal. 

Paper, to Clean. See Cleansing. 

Copying Paper.— The following is commu- 
nicated to the Polytechn. Notizblatt by E. 
Dieterich, in regard to the method he employs 
for making the copying paper which has ob- 
tained so good a reputation in Germany : The 
manufacture may be divided into two parts, 
viz., the production of the color and the ap- 
plication of the same to the paper. For blue 
paper, Dieterich uses exclusively the blue color 
known as Paris blue, as covering better than 
any other mineral color. Ten kgs. of the same 
are coarsely ground and mixed with 20 kgs. of 
ordinary olive oil ; 0*25 kg. of glycerine is then 
added. This mixture is for a week exposed in 
a drying room to a temperature of 40° to 50° C, 
and then ground as fine as possible in a paint 
mill. The glycerine softens the hard paint, and 
tends to make it more easily diffusible. 

Then Dieterich melted 0*5 kg. of yellow wax 



I 



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369 



Paper. 



with 7*5 kgs. of ligroine, and added to this 3 
kgs. of the blue mixture, mixing- slowly at a 
temperature of 30° or 40° C. The mass is now 
of the consistency of honey. It is applied to 
the paper with a coarse brush, and afterward 
evenly divided and polished with a badger's 
hair brush. The sheets are then dried on a 
table heated by steam. This is done in a few 
minutes, and the paper is then ready for ship- 
ment. The quantities mentioned will be suf- 
ficient for about 1,000 sheets of 50x90 cen- 
timeters, being a day's work for two girls. 
For black paper aniline black is used in the 
same proportion. The operation must be car- 
ried on in a well ventilated room protected 
from fire, on account of the combustibility of 
the material and the narcotic effects of the li- 
groine. The paper is used by being placed be- 
tween two sheets of paper, the upper one re- 
ceiving the original, the lower one the copy. 

Cork Paper. — A paper under this title has 
been patented in the United States ; it is pre- 
pared by coating one side of a thick, soft, and 
flexible paper, with a mixture composed of 
glue, 20 parts ; gelatine, 1 part, and molasses, 3 
parts, and afterward covering with finely 
powdered cork, which is afterward lightly 
rolled in. This paper is largely used to pack 
ftottles. 

Paper for Draughtsmen. —Water, 15 parts; 
powdered tragacanth, V/% parts. Dissolve and 
strain through gauze. Stretch the paper on a 
board. Apply the mixture smoothly to it. 
The paper thus treated will take either oil or 
water colors. 

To Take Creases Out of Drawing Paper or Draw- 
ings.— Place the drawing face downward on a 
sheet of smooth white paper ; cover with an- 
other sheet slightly dampened. Iron with an 
iron moderately warm. Engravings may be 
treated in the same way. 

Emery Paper.— Apply a thin coating of glue 
to paper which has been treated with a thin 
coating of glue. Sift the emery on according 
to. its fineness. 

Solid Emery Paper.— Emery paper is fre- 
quently found lacking in retaining an equal 
efficiency, the fresh parts biting too much, and 
the paper getting soon worn through in many 
places. Emery has been tried on linen, but 
with little success. A paper or board has been 
recommended in which emery enters as a con- 
stituent part. It is advised to employ fine and 
uniform cardboard pulp, with from one-third 
"to half its weight of emery powder thoroughly 
mixed with it, so that the emery may be equal- 
ly distributed. The mass should be poured out 
into cakes of from 1 to 10 in. in thickness. 
They must not be pressed hard. Such a paper, 
it is said, will adapt itself to the form of the 
articles and will serve until completely worn 
out. 

Enamel for Fine Cards.— For white and all 
delicate shades.— Paraffin by weight, 15 parts; 
pure kaolin (china clay), 62^ parts. The kaolin 
should be very dry, and reduced to a powder. 
Mix with the paraffin, after the latter has been 
heated to the fusing point. Let the mixture 
cool, then reduce to powder. When used, make 
into a paste in a paint mill, with warm water. 
Color as desired. 

Enameled Paper. — Various metallic pig- 
ments are employed, such as will spread 
smoothly and take a polish. The pigments are 
white lead, oxide of zinc, sulphate of barytes, 
China clay, whiting, chalk, in a menstruum or 
upon a previous coating of glycerine, size, col- 
lodion, water, varnish, etc., afterward polished 
by an agate or between calendering or burnish- 
ing cylinders.- Glassware Reporter. 

Paper, to Fireproof . See Fireproofing. 

To Render Paper Inflammable When Thrown 
on the Ground.— Saturate the paper with a solu- 
tion of phosphorous in ethylic ether or carbon 
■disulphide. The solvent on evaporation leaves 



the phosphorus in a finely divided condition 
and spontaneously inflammable. 

Fly Paper Free from Poison.— Half lb. quassia 
wood; 1 qt. water. Pour the water over the 
wood and allow it to stand overnight. Strain 
and boil the liquid down to 1 pt. Boil the wood 
again with 1 pt. water until J^ pt. i*emains. Mix 
the two infusions, add J4 lb. sugar. When the 
sugar has dissolved pass the paper through the 
liquid, drain and dry. 

Fly Paper. — 1. Oil the paper and coat with 
turpentine varnish. 

2. Cobalt Fly Paper.— Vomacka gives the fol- 
lowing: 

Quassia chips 150 parts. 

Chloride of cobalt 10 parts. 

Tartar emetic 2 parts. 

Tincture of long pepper (1 to 

4 of proof spirit) 80 parts. 

Water 400 parts. 

3. Powdered black pepper is mixed with sirup 
to a thick paste, which is spread by means of a 
broad brush upon coarse blotting paper. Com- 
mon brown sirup will answer, but sirup made 
from sugar is preferable, as it dries quicker. 
For use a piece of this paper is laid upon a 
plate and dampened with water. The paper 
may also be made directly at the mill by adding 
sugar to the pulp and afterwards J4 t o V& of 
powdered black pepper and rapidly working it 
into a porous absorbent paper. 

4 To 1 lb. resin add 2 fl. drm. linseed oil. 
While the mixture is warm, spread it on fools- 
cap paper. 

5. Make a solution of 2 parts arseniate of 
potassium or arseniate of sodium, 4 parts white 
sugar, 40 parts water. Saturate stout unsized 
paper in this solution, then dry. To use the 
paper, moisten it with water, and place in 
saucers. Great care should be taken with this 
paper, as it is poisonous. 

6. Melt resin and add thereto, while soft, suf- 
ficient sweet oil, lard, or lamp oil to make it, 
when cold, about the consistency of honey. 
Spread on writing paper, and place in a con- 
venient spot. It will soon be filled with ants, 
flies, and other vermin. 

7. Boiled linseed oil and resin; melt and add 
honey. Soak the paper in a strong solution of 
alum and then dry before applying the above. 

8. Sticky fly paper may be coated with one of 
the following mixtures: Resin, 9 parts: rape- 
seed oil, 4 parts. 

9. Resin, 8 parts; turpentine, 4 parts; rape- 
seed oil, 4 parts; honey, ^ part. 

10. Resin, 1 lb,; molasses, S}4 oz.; linseed oil, 
3^ oz. Boil until thick enough. 

Fumigating Paper.— Apply to bibulous paper 
a strong ethereal or alcoholic solution of ben- 
zoin, tolu, storax, olibanum or labdanum. To 
burn well the paper should first be impregnated 
with an aqueous solution of saltpeter and dried. 

Stains for Glazed Papers.— Glue is used in 
lieu of the more expensive gums on account 
of the cheapness of these papers. One lb. of 
glue dissolved in 134 gal. water. The propor- 
tions of coloring materials are given for 1 
ream of paper of medium weight and size. 

Black.— 1. Dissolve 1 lb. of glue in 1J4 gal. 
triturate, this with lampblack, 1 lb., previously 
rubbed up in rye whisky; Frankfort black, 2% 
lb.; Paris blue, 2 oz.; wax soap. 1 oz.r then add 
liquor of logwood, \% lb. 

2. One and a half gal. of liquor of logwood, 
compounded with sulphate of iron, 1 oz. of wax 
soap, 4J^ oz. of gum arabic. 

Blue (azure).— One and a quarter gal. of glue 
liquor as before, mixed with iy 2 lb. Berlin blue, 
2% lb. powdered chalk, 2*4 oz. light mineral 
blue, 2 oz. wax soap. 

Blue (dark).— Mix with U4 gal. of glue liquor 
4^j lb. powdered chalk, 4J4 oz. Paris blue, 2 oz. 
of wax soap. 

Blue (pale).— 1. Mix V£ gal. of tincture of Ber- 
lin blue and 1 oz. wax soap with 3^ oz. of so- 
lution of gum tragacanth. 



Paper. 370 



Paper. 






2. Take 134 gal. of glue liquor and mix with 
4 lb. of powdered chalk and 2 oz. each of Paris 
blue and wax soap. 

The pulp should always be colored before it 
is sized, except in cases where the alum or resin 
soap would injure the colors or be injured by 
them. 

Brown (dark).— 1. One and a half gal. of glue 
liquor, mixed with 6 lb. each of colcothar 
(jeweler's rouge) and English pink, 1J4 lb. of 
powdered chalk, 2 oz. wax soap. 

2. Dissolve 1 oz. wax soap and 434 oz. gum 
arabic in 34 gal. of good Brazil wood liquor, 
and add a like quantity of tincture of gall 
nuts. 

Green (copper).— Mix in 1 14 gal. of glue liquor 
41b. of English verdigris, lj^lb. powdered chalk, 
and 4 oz. wax soap. 

Green (pale).— Mix with 134 gal. glue liquor 

1 lb. Bremen blue, 8J4 oz. whiting, 1 oz. pale 
chrome yellow, and 2 oz. wax soap. 

Lemon Color.— Mix in 134 gal. glue liquor 13 
oz. lemon chrome, 2 lb. powdered chalk, and 2 
oz. of wax soap. 

Orange Yellow.— Mix in 134 gal. glue liquor, 

2 lb. lemon chrome, 1 lb. Turkish minium, 2 
lb. white lead, and 2 oz. wax soap. 

Red (cherry).— Mix in 134 gal. glue liquor 834 
lb. of Turkey red, previously mixed up with 
34 gal. of Brazil wood liquor, and 2 oz. wax 
soap. 

Red (dark).— Mix % gal. of Brazil wood liquor 
with 1 oz. wax soap, and 434 oz. gum arabic. 

Red (pale).— To 134 gal. of glue liquor add 834 
lb. of Turkey red, previously rubbed up with 
2 oz* of wax soap. 

Violet.- Four and a half oz. gum arabic and 
1 oz. wax soap are to be mixed with 34 gal. of 
good logwood liquor. When the gum is dis- 
solved, mix with it enough potash to form a 
mordant. 

Stains for Morocco Papers.— For one ream of 
paper of medium size and weight the follow- 
ing receipts are recommended : 

Black.— Dissolve 8% oz. of good parchment 
shavings in 134 gal. water; stir into this liquid 1 
lb. lampblack, 3 lb. Frankfort black and 1% oz. 
Paris blue. 

Blue (dark). — Dissolve 8% oz. parchment 
shavings in 1J4 gal. water, and mix in 834 lb. of 
white lead, and 434 lb. Paris blue. 

Blue (light).— Dissolve parchment shavings 
as before, and mix in 8% lb. of white lead and 
234 oz. Paris blue. 

Green (dark). — Dissolve 13 oz. parchment 
shavings in 234 gal. water, and mix in 10 lb. of 
Schweinfurth green. 

Green (pale). — Prepare solution of parchment 
as in the last, and mix with 8% lb. of Schwein- 
furth green and 1 lb. fine Paris blue. 

Orange Yellow.— Dissolve 8% oz. parchment 
shavings in 134 gal. water, mix with 134 lb. 
lemon chrome, 8% oz. orange chrome, and 1 lb. 
white lead. 

Red (dark). — Dissolve 8% oz. parchment 
shavings in 134 gal. water, add 1% lb. fine cinna- 
bar and 1 lb. Turkey red. 

Red (pale).— To the same quantity of parch- 
ment liquor add 8M oz. Turkey red. 

Violet (light).— To 134 gal. parchment liquor 
add 434 lb. white lead, 13 oz. light mineral blue, 
and 8% oz. scarlet lake. 

Violet (dark).— To 134 gal. parchment liquor 
add 3M lb. of white lead, 1 lb. pale mineral blue, 
and 8% oz. scarlet lake. 

Yellow (pale).— To 134 gal. parchment liquor 
add 2 lb. light chrome yellow, and 8% oz. white 
lead. 

Stains for Satin Papers.— For each ream of 
paper of medium weight and size, the follow- 
ing recipes are given : 

Blue (azure).— Dissolve 13 oz. parchment shav- 
ings in 2J4 gal. of water, mix with 3 lb. Bremen 
blue, 1% lb. English mineral blue, and 434 oz. 
wax soap. 

Blue (light).— Dissolve 8% oz. parchment in 
l^j gal. of water, mix with 13 oz. light chrome 



yellow; jewelers' rouge, 634 oz.; Frankfort 
black, 2 oz.; powdered chalk, 3 lb.; and wax 
soap, 334 oz. 

Brown (reddish).— Dissolve 8% oz. parchment 
in \y 2 gal. water; add yellow ocher, 1 lb.; light 
chrome yellow, 434 oz.; white lead, lib.; red 
ocher, 1 oz.; wax soap, 334 oz. 

Brown (light).— 1J4 gal. parchment liquor as 
before, add 13 oz. light chrome yellow, 634 oz. 
jewelers' rouge, 2 oz. Frankfort black, 3 lb. pow- 
dered chalk, 3 L /2 oz. wax soap. 

Gray (lignt). — 134 gal. parchment liquor, 
mixed with 434 lb. powdered chalk, 8% oz. of 
Frankfort black, 1 oz. Paris blue, 334 oz. wax 
soap. 

Gray (bluish).— To 134 gal. parchment liquor 
add 434 lb. powdered chalk, 1 lb. light mineral 
blue, 434 oz. English green, 1% oz. Frankfort 
black, and 3J4 oz. Avax soap. 

Green (brownish).— To 134 gal. parchment 
liquor add 1 lb. Schweinfurth green, 8% oz. 
mineral green, 434 oz. each of burnt umber and 
English pink, 1 lb. whiting, and 334 oz. wax 
soap 

Green (light).— To 134 gal. parchment liquor 
add 2% lb. each of English green and powdered 
chalk, and 334 oz. wax soap. 

Lemon Color.— To 134 gal. parchment liquor 
add 1J4 lb. lemon chrome, 1 lb. white lead, and 
wax soap, 3J4 oz. 

Orange Yellow.— i34 gal. parchment liquor, 
434 lb. lemon chrome, 8% oz. Turkey red, 1 lb. 
white lead. 334 oz. wax soap. 

Violet (light), — 134 gal. parchment liquor, 
mixed with 134 lb. of light mineral blue, 134 lb. 
scarlet lake, 1 lb. white lead, and 334 oz. wax 
soap. 

White.— To 134 gal. parchment liquor add 
8% lb. Kremnitz white, 434 oz. Bremen 
blue, 334 oz. wax soap. 

Silver White. — 134 gal. parchment liquor 
mixed with 8% lb. Kremnitz white; 8% oz. 
Frankfort black; 334 oz. wax soap. 

Pale Yellow — 134 gal. parchment liquor, 
mixed with 434 lb. light chrome yellow, 1 lb. 
powdered chalk, 334 oz. wax soap. 

Glass Paper.— The fragments of broken wine 
bottles, etc., are carefully washed to remove 
dirt, the glass is crushed under a revolving 
stone and sifted into six sizes, as in manufac- 
turing emery. It is sifted through sieves of 
wire cloth, which are generally cylindrical, 
like the bolts of flour mills. The cloths have 
from sixteen to ninety wires to the inch. A 
surface of thin glue is spread on the paper, and 
the pulverized glass dusted over it with a sieve. 

Graphit 'zed Paper. — To combine graphite 
with paper and other fibrous materials, Alonzo 
Hitchcock treats the latter with a bath of sul- 
phuric acid diluted with one half the quantity 
of water, until the surface is turned to a gela- 
tinous state. One or both surfaces should then 
be covered with pulverized graphite, and then 
put in a bath of alkaline liquid to neutralize 
the acid. Cotton or flax thread, or yarn, may 
be treated in the same manner. By mixing 
nitric acid with the sulphuric, raw cotton may 
be used. 

Greasu Paper, to Write on.— To one ox gall 
add a handful of salt and 34 pt. vinegar. If the 
parchment or paper is greasy, add a little of 
this to the ink. 

Hardening Paper.— The French papers speak 
of a method of rendering paper extremely hard 
and tenacious by subjecting the pulp to the 
action of chloride of zinc. After it has been 
treated with the chloride* it is submitted to a 
strong pressure, thereafter becoming as hard 
as wood and as tough as leather. The hardness 
varies according to the strength of the metallic 
solution. The material thus produced can be 
easily colored. It may be employed in covering 
floors with advantage, and may be made to re- 
place leather in the manufacture of coarse 
shoes, and is a good material for whip handles, 
the mountings of saws, for buttons, combs, and 
other articles of various descriptions. An ex- 



Paper. 



371 



Paper. 



cellent use of it is in large sheets for roofing-. 
Paper aiready manufactured acquires the 
same consistency when plunged, unsized, into 
a solution of the chloride. 

Hydrographic Paper.— A name applied to pre- 
pared paper which is written on with water, 
when the writing- appears.— 1. Calcined sul- 
phate of iron, 1 part, and 4 parts nutgalls, both 
finely powdered, are rubbed into the paper 
with pressure. Writes black with water. 

2. Use persulphate of iron and ferrocyanide of 
potassium in the same way as No. 1. 

3. As in the last, using copper sulphate in- 
stead of iron sulphate. Writes brown. 

4. Wet the paper with a colorless solution of 
ferrocyanide of potassium, and after drying 
write on the paper with a solution of persul- 
phate of iron. Writes blue. See also Inks- 
Sympathetic. 

India Paper.— This paper is much used for 
proofs of etchings. In printing upon India 
paper no cement is used to attach it to the plate 
paper, the pressure exerted by the cylinder be- 
ing* sufficient to cause adhesion. 

Insulating Paper.— Absorbent tissue paper is 
rendered insulating- by steeping it in melted 
paraffin, and is used for the dielectric of large 
telegraph condensers, and Muirbead's artificial 
cable. An insulating varnish for paper is made 
by mixing 1 part Canada balsam and 2 parts es- 
sence of turpentine. Digest in a bottle with a 
gentle heat, and filter before cooling. 

Iridescent Paper. — Gall nuts (coarsely pow- 
dered), 6% oz.; sulphate of iron, 4J4 oz.; sul- 
phate of indigo, % oz.; gum arabic, 18 grn. 
Boil these ingredients, strain through a cloth, 
brush the paper with the liquid, and expose to 
vapor of ammonia. 

Issue Paper.— One part each of elemi, sper- 
maceti, and Venice turpentine ; white wax, 2 
parts ; melt them together by gentle heat, and 
spread the mixture on paper. Used to keep 
issues open. 

Lithographic Paper.— To prevent ink from 
adhering to and sinking into lithographic 
paper, which would render a perfect transfer 
to the stone impossible, the following plans are 
used 

1. Coat the paper with 3 successive layers of 
sheep-foot jelly, 1 of cold white starch, and 1 of 
gamboge. The first coat is applied by a sponge 
dipped in the hot solution of jelly, thinly but 
very evenly over the whole surface ; the others 
are applied in succession, each previous one 
being- allowed to dry first. When the paper is 
dry, it is smoothed by passing through the li- 
thographic press. 

2. Cover rather strong unsized paper with a 
varnish composed of 120 parts starch, 40 of gum 
arabic, and 20 of alum. Make a moderate paste 
of the starch by boiling, dissolve the gum and 
alum separately, and then mix all together. 
When well mixed, apply hot with aflat smooth 
brush to the leaves of paper. Dry and smooth 
by passing- under the press. 

3. This paper, which is written upon with 
lithographic ink, may be prepared by either of 
the following formulae : Take starch, 6 oz.; 
gum arabic, 3 oz.; alum, 1 oz. Make a strong 
solution of each separately in hot water, then 
mix the whole and strain the liquor through 
gauze. It must be applied to one side of the 
paper while still warm by means of a soft brush 
or sponge. A second or third coating may be 
given as the preceding one becomes dry. The 
paper is finally pressed to render it smooth. 

4. The paper must first receive 3 coats of thin 
size, one coat of good white starcn, and 1 
coat of a weak solution of gamboge in water. 
The ingredients are to be applied cold with a 
sponge and each coat allowed to dry before 
the next is applied. 

Litmus Paper, to Prepare. — The preparation 
of litmus is as follows The ground lichens are 
first treated with urine containing a little pot- 
ash, and allowed to ferment for several weeks, 
whe reby they produce a purple red; the col- 



ored liquor, treated with quicklime and some 
more urine, is again set to ferment during two 
or three weeks ; then it is mixed with chalk or 
gypsum into a paste which is formed into small 
cubical pieces by being pressed into brass 
moulds and dried in the shape. Litmus is easy 
to pulverize, is partially soluble in water and 
dilute alcohol, leaving a residue consisting of 
calcium carbonate, silica, gypsum and iron ox- 
ide combined with the dye. This residue is no 
soluble unless by treatment with acids, wine 
would interfere with the action of the litmu; 
For making litmus paper an infusion of 1 oz. 
litmus to }! pt. hot water is recommended by 
Faraday. 

Luminous Paper. — 1. Dry thoroughly and 
mix by grinding, 3 parts gelatine, 3 parts potas- 
sium bichromate and 37^£ parts calcium sul- 
phide. Stir 1 part of the powder with V& 
parts boiling water to a thickly fluid paint. 
Apply one or two coats with a brush to the 
paper or pasteboard to be made luminous. 

2. A foreign journal says that a luminous 
waterproof paper, which may be of use in 
places not well adapted for the application of 
the so-called luminous paint, may be made 
from a mixture of 40 parts pulp, 10 parts phos- 
phorescent powder, 1 part gelatine, 1 part 
potassium bichromate and 10 parts water. 

Manifold Paper.— Saturate fine unglazed pa- 
per with the following : Tallow, 2 oz.; graphite 
in finest powder. )4, oz.; linseed oil, 34 Pt.; lamp- 
black, sufficient quantity to make it of the con- 
sistence of cream. Melt and rub together in a 
mortar. 

Paper, to Remove Mildew from. See Cleans- 
ing (Mildew). 

Oiled Paper.— 1. Brush sheets of paper over 
with boiled oil in which a little shellac has been 
carefully dissolved over a slow fire; suspend 
on a line till dry. 

2. The paper is laid on a square board and 
well covered with a mixture composed as fol- 
lows : Boiled linseed oil is reboiled with litharge, 
lead acetate, zinc sulphate and burnt umber, 1 
oz. of each per gal. The first sheet is covered 
on both sides ; the second, placed on this, re- 
ceives one coating and so on ; separate and hang 
up to dry. 

Ozone Papers.— Mix boiled starch water with 
a small quantity of a solution of iodide of 
potassium, moisten papers with it, dry them 
and keep ready for use. If there is any ozone 
or acid vapors in the air, they will set the 
iodine free, and this will color the starch blue. 
The way to use this paper is evident. 

Packing Paper.— I. Packing paper may be 
made water tight by dissolving T82 lb. of white 
soap in 1 qt. water, and dissolving- in another 
quart P82 oz. (apothecaries' weight) gum arabic 
and 5*5 oz. glue. The two solutions are mixed 
and warmed, the paper is soaked in the mix- 
ture and passed between rollers or hung up to 
dry. 

2. The paper is treated with boiled linseed oil, 
the excess of oily particles being removed by 
benzine; it is then washed in a chlorine bath, 
and after drying, treated with hydrogen per- 
oxide. If the paper has been made from ropes 
it is coated with a layer of starch before the 
treatment of linseed oil and benzine. The 
final operation is satining, by a passage through 
smooth rollers. 

3. Russian oil cask bottoms are often pasted 
over on the outside with a kind of paper hav- 
ing a gelatinous looking skin, and which is 
quite oil tight. Such has been brushed over 
with a mixture of blood and lime, a prepara- 
tion much used in Russia and China, and quite 
oil and water tight. 

Papyrine.— Dip white unsized paper for ^ 
minute in strong sulphuric acid, afterward in 
water containing a little ammonia. Paper thus 
treated has, when dry, the toughness and ap- 
pearance of parchment. 

Parafflne Paper.— Dissolve paraffine in ben- 



Paper. 



372 



Paper. 



zine, and into the warm solution dip the paper, 
sheet by sheet; let drip off and dry. On the large 
scale it may be done by letting- paper from a 
continuous roll pass through such a solution and 
then between flannel to absorb the surplus. 
Wax is best dissolved in carbon disulphide, and 
paper can thus be made ready lor use in five min- 
utes. Quite a good plan is to apply the benzine 
solution of parafline by means of a sponge. 

Parchment Paper.— Strong unsized paper is 
immersed for a few seconds in oil of vitriol 
diluted w ith half its volume of water. It is then 
Avashed in pure water or weak ammonia water. 
The acid solution must not be warmer than 
the surrounding atmosphere. 

Parchment Paper, to Paste.— Moisten the sur- 
face of that part of the paper which is to be 
joined with alcohol or brandy, then apply the 
glue or paste; gum arabic will not answer. A 
firm joint may be made by inserting a piece of 
very thin paper between the surfaces of the 
parchment paper, 

Phenyl Paper.— Used for packing meat and 
substances liable to decay. Fuse 12^ parts 
stearic acid at a moderate heat. Mix with 5 
parts carbolic acid and 12^ parts paraffine 
(melted). Stir until the mixture becomes solid. 
Take the paper and go over quickly with a hot 
iron, against which is held a piece of the mix- 
ture, which will melt and run down on the 
paper. 

Paper Powder.— Sometimes called pollen pow- 
der. Boil the paper for a number of hours, 
strain and reduce to fine powder in a mortar. 
Sift this powder through a fine sieve. The 
powder is used to give the bloom to artificial 
fruit and is also used by taxidermists. 

Prepared Paper.— Paper prepared so that a 
brass pointer leaves a black mark on it. Dis- 
solve 34 oz. pure sodium sulphide and }/% oz. so- 
dium hyposulphite in 1 qt. rain water; filter the 
solution, and with it uniformly moisten the sur- 
face of the paper; then dry the latter under- 
pressure between clean blotting paper. 

Razor Strop Paper.— 1. Mix the finest emery 
and finely powdered glass with paper pulp and 
make into sheets in the ordinary way. Glue to 
a strip of wood. 

2. Smooth unsized paper is rubbed over after 
dampening with a mixture of calcined peroxide 
iron and emery. 

3. Paper prepared after the following recipe 
is said to render the use of the razor strop un- 
necessary. By merely wiping the razor on the 
paper to remove the lather after shaving, a 
keen edge is maintained without further 
trouble. The razor must be well sharpened at 
the outset. First, procure oxide of iron (by the 
addition of carbonate of soda to a solution of 
persulphate of iron), well wash the precipitate, 
and finally leave it of the consistence of cream. 
Spread this over soft paper very thinly with a 
soft brush. Cut the paper in pieces two inches 
square, dry, and it is ready for use. 

Resin. — 1. Spread evenly with black pitch. 
2. Beeswax, 2 oz.; tar and resin, each, 6 oz.; 
melt and spread evenly on paper. 

Removal of Paper. — The only way in which 
the paper can be removed is by covering it with 
a damp cloth until it is sufficiently moist, when 
it can be easily taken off. 

Safety Paper. — Protective for checks. Print 
with a fugitive writing ink, which will be easily 
destroyed. 

Non-erasible Paper.— 1. Paper may be prepared 
for bank checks and other documents so that 
any writing in ink once made thereon cannot 
be altered without leaving 1 plainly visible 
marks, by passing the sheets through a solu- 
tion composed of 0*015 grn. gallic acid to 1 gill 
distilled water. 

2. A simple way of preparing paper for bank 
checks, bills, etc., so that no writing can be 
erased without leaving plainly visible marks, is 
to pass the sheets through a solution of gallic 
acid. One milligram (0'01543 of a grn.) is dis- 
solved in as much pure distilled water as will 



fill an ordinary soup plate to a moderate depth. 
Paper, Sensitized. See Photography. 

Paper for Wrapping Up Silver.— Six parts of 
caustic soda dissolved in water until the hy- 
drometer shows 20° B. To this solution are 
added four parts of oxide of zinc, and boiled 
until dissolved. Sufficient water must next be 
added to reduce the solution to 10° B. Next 
dip paper or calico into this solution and dry. 
This wrapping will very effectually preserve 
silver articles from being blackened by sul- 
phureted hydrogen, which, as is well known, 
is contained in the atmosphere of all large 
cities. 

Size, for Paper. — Glue and alum water is 
about as satisfactory a size as can be used. 
Besides isinglass, mentioned above, a mixture 
of starch or dextrine and alum can be used. 
The cheaper sizes are made by heating clip- 
pings of hides, horns, bones, etc. The process 
is as follows: The articles, generally the first 
mentioned, are softened by soaking in cold 
Avater for a day or tAvo ; after that they are 
well cleaned by washing in running water. 
The next operation is to boil, or rather heat 
them Avith water. The temperature should 
never be allowed to rise much above 85° C. (185° 
F.), as gelatine strongly heated for any length 
of time loses its power of gelatinizing. The 
operation should be conducted in an iron or 
copper vessel, provided with a false bottom or a 
casing outside, Avhere steam may be introduced, 
and it should extend over about fifteen hours. 
The solution should then be drawn off and fil- 
tered into some convenient receptacle. The 
residue can again be heated with water, and a 
fresh quantity obtained, Avhich may be added 
to the bulk. A quantity of alum (about 20% of 
the clippings) dissolved in water is added. The 
size should be well filtered through Avoolen 
felt, after which it requires no further treat- 
ment. 

Split Paper.— 1. Get a piece of plate glass and 
place it on a sheet of paper ; then let the latter 
be thoroughly soaked. With care and a little 
dexterity the sheet can be split by the top sur- 
face being removed. But the best plan is to 
paste a piece of cloth or strong paper to each 
side of the sheet to be split. When dry, violently 
and without hesitation, pull the tAvo pieces 
asunder, when part of the sheet will be found 
to have adhered to one and part to the other. 
Soften the paste in water, and the pieces can 
be easily remo\ r ed from the cloth. 

The process is generally demonstrated as a 
matter of curiosity, yet it can be utilized in 
various ways. If Ave Avant to paste in a scrap- 
book a newspaper article printed on both sides 
of the paper, and possess only one copy, it is 
very com r enient to know how to detach the 
one side from the other. The paper, when 
split, as may be imagined, is more transparent 
than it Avas before being subjected to the 
operation, and the printing ink is someAvhat 
duller; otherwise the tAvo pieces present the 
appearance of the original if again brought to- 
gether. 

2. The paper to be split is pasted between two 
sheets of compact strong paper. The best flour 
paste should be used. Mucilage is unreliable. 
When nearly dry, if the tAvo outer pieces of 
paper are pulled apart, the central one will 
split, and one-half of the central piece Avill ad- 
here to each. By soaking in Avater they can be 
remoA r ed. Some kinds of paper work better 
than others. If the outer paper is of a loose 
texture, it may split instead of the desired one. 

Paper, Removal of Stains from. See also 
Cleansing.— Oil stains may be remoA^ed from 
paper by applying pipe clay powdered and 
mixed Avith water to the thickness of cream ; 
leave on for four hours. 

Sticking Paper.— Brush o\er your sheets a 
solution of dextrin, with sugar mixed. 

Test Papers —Use good unsized paper, Avet 
uniformly with the substance. In preparing 



Paper. 



373 



Paper. 



decoctions, making solutions, etc., where 
water is used, only distilled water must be 
used. 

1. Brazil Wood.— Make from the decoction; 
alkalies turn it to a purple; acids, if strong, to a 
red. 

2. Buckthorn.— Reddened by acids. 

3. Cherry Juice.— Same as buckthorn. 

4. Dahlia.— This very delicate test is turned 
green by alkalies, red by acids; caustic alkalies 
yellow. 

5. Elderberry.— Same as last. 

6. Same as last. 

7. Iodide of Potassium.— Make the solution in 
distilled water. Used in a number of ways as 
a test. 

8. Lead Acetate. — Make from a solution of 
the salt in water. Used to detect hydrogen 
sulphide. 

9. Litmus. See Litmus Paper. 

10. Mallow. — Prepare an infusion of the 
purple flowers of the mallow. Affected the 
same as the dahlia paper. 

11. Manganese.— From solution of manganese 
sulphate; blackened by ozone. 

12. Rhubarb.— Make a strong infusion of the 
powdered root. Alkalies turn it brown; boracic 
acid has no effect upon it. 

13. Rose.— Made from a strong infusion of the 
leaves of the red rose. Alkalies turn it green. 

14. Starch.— From a cold decoction of starch. 
Free iodine turns it blue. 

15. Sulphate of Iron.— From a solution of 
ferrous sulphate. Used as a test for hydro- 
cyanic acid. 

16. Turmeric— This is made by preparing an 
alcoholic tincture of turmeric root. Unsized 
paper may be stained with it; used in testing 
for alkalies. 

Tracing Paper.— The following receipts are 
from the Mechanics' Own Book : 

1. A German invention has for its object the 
rendering more or less transparent of paper 
used for writing or drawing, either with ink, 
pencil or crayon, and also to give the paper 
such a surface that such writing or drawing- 
may be completely removed by washing, with- 
out in any way injuring the paper. The object 
of making the paper translucent is that when 
used in schools the scholars can trace the copy, 
and thus become proficient in the formation 
of letters without the explanations usually 
necessary; and it may also be used in any place 
where tracings may be required, as by laying 
the paper over the object to be copied it can be 
plainly seen. Writing paper is used by prefer- 
ence, its preparation consisting in first saturat- 
ing it with benzine, and then immediately 
coatingthe paper with a suitable rapidly drying 
varnish before the benzine can evaporate. The 
application of varnish is by preference made 
by plunging the paper into a bath of it, but it 
may be applied with a brush or sponge. The 
varnish is prepared of the following ingredi- 
ents: Boiled bleached linseed oil, 20 lb.; lead 
shavings, 1 lb.; zinc oxide, 5 lb.; Venetian tur- 
pentine, }4 lb- Mix, and boil eight hours. After 
cooling, strain, and add 5 lb. white copal and hi 
lb. sandarac. 

2. The following is a capital method of pre- 
paring tracing paper for architectural or en- 
gineering tracings: Take common tissue or 
cap paper, any size of sheet ; lay each sheet 
on a flat surface, and sponge over (one side) 
with the following, taking care not to miss any 
part of the surface : Canada balsam, 2 pt.; spir- 
its of turpentine, 3 pt.; to which add a few 
drops of old nut oil ; a sponge is the best in- 
strument for applying the mixture, which 
should be used warm. As each sheet is pre- 
pared, it should be hung up to dry over two 
cords stretched tightly and parallel, about 8 in. 
apart, to prevent the lower edges of the paper 
from coming in contact. As soon as dry, the 
sheets should be carefully rolled on straight 
and smooth wooden rollers about 2 in. in diame- 
ter, covered with paper. The sheets will be dry 



when no stickiness can be felt. A little practice 
will enable any one to make good tracing paper 
in this way at a moderate rate. The composi- 
tion gives substance to the tissue paper. 

3. You may make paper sufficiently transpar- 
ent for tracing by saturating it with spirits of 
turpentine or benzoline. As long as the paper 
continues to be moistened with either of these, 
you can carry on your tracing ; when the spir- 
it has evaporated, the paper will be opaque. 
Ink or water colors may be used on the surface 
without running. 

4. A convenient method for rendering ordin- 
ary drawing paper transparent for the purpose 
of making tracings, and of removing its tran- 
parency, so as to restore its former appear- 
ance when the drawing is completed, has been 
invented by Puscher. It consists in dissolving 
a given quantity of castor oil in 1, 2, or 3 vol- 
umes of absolute alcohol, according to the 
thickness of the paper, and applying it by means 
of sponge. The alcohol evaporates in a few min- 
utes and the tracing paper is dry and ready 
for immediate use. The drawing or tracing 
can be made either with lead pencil or Indian 
ink, and the oil removed from the paper by 
immersing it in absolute alcohol, thus restoring 
its original opacity. The alcohol employed in 
removing the oil is, of course, preserved for 
diluting the oil used in preparing the next 
sheet. • 

5. Put hi oz. gum mastic into a bottle holding 
6 oz. best spirits of turpentine, shaking it up 
day by day ; when thoroughly dissolved, it is 
ready for use. It can be made thinner at any 
time by adding more turps. Then take some 
sheets of the best quality tissue paper, open 
them, and apply the mixture with a small 
brush. Hang up to dry. 

6. Saturate ordinary writing paper with pe- 
troleum, and wipe the surface dry. 

7. Lay a sheet of fine white wove tissue pa- 
per on a clean board, brush it softly on both 
sides with a solution of beeswax in spirits of 
turpentine (say about \k oz. in \>& pint), and 
hang to dry for a few days out of the dust.— Me- 
chanics' Own Booh. 

8. Tracing Paper that may be Washed.— Use 
writing paper, saturate it with benzine, and 
then immediately coat the paper with a suit- 
able, rapidly drying varnish before the benzine 
can evaporate. The varnish is prepared as fol- 
lows: Boiled bleached linseed oil, 20 lb.; lead 
shavings, 1 lb.; zinc oxide, 5 lb.; Venice turpen- 
tine, y& lb.; mix and boil for 8 hours. After 
cooling, strain, and add white gum copal, 5 lb., 
and gum sandarac, J^lb. Thus prepared the pa- 
per will be found to possess all the requisites 
for use as stated above.— Science Record, 187 k. 

9. Steep sheets of suitable paper in a strong 
solution of gum arabic, and afterward take 
off the superfluity of the liquid by pressing 
each sheet between two others of similar paper, 
but dry. It will be found that the three sheets 
are converted into a first-rate tracing paper. It 
is indispensable that the solution be strong, 
about the consistency of boiled oil. Paper pre- 
pared as above directed possesses every requis- 
ite that can be wished for. 

Transfer Paper.— I. Rub the surface of thin 
post or tissue paper with graphite, black lead, 
vermilion, red chalk, or other pigment and 
carefully remove the excess of coloring matter 
by rubbing with a clean rag. 

2. Rub into thin white paper a mixture of 6 
parts lard and 1 part beeswax, with sufficient 
fine lampblack to give it a good color; apply 
the mixture warm, and not in excess. 

3. Under exactly the same conditions use a 
compound consisting of 2 oz. tallow, V£ oz. 
powdered blacklead, graphite, hi Pt. linseed oil, 
and enough lampblack to produce a creamy 
consistence.— Mechanics' Own Booh. 

4. Black Transfer Paper.— Get some ungtazed 
paper and rub it well with a paste made of gas 
black or black from a parafBne lamp and olive 
oil, with a piece of sponge. 



Paper. 

5. Writing and Drawing on Transfer Paper.— 
To dissolve solid lithograph ink, warm the pot 
at the fire or gas, using rain or distilled water 
to rub it down with, as it is softer than other 
water. The pen will be found to work better 
at first if it is dipped in oil, and then wiped pre- 
vious to writing. 

6. Brackelsberg's multiplying paper consists 
of sheets of paper, each one supplied with a 
coloring layer whose principal element is a 
violet aniline methyl. An oiled leaf serves as 

, a hard, smooth under layer. Place a sheet of 
[the copy paper on this, then a sheet of writing 
paper and write with a hard lead pencil. The 
back of the writing paper will give a negative 
of the writing in high color. Wet the copy 
sheet thoroughly, and from it twenty or more 
copies can be made, which will not roll nor 
show a gelatinous coating. Embroidery and 
compass sawing patterns are finely rendered in 
this way. 

Transfer Paper for Warm Stones. — Make a 
size by boiling parchment cuttings. Let it be 
so strong that when cold it will be firm jelly. 
Grind dry flake white with water, add it to the 
size after warming it, mix well and rub through 
a sieve. The proportion of flake white may 
vary with circumstances. If too much be used 
pens will not work upon it properly, and prob- 
ably the finest lines will fail in transferring. 
Coat the paper with the composition with a 
full brush, or use a sponge and give two coats, 
• the second when the first is dry. If for writ- 
ing, the paper may be thin, if for drawing it 
should be thicker, using drawing paper for 
very large subjects. The stone for this paper 
should be quite warm. Similar paper is made 
from gelatine or from the better sorts of glue, 
instead of parchment cuttings. Other sub- 
stances are also used instead of flake white, 
such as chalk and old plaster of Paris. Flake 
white is best because it grinds up so finely. 

Paper for Cold Stones.— Take 4 oz. of starch 
and 1 oz. best pale colored glue. Break the 
glue and put it in cold water overnight to 
soak. Mix the starch with a little cold water 
and then pour boiling water upon it till it 
thickens, stirring it all the time. Now put in 
the glue and boil over a slow fire or gas jet, 
brush over the paper while warm. This may 
be used on tracing paper, printing paper or 
writing paper. For ordinary use printing 
paper is preferable, because the water pene- 
trates more quickly through the back of it in 
transferring. Some persons add a little flake 
white. If a more adhesive paper is required, 
a common kind of glue may be used and its 
proportion increased or gum arabic, or even 
dextrine, may be added. 

Lithographic Transfer Paper. — Dissolve in 
water }4 oz. gum tragacanth. Strain and add 
1 oz. of glue and 1 oz. of gamboge. Then take 
4 oz. French chalk, }4 oz. old plaster of Paris, 1 
oz. starch; powder, and sift through a fine sieve; 
grind up, with the gum, glue, and gamboge; 
then add sufficient water to give it the consist- 
ence of oil, and apply with a brush to thin 
sized paper r 

Coloring Transfer Paper.— The addition of 
coloring matter to transfer paper is for the 
3 more ready determination of the coated side. 
Gamboge is generally used, but any kind of 
coloring matter will answer the purpose. A 
light pink tint is distinguishable by artificial 
light, Avhile a yeilow is scarcely visible. Rose 
pink or a solution of cochineal in ammonia 
answers this purpose. 

To Toughen Paper.— A plan for rendering paper 
as tough as wood or leather consists in mixing 
chloride of zinc with the pulp in the course of 
manufacture. It has been found that the 
greater the degree of concentration of the 
zinc solution, the greater will be the toughness 
of the paper. It can be used for making boxes, 
combs, for roofing, and even for making 
boots. 



374 Paper. 



Transparent Paper.— There are several meth- 
ods of rendering paper transparent, among 
which the following have been recommended : 
Boiled and bleached linseed oil, 120 parts; lead 
turnings, 6 parts; oxide of zinc, 30 parts; Venice 
turpentine, 3 parts. The above ingredients are 
placed in an iron or other suitable vessel, in 
which they are thoroughly mixed and the whole 
then boiled for about eight hours. The mixture 
is then allowed to cool, when it is again well 
stirred and the following substances added: 
White copal, 30 parts; gum sandarac, 2 parts; 
these ingredients being well incorporated by 
Stirring. 

Drawing Paper, to Render Transparent.— Dis- 
solve a given quantity of castor oil in 1, 2 or 3 
volumes of absolute alcohol, according to the 
thickness of the paper, and apply with a 
sponge. The alcohol evaporates in a few 
minutes and the tracing paper is ready for im- 
mediate use. The drawing or tracing can be 
made either with lead pencil or India ink, and 
the oil removed from the paper by immersing 
it in absolute alcohol, thus restoring its origi- 
nal opacity. The ink used must be of the 
water-proof variety. 

Paper, Varnish for. See Varnishes. 

Paper, to Waterproof. See Waterproof- 
ing. 

Waxed Paper. — Place cartridge or other 
paper on a hot iron and rub it with beeswax, or 
brush on a solution of wax in turpentine. On 
a large scale, it is prepared by opening a quire 
of paper flat upon a table, and rapidly ironing 
it with a heavy hot iron, against which is held 
a piece of wax, which, melting, runs down 
upon the paper and is absorbed by it. Any ex- 
cess on the topmost layer readily penetrates to 
the lower ones. Such paper is useful for making 
waterproof and airproof tubes, and for general 
wrapping purposes. 

Paper Hanging.— The art of putting on 
or hanging paper, is very simple, and is easily 
learned; but to make a tasteful choice of pa- 
per for various situations is not so easy Hence 
the following remarks, which may be of service 
to the workman or others on whom the selec- 
tion of paper may devolve. 

Walls to a room should be regarded only in 
the light of a framework to what the room 
contains, and should be decorated so as to 
bring into prominence and not eclipse the other 
parts of the chamber. Nothing destroys the 
effect of a room so much as a handsome but 
staring - wall paper, or a wall so profusely orna- 
mented as to strike upon the eye to the exclu- 
sion of the rest of the decorations, tnus bring- 
ing forward what should be the background 
into the most conspicuous place. A modern 
drawing room is always difficult to decorate 
artistically, because of the taste of its build- 
ers for heavy cornices, prominent mantel- 
pieces and rooms too lofty for their size; and 
as all these misnamed embellishments are 
too costly to remove by tenants, the only plan 
to pursue is to destroy their effect by exercis- 
ing both taste and ingenuity. First, with re- 
gard to the ceiling, the ornamental plaster 
boss in its center should be removed and the 
ceiling tinted a color that harmonizes with the 
wall paper, as no harmonies can be hoped for 
when what produces them is surmounted with 
the glaring white of an Qrdinary ceiling-. The 
tint used must be one that softens into the 
wall paper, not one that contrasts; thus, if the 
tone of the room is that of a soft gray blue, 
the ceiling should be a clear flesh pink; or 
should a gray green picked out with black be 
the chosen color, then it should be colored a 
subdued lemon. 

Some people cover their ceilings with a 
whole colored paper, and border it with a sten- 
ciled pattern representing the thin garlands 






Paper. 



375 



Papier. 



so familiar upon Queen Anne decorations, but 
this is a more troublesome plan than the sim- 
ple coloring, which answers all the purposes. 
The walls, if they are lofty, require a high 
dado. These high dados give a look of com- 
fort and home that is absent from the modern 
high pitched room papered with one uniform 
pattern. The dado is divided 3 ft. to 4 ft. 
from the ceiling, and the coloring of the lower 
portion must always be heavier than that used 
on the upper, or a top-heavy look will be given 
to the room. When many pictures are to be 
hung up, the lower part of the dado should be 
of a whole color, either a whole colored paper 
or a painted wall, as pictures are only shown 
off upon such a background. When a whole tint 
is used for the lower part of the dado, the up- 
per portion should be decorated with a frieze 
paper of a good bold pattern, but of subdued 
coloring, and of tint that harmonizes with the 
lower. Thus, the color used about the frieze 
should be the same as that on the lower part, 
but of a lighter shade, intermixed with some 
other colors that form a harmonious link be- 
tween the two shades. Contrasts must be care- 
fully avoided, but pale pinks, blue and ambers 
can be blended together above a subdued gray 
blue ground. The two portions of the dado 
should be joined together with a light wooden 
(black or brown) railing, or with a line of 
paint. 

The dado decoration can be altered by 
placing the pattern paper upon the lower part 
and leaving the upper plain colored, with 
or without a stenciled pattern upon it. This 
will suit a room where not many pictures are 
required, or that is already rather dark. Some 
part of the wall should always be in plain color, 
as the eye requires rest; and no pattern,however 
subdued in hue, can give the relief to the 
mind that a bit of plain coloring affords, and 
this scarcity of ornament in one part of a room 
is amply repaid by the effect it gives to such 
parts as are bright and should be bright. The 
true theory of effect is to use but one or two 
bright colors in a room, and to surround them 
by soft and subdued tints that throw up and 
do not destroy their brilliancy; a number of 
bright colors placed together destroy each 
other and leave no impression upon the mind 
but glare and vulgarity. Having settled upon 
your paper and ceiling, have the woodwork 
and cornice of the room painted either a shade 
lighter or darker than the walls, and shroud 
up the mantelpiece with curtains, etc., of 
satin sheeting embroidered with crewels, and 
instead of the usual looking glass over the fire- 
place, have a mirror surrounded with brackets 
holding china; or have a black wooden mantel- 
piece made with squares of looking glass set 
in. The background of your room being thus 
completed in a manner really to be a back- 
ground, your furniture will look twice as well 
as if it were stared out of countenance by 
the walls, and one need hardly add that all 
your friends will delight in a room that throws 
up and brings out their dresses and faces, in- 
stead of killing them by its glaring tints. 

To prepare the walls, make a size of glue and 
water, then give the walls a coat of a very 
weak solution of the same. To make a paste, 
take 2 lb. of fine flour, nut in a pail, add cold 
water and stir it up together in a thick paste. 
Take a piece of alum about the size of a small 
chestnut, pound it fine and throw it into the 
paste; mix well. Then provide about 6 qt. of 
boiling water and mix while hot with the 
paste until the whole is brought to a proper 
consistency. This makes an excellent paste, 
and fit for use when cold. 

Paper, Wall.— The following table from 
the New York Newsdealer shows how many 
rolls of wall paper are required to cover a 
room of the dimensions indicated by the fig- 
ures in the left hand column, also the number 
of yards of border necessary : 



Size of Room. 



7X9 

7X9 

7X9 

7X9 

8X10 

8X10 

8X10 

8X10 

9XU 

9X11 

9X11 

9X11 

10X12 

10X12 

10X12 

10X12 

11X12 

11X12 

11X12 

11X12 

12X13 

12X13 

12X13 

12x13. . 

12X15 'or 13X14." 
12X15 or 13X14. 
12X15 or 13X14. 
12X15 or 13X14. 

13X15 

13X15 , 

13X15 

13X15 

14X16 

14X16 

14X16 

14X18 

14X18 

14X18 

15X16 

15X17 



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8 


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8 


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8 


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12 


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8 


2 


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2 


10 


2 


12 


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£ ft 



10 
7 
8 
9 

il 
8 

10 

11 

13 

9 

10 
11 
13 
S 
9 
10 
13 
8 
10 
11 
14 
10 
11 
12 
15 
10 
11 
13 
16 
12 
14 
17 
13 
15 
19 
15 
19 



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11 
11 
11 
11 

12 
12 
13 
12 
14 
14 
14 
14 
15 
15 
15 
15 
16 
16 
16 
16 
17 
17 
17 
17 
18 
18 
18 
18 
19 
19 
19 
19 
20 
20 
20 
22 



21 

22 



Deduct one-half roll of paper for each or- 
dinary door or window extra— size 4x7 feet. 

Papier Mac-lie, to Clean. See Cleans- 
ing. 

Papier Mache.— Paper mache is obtained 
from old paper and the like made into a pulp 
by grinding with milk of lime or lime water, 
and a little gum dextrin or starch. This pulp 
is then pressed into form, coated with linseed 
oil, baked at a high temperature, and finally 
varnished. The pulp is sometimes mixed with 
clay (kaolin), chalk, etc.; and other kinds are 
made of a paste of pulp and recently slaked 
lime. This is used for ornamenting wood, etc. 

2. Pulped Paper Moulded into Forms.— It pos- 
sesses great strength and lightness. It may be 
rendered partially water proof by the addition 
of sulphate of iron, quicklime and glue, or 
white of egg, to the pulp; and incombustible 
by the addition of borax and phosphate of soda. 
The papier mache tea trays, waiters,' snuff 
boxes, etc., are prepared by pasting or gluing 
sheets of paper together, and submitting them 
to powerful pressure, by which the composi- 
tion acquires the hardness of board when dry. 
Such articles are afterward japanned, and are 
then perfectly water proof. 

3. A durable and inexpensive method of em- 
ploying papier mache as a substitute for mat- 
tings, carpets, etc., is as follows : After the 
floor has been thoroughly cleaned, the holes 
and cracks are then filled with paper putty, 
made by soaking newspaper in a paste made of 
wheat flour,water,and ground alum, that is, tol 
lb. of such flour are added 3 qt. of water and a 
tablespoonful of ground alum, these being 
thoroughly mixed. AVith this paste the floor 



Para III ue. 



376 



Pastes. 



is uniformly coated, and upon this a thickness 
of manila or hardware paper is placed, or if two 
layers are desired, a second covering- of paste is 
spread on the first layer of manila paper, and 
then the second thickness of paper is put on, 
and the whole allowed to become perfectly dry; 
on this being- accomplished another surface of 
paste is added, succeeded by a layer of wall 
paper of any style or pattern desired. On the 
work becoming entirely dry, it is covered with 
two or more coats of sizing, made by dissolv- 
ing ^ lb. of white glue in 3 qt. of hot water, 
and when this has dried, a coat of hard oil 
finish varnish. 

4. Paper is pulped in a mortar (or pulping 
engine) and mixed with ordinary glue size 
thinned somewhat with hot water. Remove 
the pulp and let it partially drain upon a linen 
covered frame. Put a quantity of this into the 
mould under strong pressure, and let it remain 
until it becomes hard enough to handle. A 
counter mould is used in casting such thin 
sheets. Plaster moulds are too fragile. Casts in 
type metal or fusible metal are much better. 

Paradise Water. See Waters. 

Paraffine Paper. See Paper. 

Parchment, to Clean. See Cleansing. 

Parchment Glue. See Glues. 

Parchment, Liquid.— According to Dr. 
Hofmann, a fluid by this name, consisting of 
gutta percha softened and soaked in ether, is 
especially adapted for forming a coating for 
pictures and cards, it permitting the removal 
of dirt with a moist rag. Pencil and crayon 
drawings may be rendered ineffaceable by 
sprinkling with this liquid by means of an atom- 
izer, an exceedingly delicate film remaining on 
the evaporation of the ether. 

Parchment, to Prevent the Scaling 
of White Pigment on.— Reduce to powder 
and dissolve quickly in cold water a quantity of 
gum tragacanth. There must be sufficient 
water to give to the diluted gum the consist- 
ence of a jelly. Mix with this your pigments 
(sulphate of baryta), and, after finishing the 
work, spray with a little naphtha in which has 
been digested for some time a quantity of 
caoutchouc. The naphtha will soon evaporate, 
leaving behind the caoutchouc as an extremely 
thin and adhesive, but perfectly transparent, 
film. 

Parchment, to Color.— 1. Prepare the 
parchment with pounce as for writing. Use 
ordinary water colors mixed with alum water. 
The alum makes the parchment take the paints 
readily. Go over the part to be painted quickly 
with the color. It is best to have the parch- 
ment on a slanting surface, as then the water 
does Hot soak in so much. Parchment does not 
cockle unless wet through. 

2. Green.— Boil 8 parts cream of tartar and 
30 parts of crystallized verdigris in 500 parts 
water; when this solution is cold, pour into it 4 
parts nitric acid. Moisten the parchment with 
a brush, and then apply the above liquid evenly 
over its surface. The necessary surface finish 
is given with white of eggs, or mucilage of gum 
arabic. 

Parchment, to Smooth.— To smooth 
parchment which has become wrinkled, place 
the parchment face down upon clean blotting- 
paper. Beat up to a clear froth, with a few 
drops of clove oil, the whites of several fresh 
eggs, and with the fingers spread this over the 
back of the sheet and rub it in until the parch- 
ment becomes smooth and yielding. Then 
spread it out as smooth as possible, cover with 
oil silk and press for a day. Then remove the 
silk and cover with a linen cloth and press with 
a warm iron. 

Parchment, to Make Transparent.— 
Soak a thin skin of parchment in a strong lye 
of wood ashes, often wringing it out until you 
find it becomes transparent; then strain it on a 
frame and let dry. 



This will be much improved if, after it is dry 
you give it a coat, on both sides, of clear mastic 
varnish, diluted with spirits of turpentine. 

Parchment, Vegetable.— Is made by dip- 
ping ordinary paper, for a few seconds, into a 
solution containing one part water to six parts 
sulphuric acid; then washing it carefully, to re- 
move every trace of acid. 

Parfalt Amour. See Liquors, 

Paris, Plaster of. See Plaster of Paris. 

Parkesine.- Name given to a preparation 
made by incorporating castor oil, collodion and 
wood spirit. The mixture gradually solidifies 
and finally becomes a hard mass. It is used for 
ornamenting combs, knife handles and but- 
tons. 

Parlor Matches. See Matches. 

Paste. — (Ceramics.) Term applied to clay 
either by itself or mixed with other materials. 

Pasteboard, Enamel for. See En- 
ameling. 

Paste, German. —Pea meal, 2 lb.; sweet- 
almonds (blanched), 1 lb.; fresh butter or lard* 
J41b.; moist sugar, 5 oz.; hay saffron, y% drm.; 
beat to a smooth paste, adding cold water, q. s.; 
granulate the mass by passing it through a col- 
ander, and expose the product to the air in a 
warm place until quite hard and dry. The ad- 
dition of two or three eggs improves it. Used 
to feed larks, nightingales and other insect- 
ivorous birds. It will keep good for twelve 
months in a dry place. 

Paste, Shaving. See Creams,- 

Pastes. See also Cements Glues, and 

Mucilages. — I. Take a quart of water and 
dissolve in it a teaspoon!' ul of pure powdered 
alum. Stir into this enough of flour to make a 
thick cream. Break up every little lump of 
flour until the mixture is smooth. Stir in next 
a teaspoonful of powdered resin. Now pour in 
a cupful of boiling water. Stir it all well. 
When the mixture has thickened from cooking- 
by the boiling water, pour into an earthen ves- 
sel. Cover it up and keep it in a cool place. 
Add a f ew drops oil of cloves. Whenever you 
want to use any portion of it, take what you 
need and soften it with a little warm water. 

This will give you a perfect paste, clean, 
wholesome, and lasting. You will be surprised 
how little waste you will have. Should you 
need larger quantities, increase the proportions 
in proper ratio, doubling or trebling each in- 
gredient, according- to the magnitude of the 
business requiring it. — American Art Printer. 

2. A solution of 2^ oz. gum arabic in 2 qt. 
warm water is thickened to a paste with wheat 
flour; to this is added a solution of alum and 
sugar of lead, V/% oz.each in water; the mixture is 
heated and stirred about to boil and is then 
cooled. It may be thinned, if necessary, with 
a gum solution. 

Adhesive Paste.— 1. Take 4 oz. common gela- 
tine in small pieces and steep it in 16 oz. 
water until it becomes soft; then by the aid of 
the heat of a water bath dissolve it, and while 
still hot pour into a mixture of 2 lb. good flour 
paste and 1 pt. water. Heat the whole to boiling, 
and when thickened remove from the fire; 
while cooling add 6 drm. silicate of soda and 
stir into the mixture with a Avooden spatula. 
This prepai-ation will keep good for an indefinite 
period, and is very adhesive. . The addition of 
2 drm. oil of cloves is an improvement. 

2. The following from Dingier' 's Journal is 
highly recommended. Let 4 parts by weight of 
glue soften in 15 parts cold, water for fifteen 
hours, after which the mixture is heated until 
clear. Add 65 parts boiling water. In another 
vessel stir 30 parts starch paste in 20 parts 
water. Into this the glue solution is poured. 
Stir wefl, and on cooling add 10 drops carbolic 
acid. 

Artists and Architects, Paste /or.— Boil white 
paper in water for five hours, then pour off the 






Pastes. 



377 



Pastes. 






water and pound the pulp in a mortal'; pass it 
through a sieve and mix with some gum water 
or isinglass glue. It is used in modeling by 
artists and architects. 

Bags, Paste for Manufacture of.— Add to 3 
parts wheat starch 2\ to 30 parts of cold water, 
stir together to a homogeneous mass of about 
the thickness of sirup. Pour over this, with 
constant stirring, boiling water until the paste 
is of the required consistency. Stir until 
partly cold. Take a portion of the paste and 
add to it Q% to 15% liquefied Venice turpentine, 
rub together until a kind of emulsion is 
formed. Then mix the whole together and 
work thoroughly. 

Bill Sticking Paste. — Take flour, 25 lb.; alum 
in powder, % lb.; boiling water sufficient quan- 
tity. Paste will not very long resist the action 
of wet weather; but may be made to do so by 
giving the bill, after sticking it, a wash of soap 
water, sugar of lead solution, or a solution of 
crude lac in naphtha. 

Chinese Paste. — Bullock's blood, 9 parts ; 
quicklime, 1 part. Beat to a paste. For use, 
beat it to a proper consistence with water. 

Cloth, Paste for.— Use rye flour paste, adding 
to it about Ya the weight of the flour of good 
glue. As the paste is for immediate use there 
is no need of adding alum, gum dextrine, or 
any preservative. 

Dextrine Paste.— In hot water dissolve a suffi- 
cient quantity of dextrine to bring it to the 
consistency of honey. This forms a strong ad- 
hesive paste that will keep a long time un- 
changed, if the water is net allowed to evapor- 
ate. Sheets of paper may be prepared for ex- 
tempore labels by coating one side with the 
paste and allowing it to dry; when to be used, 
by slightly wetting the gummed side, it will 
adhere to glass. This paste is very useful in 
the office or laboratory. 

Durable Paste.— Four parts by weight of glue 
are allowed to soften in 15 part r cold water for 
some hours, and then moderately heated till 
the solution becomes quite slear. Sixty-five 
parts boiling water are now added with stir- 
ring. In another vessel 30 parts starch paste 
are stirred up with 20 parts, so that a thin 
milky fluid is obtained without lumps. Into 
this the boiling glue solution is poured, with 
constant stirring and the whole is kept at the 
boiling temperature. After cooling, 10 drops 
carbolic acid are added. Preserve in tight bot- 
tles. 

Engravings, Paste for.— For this purpose we 
would recommend the use of a thin paste. A 
mixture of gum tragacanth and gum arabic 
forms with water a thinner mucilage than 
either of these two gums alone. Rice flour is 
said to make an excellent paste for fine paper 
work. 

Flour Paste.— 1. Water, 1 qt.; alum,%oz. Dis- 
solve, and when cold, add flour to make it of 
the consistence of cream, then bring it to a 
boil, stirring it all the while. 

2. (Hard).— To the above add a little pow- 
dered resin and a clove or two before boiling. 
This will keep for twelve months. When dry it 
may be softened with water. 

3. Paste for Paper Hanging.— Take y 2 quar- 
tern of flour (best biscuit) and put it into a pail, 
with a small portion of alum, broken up small ; 
mix it up into a stiff batter with warm water ; 
have ready a large saucepan of boiling water, 
and pour it over the paste, stirring well all the 
time, or it will be lumpy. If properly done, 
it will thicken as the boiling water is poured 
over it ; if it does not thicken, set it over the 
fire a few minutes, but be sure you stir it, or it 
will burn. When well thickened, throw a dash 
of cold water over it, as it prevents it skinning 
while cooling. Use rather thin. You can thin 
it with cold water. 

4. Mix 1 lb. rye flour in lukewarm water, to 
which has been added 1 teaspoonf ul of pulver- 
ized alum ; stir until free of lumps. Boil in the 
regular way or slowly pour on boiling water, 



storing all the time, until the paste becomes 
stiff. When cold add a full 34 lb. of common 
strained honey, mix well (regular bee honey, 
no patent mixture). In labeling always paste 
the tin (or other work) and apply the label. 

Gelatine Paste.— A good paste for mounting 
photographs, etc., can be made of the follow- 
ing ingredients : Cooking gelatine, 1 oz.; alco- 
hol, 95%, 10 oz.; glycerine, y 2 to 1 oz. Soak 
glycerine in cold water for an hour or more; 
take out and drain off all the water which will 
go; add to alcohol in wide mouthed bottle. 
Add ^ to 1 oz. of glycerine according as gela- 
tine is of a hard or soft kind. Put bottle in 
hot water, with occasional shaking, until gela- 
tine is quite dissolved. Will keep indefinitely, 
and has only to be heated up when wanted for 
use. This paste is applied rapidly and as thinly 
as possible with a broad bristle (varnish) brush. 
It is very highly recommended for photogra- 
phers 1 use. 

Glycerine Paste for Office Use.— Dissolve in 6 
oz. boiling water 2 oz. gum arabic and 4 drm. 
of glycerine. 

Paste, Gum Arabic— Gum arabic (picked), 1 
lb.; water, 1 pt., 4 oz,; dissolve; add 1 lb. white 
sugar; evaporate by a gentle heat to a very 
thick sirup, then add the whites of 3 eggs, 
previously beaten up with orange flower 
water, 1 fl. oz., and strained through muslin, 
and continue the heat with constant stirring, 
until of a proper consistence on being cooled. 
Used as a substitute for marshmallow paste. 

Gum Paste.— Ordinary gum paste is made of 
picked gum arabic and white sugar, equal 
parts, and to each pound of gum 1 pt. of water. 
Dissolve the gum, add the sugar, and evapor- 
ate until it is thick sirup. Then add the whites 
of eggs (about 3 to each pound of gum), pi-e- 
viously beaten up with orange flower water or 
other flavoring; strain through muslin, and 
continue the evaporation until it will set readi- 
ly when cooled. 

Labeling, Paste f or.— 1. Tragacanth, 1 oz.; gum 
arabic, 4 oz.; water, 1 pt. Dissolve, strain, and 
add thymol, 14 grn.; glycerine, 4 oz.; and water 
to make 2 pt. Shake or stir before using it. 

2. Rye flour, 4 oz.; alum, y> oz.; water, 8 oz. 
Rub to a smooth paste, pour into a pint of boil- 
ing water, heat until thick, and finally add 
glycerine, 1 oz.; and oil of cloves, 30 drops. 

3. Rye flour, 4 oz.; water, 1 pt. Mix, strain, 
add nitric acid, 1 drm., heat until thickened, 
and finally add carbolic acid, 10 minims; oil 
of cloves, 10 minims ; and glycerine, 1 oz. 

4. Dextrin, 8 parts; water, 10 parts; acetic 
acid, 2 parts. Mix to a smooth paste, and add 
alcohol, 2 parts. This is suitable for bottles of 
wood, but not for tin, for which the first three 
are likewise adapted. 

5. A paste very similar to 3, but omitting^ 
nitric acid and glycerine, is also recommended 
by Dr. H. T. Cummings. — Am. Journ. Phar- 



macy. 

6. A good 
Starch, 2 dr.; 
di-m.; water, 



paste for labels for specimens: 
white sugar, 1 oz.: gum arabic, 2 
q. s. Dissolve the gum, add the 
sugar, and boil until the starch is cooked. 

7. A good paste is made by soaking flake 
tragacanth in sufficient cold water that the 
brush will not sink into the paste when finished. 
To prevent souring, add to the water 2 grn. 
hydronaphthol (dissolved in a little alcohol) for 
each pint, and a few drops clove oil for scent. 
To keep away the flies add some oil of penny- 
royal. Avoid, in making pastes, oil of winter- 
green and carbolic acid, for these produce a 
purplish discoloration by contact with the 
tinned iron of the brush. 

7. Starch paste with which a little Venice- 
turpentine has been incorporated while it is 
warm. 

Sticking Labels to Tinned Plate.— 1. Dissolve 
some isinglass in acetic acid, and brush the 
labels over with it. There will be no cause to 
complain of their coming off, nor yet of strik- 
ing through the paper. Take a wide-mouthed 



Pastes. 



378 



Pastes. 



bottle, fill about two-thirds with commercial 
acetic acid, and put in as much isinglass as the 
liquid will hold, and set aside in a warm place Un- 
til completely dissolved. When cold it should 
form a jelly. To use it, place the bottle in hot 
water. The cork should be a well fitting", sound 
one, and smeared with vaseline or melted paraf- 
fine. 
See also Mucilages for Tin Plate. 

2. Soften good glue in water; then boil it with 
strong vinegar, and thicken the liquid, during 
boiling, with fine wheat flour, so that a paste 
results. 

3. Starch paste, with which a little Venice 
turpentine has been incorporated while it was 
warm. 

4. T. A. Richardson, the architect, recom- 
mends to every 2 tablespoonf uls of the best 
wheat flour to add a teaspoonf ul of common 
moist or brown sugar, and a few drops cor- 
rosive sublimate; the whoie to be boiled, and 
continually stirred to prevent getting lumpy, 
till of the right thickness. To prevent mouldi- 
ness, a few drops of some essential oil, as laven- 
der or peppermint. This paste is used to make 
different thicknesses of cardboard. In putting 
or jointing together, he recommends 6 oz. gum 
arabic (best), 1 oz. or less of moist or lump 
sugar, 1 teaspoonful of lavender or other es- 
sential oil, and a tablespoonful of gin; the 
whole to be mixed in cold water to the con- 
sistency of a thick sirup, no heat being in any 
way applied. 

5. Dissolve 180 grn. of best French glue in 180 
grn. of water by soaking and heating. Then 
add a solution of 1 grn. of shellac in 6 grn. of 
alcohol, and stir well as long as the solution is 
warm. Mix also 35 grn. of dextrine in 50 grn. of 
alcohol and 25 grn. of water; stir it well in a 
beaker and place it into warm water until the 
solution is completed and has acquired a clear 
brown color. Mix this solution with that of 
the glue, and pour the whole into a suitable 
form in which it may solidify. When wanted 
for use, cut off a small piece and liquefy it by 
warming. 

6. Soften glue in cold water, and dissolve it 
in strong vinegar. Mix with it a quantity of 
dry starch about equal to the glue taken, first 
having boiled it with water sufficient to form a 
paste. 

7. Labels on Machines, Paste for.— A paste or 
mucilage to resist damp may be made as fol- 
lows : Prepare a paste of good rye flour and 
glue, to which linseed oil varnish and turpen- 
tine have been added in the proportion of y% oz. 
each to the lb. 

8. Paste to Make Labels Adhere to Metals.— 
Water, lpt.; borax, 1 oz.; shellac, 5 oz.; boil un- 
til *he latter is dissolved. Thin with boiling- 
water. If necessary use hot. 

Paste, London.— Mix equal parts of unslaked 
lime and caustic soda; mix intimately after re- 
ducing to a tine powder in a warm mortar. 
Keep the mixture in an air tight bottle and 
mix up with water as required for use. 

Paste Paper.— Boil white paper in water for 
five hours; then pour off the water, and pound 
the pulp in a mortar; pass it through a sieve 
and mix with some gum water or isinglass 
glue. It is used in modeling. 

Paper Hangers, Paste for.— We believe the 
best paper hangers' paste, as well as a paste for 
general purposes, is simply wheat or rye flour 
beaten in cold water to perfect smoothness, 
and the whole just brought to a boil, while be- 
ing constantly stirred to prevent burning. A 
little creosote, or carbolic acid, will make it keep 
much better. Any addition to this paste fails 
to improve it. 

Matrix, Paste for.— A correspondent once 
wrote: After considerable experiment I have 
succeeded in making a paste for matrices that 
gives us from 40 to 80 casts, average perhaps 5u 
to each matrix. I use two ounces of French 
gelatine dissolved in vinegar, then add to this 



1 oz. alum and 1 qt. hot water. In a separate 
vessel dissolve 1 lb. starch in cold water. Then 
bring the water in which is dissolved the gela- 
tine and alum to boiling point, and gradually 
stir in the dissolved starch, stirring all the 
time to prevent lumps. Boil half an hour, 
stirring all the time; when cold, to a pint of 
paste add water and 1 oz. of Spanish white to 
make matrix; use enough water to the paste so 
as to spread well. 

Pasting and Folding Machine, Paste for.— Four 
parts, by weight, of glue are allowed to soften 
in 15 parts of cold water for some hours, and 
then moderately heated until the solution be- 
comes quite clear; 65 parts of boiling water are 
now added, with stirring. In another vessel 30 
parts of starch paste are stirred up with i0 
parts of cold water, so that a thin milky fluid 
is obtained without lumps. Into this the boil- 
ing glue solution is poured, with constant stir- 
ring, and the whole is kept at the boiling tem- 
perature. After cooling, 10 drops of carbolic 
acid are added to the paste. This paste is of 
extraordinary adhesive power, and rnay be used 
for leather, cardboard, etc., as well as for 
paper. The paste in the reservoir should be 
kept from the air as much as possible to avoid 
loss of water by evaporation. 

Pads, Paste for.— The composition is said to 
be prepared as follows: Glue, 41b.; glycerine, 

2 lb.; linseed oil, % lb.; sugar, y± lb.; aniline 
dyes, q. s. to color. The glue is softened by 
soaking it in a little cold water, then dissolved 
together with the sugar in the glycerine, by 
aid of heat over a water bath. To this the 
dyes are added, after which the oil is well 
stirred in. It is used hot. Another composi- 
tion of a somewhat similar nature is prepared 
as follows : Glue, 1 lb.; glycerine, 4 oz.; glucose 
sirup, about 2 tablespoonfuls; tannin, one- 
tenth oz. Give the compositions an hour or 
more in which to dry or set before cutting or 
handling the pads. 

Paper, Paste for.— A y± of an oz. crude gutta 
percha dissolved in carbon disulphide to the 
consistency of mucilage. Apply to the edges of 
the paper where required. 

Plwtographs, Paste for.— In the Photographic 
Times Mr. W. H. Gardner collects together a 
number of formulas of various mountants, of 
which we give the following : 

1. Gelatine Mountant. 

Cooking gelatine 1 oz. 

Alcohol, 95% 10 oz. 

Glycerine ^ to 1 oz. 

Soak gelatine in cold water for an hour or 
more, take out and drain off all the water which 
will go, add to alcohol in wide mouthed bottle. 
Add Yz to 1 oz. glycerine, according as gelatine 
is of a hard or soft kind. Put bottle in hot 
water, with occasional shaking, until gelatine 
is quite dissolved. Will keep indefinitely, and 
has only to be heated when wanted for use. 

2. Nelson's No. 1 photographic gela- 

tine 4 oz. 

Water hi oz. 

Glycerine 1 oz. 

Alcohol 5 oz. 

Dissolve the gelatine in the water, then add 
the glycerine, and lastly the alcohol. 

3. Permanent paste. 

Arrowroot .' 10 parts. 

Water 100 parts. 

Gelatine 1 part. 

Alcohol 10 parts. 

Soak the gelatine in the water, add the arrow- 
root, which has first been thoroughly mixed 
with a small quantity of the water, and boil 
four or five minutes. After cooling add the al- 
cohol and a few drops of carbolic acid or oil of 
cloves. 



Pastes. 



379 



Pastes. 



4. Another.— 

Best Bermuda arrowroot 1%, oz. 

Sheet gelatine or best Russian 

glue 80 grn. 

"Water , 15 oz. 

Methylated spirit 1 oz. 

Put the arrowroot into a small pan, add 1 oz. 
water and mix it thoroughly up with a spoon, 
or the ordinary mounting brush, until it is like 
thick cream; then add 14 oz. water and the gel- 
atine broken into small fragments. Boil for 
four or five minutes, set it aside until partially 
cold, then add the methylated spirit and six 
drops of pure carbolic acid. Be very particular 
to add the spirit in a gentle stream, stirring 
rapidly all the time. Keep it in a corked stock 
bottle and take out as much as may be re- 
quired for the time and work it up nicely with 
the brush. 

5. Starch Paste.— Pour cold water on good 
laundry starch to barely moisten it. Then stir 
in cold water until proper consistency is 
reached. Squeeze through canvas if not free 
from lumps. Starch paste should be freshly 
made for each batch of prints. 

6. Allow 4 parts by weight "of hard gelatine 
to soften in 15 parts of water for several hours, 
and then moderately heat until the solution is 
quite clear, when 65 parts of boiling water 
should be added while stirring. Stir in another 
vessel 30 parts starch paste with 20 parts cold 
water, so that a thin milky fluid is obtained 
without lumps. Into this the boiling gelatine 
solution should be poured while constantly 
stirring and the whole kept at a boiling tem- 
perature. When cool add to the whole 10 drops 
carbolic acid to prevent souring. This makes 
& very tenacious paste. 

7. Casein Mucilage. — Heat milk with a little 
tartaric acid, whereby casein is separated. 
Treat the latter while still moist with a solu- 
tion of 6 parts borax to 100 parts water and 
warm gently while Stirling, which will cause 
the casein to be dissolved. Of the borax solu- 
tion enough should be used to leave only a 
little undissolved casein behind. 

8. Good Mounting Paste.— Add to 250 c. cm. 
concentrated gum solution, 2 parts gum to 5 
parts water, a solution of 1 grm. sulphate 
alumina in 20 c. cm. water. Alum does not an- 
swer the purpose as well. The addition of the 
sulphate is effective, in that this gum is not so 
readily softened by moisture, and besides, 
wood can be fastened to wood by means of it. 
Its adhesive qualities are, in general, greater 
than those of pure gum arabic. 

9. Impervious Paste.— Soak ordinary glue in 
water until it softens, remove it before it has 
lost its original shape, and dissolve in ordinary 
linseed oil on a gentle fire until it acquires the 
consistency of a jelly. This paste may now be 
used for all kinds of substances, as, besides 
strength and hardness, it possesses also the ad- 
vantage of resisting the action of water. 

10. Thin Mucilage.— A paste that will not draw 
engravings when pasted down on paper must 
be thin. A mixture of equal parts of gum 
tragacanth and gum arabic forms with water 
a thinner mucilage than either one alone. 

11. Liquid Glue.— With any desired quantity 
of glue use ordinary whisky instead of water. 
Break the glue in small fragments and intro- 
duce these into a suitable glass vessel, and pour 
the whisky over them. Cork tightly, and set 
aside for three or four days, when it will be 
ready for use. The Avhisky must not be too 
strong, and a little heat is generally required. 

12. Another.— Same as above, except that 
acetic acid is used in place of whisky, and that 
the bottle containing ingredients must be 
placed in hot water to dissolve the glue. 

13. Another.— 

Glue 8 oz. 

Water 8 oz. 

Nitric acid. 2}^ oz. 



Dissolve the glue in the water by immersing 
-vessel containing same ia hot water. When 
solution is effected, add the acid. Effervescence 
will take place with the evolution of orange 
nitrous fumes. Now cool. It should be kept 
in a well stoppered bottle, and will remain per- 
manently liquid. 

Remarks.— As regards the formulas collected 
by Mr. Gardner, we may remark, says the 
Photo. Review, that of the above, Nos. 13, 12, and 
9 are quite unfit for mounting silver prints, 
although they may be useful for other work in 
the studio; Nos. 12 and 13 for cardboard and 
light woodwork, where the presence of acid is 
not likely to be detrimental; and No. 9 (which 
is really an emulsion of glue and linseed oil, 
and requires well beating together) for cement- 
ing articles likely to be exposed to damp. 
Strips of cloth used to make the developing 
room light-tight may well be cemented with 
No. 9, especially if 10 grn. finely powdered bi- 
chromate of potash be stirred into each ounce 
just before use. 

The desirability of employing Nos. 7 and 8 as 
mountants for silver prints is open to doubt, 
although these are excellent for cementing all 
such ordinary materials as come under the 
denomination of stationery. 

We thus have left adhesives Nos. 1, 2, 3, 4, 5, 6, 
and 10 as quite safe for silver prints if good 
materials are used, and do not become decom- 
posed subsequently. Gelatinous mountants 
made with a considerable proportion of alco- 
hol, like No. 1 or No. 11, have the advantage of 
not considerably stretching either mount or 
print, and are especially useful when prints 
(whether silver or Woodbury type) have to be 
mounted on thin card, as book illustrations. 
In the case of Nos. 2, 3, 4, the alcohol is used 
mainly as an antiseptic, and is not present in 
sufficient quantity to have much influence as a 
preventive of stretching or cockling. The 
simple starch paste, No. 5, is not satisfactory 
in all instances, owing to want of sufficient ad- 
hesion, in which case it is an excellent plan to 
adopt No. 6, in which starch and gelatine are 
used together. 

14. The following has been suggested as a 
very desirable substitute for the ordinary 
pastes used for mounting photo, prints. It is 
said that it can be used so as to scarcely swell 
the paper at all, avoiding the objectionable 
cockling so much complained of : 

Thick, well boiled, clear starch 

(corn) paste 1 lb. 

Glucose sirup ("A" clear) 7 oz. 

"White curd soap Y% oz. 

Dextrine, flowered 5 oz. 

Borax .- % oz. 

Clove oil a few drops. 

All are heated over the water bath, and 
thinned down to a proper consistence (if thin 
paste is required) with fresh skimmed milk. It 
is advisable to use the paste warm and as thick 
as possible. 

15. Nelson's No. 1 photographic gela- 
tine 1 gr. 

Water 16 oz. 

Glycerine 1 oz. 

Methylated alcohol 5 oz. 

Dissolve the gelatine in warm water, then 
add the glycerine, and finally the spirit. 

Scrap Book*, Paste for.— Rice starch, 1 oz.; 
gelatine, 3 drm.; water, y& pt.; heat, with con- 
stant stirring, until the milky liquid becomes 
thick and glassy, when the paste is ready. 
Keep the paste in a tight bottle with a few 
drops of clove oil. 

Skins, Glue or Paste for.— Get a pound of rye 
flour, put it in a basin and pour enough boiling 
water to make a stiff paste. It must be made 
almost as stiff as ordinary dough for puddings, 
but not quite. Stir, and beat up well with a 
stick for three or four minutes, then cover up, 
and put by for two days before using, when it 



Pastils. 



380 



Pastils. 



will be much softer and stick better. Spread 
thinly and evenly on back of skin with a stiff 
brush or pad; this will stick firmly and will 
not crack. 

Stereotypers'' Paste.— Take 5 oz. flour, 7 oz. 
white starch, a large tablespoonful powdered 
alum, and 4 qt. water. Put the flour, starch 
and alum into a saucepan, and mix with a little 
of the water, cold, until the whole becomes of 
the consistency of thick cream. Then gradu- 
ally add the remainder of the water, which 
must be boiling - , stirring well meanwhile to 
prevent lumps. Put the mixture over the Are, 
and stir until it boils ; then let it stand until 
quite cold, when it should look like jelly. 
"When you are ready for work add Spanish 
whiting, the mixture not to be too stiff to 
spread readily with the paste brush. Put 
through a fine wire sieve with a stiff brush, 
and it is ready for use. 

Stickfast Paste.— 

"Wheaten flour 1 oz. 

Powdered tragacanth ^ oz. 

Powdered gum arabic 34 oz. 

Salicylic acid 30 grn. 

Oil of wintergreen 3 drops. 

Water 13 oz. 

Mix the powders and gradually add the 
water ; then bring to the boil ; allow to simmer 
for twenty minutes, stirring constantly. When 
cold add the oil. 

Sugar and Lime Paste.— White sugar, 4 parts ; 
water, 9 parts ; slaked lime, 1 part. The lime is 
poured in after the sugar has been brought to 
the boiling point in the water. After standing 
for several days the thick liquid is poured off. 

Tin Foil, Paste for Fastening Paper upon.— 
Make a paste by dissolving rye flour in a solu- 
tion of caustic soda, dilute with water, stirring- 
all the time. Add to this paste Venetian tur- 
pentine—a few drops for each % lb. flour. Ad- 
heres firmly to all metals, tin foil, glass, etc. 

Pastils, Fumigating.— Indian or Yelloic. 
— Santal wood in powder, 1 lb.; gum benzoin, V/% 
lb.; gum tolu, V\ lb.; otto of santal, otto of cas- 
sia, otto of cloves, of each 3 dr.; nitrate of 
potass., V/i oz.; mucilage of tragacanth, q. s., 
to make the whole into a stiff paste. The ben- 
zoin santal wood and tolu are to be powdered, 
and mixed by sifting them, adding the ottos. 
The niter being dissolved in, the mucilage is 
then added. After well beating in a mortar the 
pastils are formed in shape with a pastel mould, 
and gradually dried. 

The following are examples of these articles, 
from which the operator will be able to devise 
others : 

1. Gum benzoin, powdered 4 oz. 

Cascarilla, powdered 1 oz. 

Niter, powdered ^ oz. 

Gum tragacanth, powdered 3 dr. 

Charcoal, powdered J4 lb. 

Oil of nutmeg ^ fl. dr. 

Oil of cloves y z 11. dr. 

beat them to a stiff, ductile mass, with 
Cold water q. s. 

mould it and dry the pastils by exposure to the 
air. The product may be varied by omitting 
one, or both, the essential oils ; or oy the addi- 
tion of a little styrax (liquid or in tears), or 
balsam of Peru. Some persons add 1 to 2 dr. of 
myrrh. 

2. Gum benzoin 4 oz. 

Sandal wood, white 1 oz. 

Balsam of tolu 1 oz. 

Gum arabic Yz oz. 

Niter 34 oz. 

Gum tragacanth 34 oz. 

Labdanum, true 34 oz. 

Charcoal, linden 12 oz. 

Cinnamon water, to mix 12 oz. or q. s. 

and proceed as before. This is the formula of 
MM. Henry and Guibourt. That of the Paris 
Codex is similar, except that the powdered 



tragacanth and gum arabic are .omitted and 
the mass beaten up with thin mucilage of 
tragacanth, instead of with cinnamon water. 

3. Gum benzoin 2 oz. 

Olibanum, in tears, 1J4 oz. 

Styrax, in tears 1 oz. 

Cascarilla % oz. 

Gum tragacanth % oz. 

Niter 2 oz. 

Charcoal 1*4 lb. 

mix and beat them up with water or rose wa- 
ter. 

4. Charcoal 1% lb. 

Niter 2 oz. - 

Gum tragacanth 1 oz. 

mix in the dry state. It is used as a basis for 
the following French pastils, as well as many 
others : 

5. Pastilles aux Fleurs d'Oranges.— To each 
lb. of No. 3 or 4 add of— 

Orange powder, genuine .2J4 oz. 

Neroli 1 fl. dr. 

and beat up the mass with eau de fleurs d'Or- 
anges. 

G. Pastilles a, la Rose.— To each lb of No. 3 or 
4 add of — 

Pale rose powder 3 oz. 

Essence of roses 2 fl. dr. 

and beat up the mass with eau do rose. 

7.— Pastilles a la Vanille.— To each lb. of No. 

3 or 4, usually the first, add of— 

Vanilla, in fine powder . 2 oz. 

Cloves, in fine powder ^ oz. 

Essence of vanilla }|; fl. oz. 

Oil of cloves ^ fl. dr. 

Oil of cassia , , j| fl. dr. 

and beat up the mass with cinnamon water. 

The Druggists'' Circular gives the following, 
recipes, both of which are excellent: 

1. Take benzoin . . 2 oz». 

Balsam of tolu 4 dr. 

Yellow sandal wood 4 dr. 

Niter 2 dr. 

Labdanum 1 dr. 

Charcoal 6 oz. 

Mix with a solution of gum tragacanth, and 
divide the mass into pastilles, cone shaped, and 
dry them in the air. The foregoing is the 
formula of the Paris Codex. 

2. Take benzoin 4 oz. 

Cascarilla 34 oz. 

Niter , 3 dr. 

Gum arabic 3 dr. 

Myrrh 1 dr. 

Oil of nutmeg 25 drp. 

Oil of cloves 25 drp. 

Charcoal 7 oz. 

All in fine powder. Beat them to a smooth 
mass with cold water, q. s., and form into small 
cones and dry in the air. 

Fumigating Rods.—l. Gum benzoin, 6 parts; 
balsam of tolu and powdered sandal wood, each 

4 parts; powdered tragacanth and labdanum, 
each 1 part; powdered niter and gum ai'abic, 
each2 parts; cinnamon, 12 parts; light charcoal 
(linden), 48 parts. Form into smooth ductile 
mass by aid of heat, moi Id and cool. 

2. Gum benzoin, olibanum, and styrax (tears), 
each 12 oz.: niter, 9 oz.; charcoal, 4 lb.; moist- 
ened with solutiou of 2 oz. tragacanth in 1 qt. 
of rose water. To this may be added, if de- 
sired, essence of roses, pure neroli or orange 
powder, 1 oz. Oils of cloves and nutmeg, es- 
sence of vanilla, cascarilla, etc., are sometimes 
added in addition to the foregoing. 

A Cheap Fumigator.— The following will be 
found to be a cheap and pleasant fumigator 
for sick rooms, diffusing a healthful, agreeable 
and highly penetrating disinfectant odor in 
close apartments, or wherever the air is dete- 
riorated. Pour common vinegar on powdered 
chalk until effervescence ceases, leave the 



Pastils. 



38i 



Pencils. 



whole to settle, and pour off the liquid. Dry 
the sediment and place it in a shallow earthen 
or glass dish, and pour upon it sulphuric acid 
until white fumes commence arising. This 
vapor quickly spreads, is very agreeably pun- 
gent, and acts as a powerful purifier of viti- 
ated air. 

Pastils (Piesse' l s). — Willow charcoal, 341b.; ben- 
zoic acid, 6 oz.; otto of thyme, otto of caraway, 
otto of rose, otto of lavendar, otto of cloves, 
otto of santal, of each 34 drm.; grain musk, 1 
drm.; pure civet, 34 drm. Prior to mixing dis- 
solve % oz. niter in 34 pt. of distilled water; 
with this solution thoroughly wet the charcoal 
and then allow it to dry in a warm place. 
When well mixed by sifting, it is finally beaten 
up in a mortar, with enough mucilage to bind 
the whole together; the less that is used the 
better. 

Fumigating Pastils for Mosquitoes.— 

Charcoal 1 lb. 

Saltpeter 2 oz. 

Carbolic acid 134 oz. 

Persian insect powder 8 oz. 

Tragacanth mucilage. q. s. 

Incense.— 

1. Olibanum (true) 7 parts. 

Gum benzoin 2 parts. 

Mix. 

2. To the last add of — 

Cascarilla 1 part. 

The preceding, placed on a hot iron plate or 
burned in a censer, were formerly used to per- 
fume apartments. The incense used in the 
rites of the Roman Catholic Church and in the 
temples of India consists wholly or chiefly of 
olibanum. 

Incense PoiMers.--Santal wood powder, 1 lb.; 
cascarilla bark powder, 34 lb.; benzoin, 34 lb.; 
vitivert, 2 oz.; nitrate of potass (saltpeter), 2 
oz.; grain musk, 34 drm. Sift the whole well 
together several times through a fine sieve. 

Perfume Lamps.— Eau a Bruler. — Hungary 
water or eau de cologne, 1 pt.; tincture of ben- 
zoin, 2 oz.; tincture of vanilla, 1 oz.; otto of 
thyme, otto of mint, otto of nutmeg, of each, 
34 drm. 

Eau pour Bruler. — Alcohol, 1 pt.; benzoic 
acid, 34 oz.; otto of thyme, otto of caraway, of 
each, 1 drm.; otto o £ bergamot, 2 oz. 

Opium Pastil.— Saltpeter 450 parts; pulver- 
ized althea, 450 parts; pulverized opium, 2934 
parts. Mix with water to form a paste. Make 
into pastils. 

Ribbon of Bruges.— 

1. Orris tincture 34 pt- 

Gum myrrh 34 oz. 

Gum benzoin ... 2 oz. 

2. Alcohol 34 Pt. 

Pod musk 34 oz. 

Otto rose 34 drm. 

Cork both bottles and leave them one month. 
Take 100 yd. of cotton tape and dip it in a hot 
solution; saltpeter, 1 oz.; water, 34 pt.; dry it. 
Filter the two tinctures, mix, dip tape in it, and 
dry it. It is then ready for use. 

Tar Pastils.— Saltpeter, 420 parts; pulverized 
althea, 4^0 parts; tar, 360 parts. Form into a 
paste without water. 

Turkish Pastil Lozenges.— For the use of 
smokers, or to prevent the taste of medicine. 
Fine sugar, 4 lb.; citric acid, 4 drm.; otto of 
roses, 5 drops; grain musk, 4 grn.; otto of viti- 
vert, 34 drm. Gum tragacanth dissolved in 
water, enough to form the whole into a paste, 
tinted with liquid lake. 

Pastilles, Mouth. See Breath. 

Pate-sur- Pate. — Term applied to slip 
painting. This decoration is much used in 
France. 

Patterns, Composition for. See Com- 
positions. 



Patterns, Varnish for. See Varnishes. 

Pearls, to Clean. See Cleansing. 

Pearl Buttons, to Dye. See Dyeing. 

Pearl, Mother of, Imitation— 1. Small 
articles may be made of imitation mother of 
pearl by producing the articles in horn, which 
is boiled in a solution of sugar of lead, and 
then laid in very dilute hydrochloric acid. 

2. Combs, to which the boiling process is not 
applicable, as it distorts the teeth, may be 
treated by being kept overnight in a moder- 
ately concentrated cold solution of nitrate of 
leaa, then laid for a quarter to half an hour in a 
bath containing 3% nitric acid, and finally being 
rinsed in water. The use of sugar of lead is, 
however, prejudicial, and should be avoided. 

To give to Articles the Luster of Mother-of- 
Pearl.— Make a solution of copal, 1 part; san- 
darac, 1 part; solution of dammar, 2 parts; 
rosin, 34 part; absolute alcohol, 34 part. Mix 
these ingredients w'th 34 their volume of oil of 
bergamot or rosemary. Distill until it is re- 
duced to the consistency of castor oil. Take a 
vessel which is a .ittle larger than the article to 
be coated ; fill with water to which has been 
added about 5% of pure glue solution. Apply 
the varnish with a f eather or brush to the sur- 
face of the water ; a beautiful iridescent film 
will be formed, .which is laid on the articles to 
be made iridescent. Keep the water at a tem- 
perature of about 70° F. 

Pearls, to Polish. See Polishing. 

Pearl Powders. See Powders. 

Pearl, Working of.— There are two 
kinds of shells used in the manufacture of 
small articles; the porcelainous and the na- 
creous. The former are extremely hard, and 
can be worked only with the apparatus em- 
ployed by the lapidary. The latter are more 
generally used, and may be sawn, filed, and 
turned, with some facility. The pieces should 
be roughed out on a common grindstone. 
After turning, they should be smoothed with 
pumice stone and water, and polished with 
rotten stone wet with sulphuric acid slightly 
diluted. 

Peneilss Aniline.— The materials used are 
aniline, graphite, and kaolin, in different pro- 
portions. Made into a paste with cold water, 
they are pressed through a screen that divides 
the mass into slender sticks used in filling the 
pencils. When dry the sticks are fitted to the 
wooden parts, and glued together in the usual 
way. They may be used in copying, marking in 
permanent color, and in reproducing writiagor 
designs. In copying a thin sheet of moistened 
paper is laid over the letter, design or docu- 
ment, and the lines are traced with the pencils. 
The action of the water on the aniline gives a 
deep, fast tracing, resembling ink in color. On 
ordinary dry paper they give a mark which can- 
not be removed by India rubber. Moistened 
sheets of paper laid over the writing under a 
slight pressure will transfer good impressions 
that do not blurr. 

A Benzine Pencil.— A device recently patented 
in England for the purpose of removing grease 
from gloves or fabrics {Pharmaceutical Era) 
consists of a cylindrical body about the size of 
of an ordinary lead pencil, containing benzine. 
At each end there is a thick piece of felt, one 
piece being intended to be moistened by the 
benzine, while the other end of the pencil is 
kept perfectly dry to take up the superfluous 
moisture. The device is said to be very handy 
and useful. 

Pencils. Colored, for Glass.— The following for- 
mulas for the composition of pencils for sketch- 
ing on glass, porcelain, etc., are those used at 
the factory of A. W. Faber, of Stein, near Niirn- 
berg, Germany : 

1— Black- 
Lampblack 10 parts. 

White wax 40 parts. 

Taliow 10 parts. 



Pencils. 



Percolation. 



2.— White- 
Zinc white . 40 parts. 

White wax 20 parts. 

Tallow 10 parts. 

3.— Light Blue.- 

Prussian blue 10 parts. 

White wax 20 parts. 

Tallow 10 parts. 

4— Dark Blue. - 

Prussian blue 15 parts. 

Gum arabic 5 parts. 

Tallow 10 parts. 

5.— Yellow.— 

Chrome vellow 10 parts. 

Wax 20 parts. 

Tallow. 10 parts. 

The colors are mixed with the fats in warmed 
vessels, levigated with the same, and are then 
allowed to cool until they have acquired the 
proper consistency for being cransf erred to the 
presses. In these the mass is treated and shaped 
similarly as the graphite in the presses for ordi- 
nary pencils. 

Indelible Pencils.— 1. Reduce nitrate of silver 
to an impalpable powder, add just enough lamp- 
black to give it a black color and enough of a 
thick solution of gum arabic in hot water to 
make the powder coherent. Rub these in- 
gredients well together, form into thin sticks 
and dry. 
2. Kaolin 8parts. 

Finely powdered manganese di- 
oxide 2 parts. 

Silver nitrate 3 parts. 

Mix and knead intimately with 5 parts dis- 
tilled water, then dry the mass and inclose it in 
wood. Transfer paper is made by rubbing 
white paper with a composition of 2 oz. tallow, 
y% oz. powdered black lead, 34 pt- linseed oil and 
sufficient lampblack to make it of consistency 
of cream. These should be melted together 
and rubbed while hot on the paper. When dry 
it will be fit for use. 

Indelible Pencil Writing. — Lay the writing in 
a shallow dish and pour skimmed milk upon it. 
Any spots not wet at first may have the milk 
placed upon them lightly with a feather. When 
the paper is wet all over with the milk take it 
up and let the milk drain off and remove with 
the feather the drops which collect on the lower 
edge. Dry carefully. 

Cutting Pencils.- Tf the point is intended for 
sketching it is cut equally from all sides, to pro- 
duce a perfectly acute cone. If this be used 
for line drawing the tip will be easily oroken, 
or otherwise it soon wears thick; uhus, it is 
much better for line drawing to have a thin 
flatTDOint. The general manner of proceeding 
is, first, to cut the pencil, from two sides only, 
with a long slope, so as to produce a Kind of 
chisel end, and afterward to cut the other 
sides away only sufficient to be able to round 
the first edge a little. A point cut in the man- 
ner described may be kept in good order for 
some time by pointing the lead upon a small 
piece of fine sandstone or fine glass paper; this 
will be less trouble than the continual applica- 
tion of the knife, which is always liable to 
break the extreme edge. 

Faker's Pencils.— Faber's pencil for copying 
writing or designs is made of different degrees 
of hardness, and is stated by the inventor to 
combine all the advantages of the very best 
lead pencils. Four kinds are manufactured. 
No. 1, very soft; composed of 50 parts aniline, 
37*5 parts graphite and 12*5 kaolin. No. 2, soft; 
46 parts aniline, 34 parts graphite, 24 parts kao- 
lin. No. 3, hard; 30 parts aniline, 30 parts graph- 
ite, 40 parts kaolin. No. 4, very hard; 25 parts 
aniline, 25 parts graphite, 50 parts kaolin. 
These materials are pounded and mixed with 
the greatest care, and afterward made into a 
paste with cold water. After the paste has 
been well worked and rendered perfectly homo- 
geneous, it is passed through a wire screen, 



which divides it into strips of suitable dimen- 
sions. These are dried in an ordinary room, 
and afterward . fitted and glued into wooden 
cases like common lead pencils. 

Pencil Marks, to Fix.— I. To a saturated solu- 
tion of alum in pure water, add as much fish 
glue, isinglass, as may form a size of the proper- 
consistency, which can only be regulated by 
the character of the drawing for which it is 
intended. Let the solution stand for about 
thirty-six hours, after which it should be boiled, 
and when cold, passed through a linen cloth. 
Add about an equal quantity of some colorless 
spirits or diluted alcohol. Put the solution in 
a dish or wooden tray and, holding the drawing 
horizontally, face downward, gently immerse 
it therein, and almost immediately lift it out, 
without changing its horizontal position, in 
which it must remain till dry. 

2. To 1 part dammar varnish add 25 parts tur- 
pentine. Flow the drawings with this and let 
them dry. Or use skimmed milk and water 
mixed in equal parts, applied with a brush. 

New Pencilas a Substitute for Ink.— We do not 
refer here to the aniline pencils, which have been 
in use for some time, but to a quite different 
pencil, which gives a very black writing, capa- 
ble of being reproduced by the copying ma- 
chine, and which does not fade on exposure to 
light. The mass for these pencils is prepared 
as follows : 10 lb. of the best logwood are re- 
peatedly boiled in 10 gal. water, straining each 
time. The liquid is then evaporated down till 
it weighs 100 lb., and i» then allowed to boil in a 
pan of stoneware or enamel. To the boiling* 
liquid nitrate of oxide of chrome is added in 
small quantities, until the bronze colored pre- 
cipitate formed at first is redissolved with a 
deep blue coloration. This solution is then 
evaporated in the water bath down to a sirup, 
with which is mixed well kneaded clay in the 
proportion of 1 part of clay to 3)4 of extract. A 
little gum tragacanth is also added to obtain 
a proper consistence. 

It is absolutely necessary to use the salt of 
chrome in the right proportion. An excess of 
this salt gives a disagreeable appearance to the 
writing, while if too little is used the black mat- 
ter is not sufficiently soluble. 

The other salts of chrome cannot be used in 
this preparation, as they would crystallize, and 
the writing would scale off as it dried. 

The nitrate of oxide of chrome is prepared 
by precipitating a hot solution of chrome alum 
with a suitable quantity of carbonate of soda. 
The precipitate is washed till the filtrate is free 
from sulphuric acid. The precipitate thus ob- 
tained is dissolved in pure nitric acid, so as to 
leave a little still undissolved. Hence the solu- 
tion contains no free acid, which would give the 
ink a dirty red color. Oxalic acid and caustic 
alkalies do not attack the writing. Dilute 
nitric acid reddens, but does not obliterate the 
characters.— Moniteur Scicntifique. 

Pencils for Marking Linen— Mix 4 parts pow- 
dered pyrolusite with 16 parts of thoroughly 
dried alumina. Add to this a solution of 6 
parts nitrate of silver in 10 parts distilled water. 
Rub and knead the mass thoroughly. Pencils 
are formed from this and dried. Used for 
marking linen. 

Pencils, Striping.— To keep striping pencils in 
good shape and ready for use, grease them with 
tallow from a candle and spread the hair 
straight on a piece of glass : keep them pre- 
served from dust. 

Pepperinuit Cordial. See Liquors. 

Percolation, or Displacement.— This is the 
neatest and most rapid process for extracting 
the soluble principles from vegetable sub- 
stances, and is the method directed in the U. S. 
Pharmacopoeia for preparing a large number 
of the officinal tinctures, wines, vinegars, sirups, 
extracts and some of the infusions. It is neces- 
sary that the articles to be acted upon should 
first be reduced to the condition of a coarse 



Perfumery. 



383 



Perfumery. 



powder; then mix them together in the pro- 
portions demanded by the recipe, and moisten 
the mass thoroughly with alcohol, allowing- it 
to macerate for twelve hours in a well covered 
vessel. Next introduce them into the perco- 
lator, and slightly press them upon the par- 
tition. Any portion of the liquid used in the 
maceration, not absorbed by the powder, 
should be poured upon the mass in the instru- 
ment and allowed to percolate. Next gradu- 
ally pour into the percolator sufficient of the 
alcohol, or other liquid to be filtered, to drive 
before it or displace the liquid contained in 
the mass. The portion introduced must in like 
manner be displaced by another portion, and 
so on until the required quantity of filtered 
liquor is obtained. If the liquor which first 
passes through is thick and turbid, introduce 
it again into the instrument, being careful not 
to have the powder too coarse or loosely 
pressed, or it will permit the liquid to pass too 
quickly; on the other hand, it should not be 
too fine and compact, or it wiil offer an un- 
necessary resistance. Should the liquor flow 
too rapidly return it to the instrument, and 
close it beneath for a time, and thus permit the 
finer parts of the powder to subside, and cause 
a slower percolation. When substances are 
glutinous or mucilaginous, mix the powder 
with an equal bulk of well washed sand before 
rubbing it up with the menstruum. 

Perfumery.— The perfumes for the toilet 
are either simple or compound; the former are 
called extracts or essences and the latter bou- 
quets. Unfortunately the language of the 
perfumer is French, and this has led to many 
mistakes in classification, and the terms ex- 
traits, esprits, eaux and par fumes are very loose- 
ly applied. Some works call essential oils ottos 
or essences, and the confusion is so great that 
the different terms will be properly defined; 
but in the receipts no attempt has been made 
to separate them into classes, and they are 
arranged alphabetically according to the 
flowers or name. By far the larger number of 
the materials used by the perfumer come from 
the vegetable kingdom, but there are some 
exceptions, as ambergris, musk and civet. The 
number of flowers used by the perfumer is 
very limited, but, by a judicious combination, 
or rather blending, almost any odor may be 
obtained. 

The odors of plants reside in different parts 
of them, sometimes in the roots, as in the iris 
and vitivert; the stem or wood, in cedar and 
santal; the leaves, in mint, patchouly, and 
thyme; the flower, in the roses and violets; the 
seeds, in the Tonquin bean and caraway; the 
bark, in cinnamon, etc. 

Some plants yield more than one odor, which 
are quite distinct and characteristic. The 
orange tree, for instance, gives three; from the 
leaves one called petit grain; from the flowers 
we procure neroli; and from the rind of the 
fruit, essential oil of orange, named Portugal. 
On this account, perhaps, this tree is the most 
valuable of all to the operative perfumer. 

The fragrance or odor of plants is owing, in 
nearly all cases, to a perfectly volatile oil, either 
contained in small vescels, or sacs, within them, 
or generated from time to time, during their 
life, as when in blossom. Some few exude, by 
incision, odoriferous gums, as benzoin, oliba- 
num, myrrh, etc.; others give, by the same act, 
what are called balsams, which appear to be 
mixtures of an odorous oil and an inodorous 
gum. Some of these balsams are procured in 
the country to which the plant is indigenous 
by boiling it in water for a time, straining, and 
then boiling again, or evaporating it down till 
it assumes the consistency of treacle. In this 
latter way is balsam of Peru procured from 
the Myroxylon peruiferum, and the balsam of 
Tolu from the myroxylon toluiferum. Though 
these odors are agreeable, they are not much 
applied in perfumery for handkerchief use, 
but by some they are mixed with soap, and in 



England they are valued more for their medic- 
inal properties than for their fragrance. 

The odors of flowers are more generally 
secreted during the sunshine, or at least in the 
daytime, but thei*e are some which yield no 
odor in the day, but are very fragrant in the 
evening, such as the Oestrum nocturnum, the 
Lychinis vespertina, some of the Catasetum and 
the Cymbidium. 

Ottos from Plants. 

Quantities of Ottos, Otherwise Essential Oils, 
Yielded by Various Plants.— 

lb. of otto. 

Orange peel . ... JO yield about 1 oz. 

Dry marjoram herb. .. . 20 3 oz. 

Fresh marjoram herb.. 100 3 oz. 

Fresh peppermint 100 " 3 to 4 oz. 

Dry peppermint 25 ' 3 to 4 oz. 

Dry origanum 25 " 2 to 3 oz. 

Dry thyme 20 " 1 to 1^ oz. 

Dry calamus 25 " 3 to 4 oz.. 

Anise seed 25 " 9 to 12 oz. 

Caraway 25 16 oz. 

Cloves 1 " 2*4 oz. 

Cinnamon 25 3 oz. 

Cassia .... 25 " 3 oz. 

Cedar wood 28 <k 4 oz. 

Mace 2 3 oz. 

Nutmegs 2 " 3 to 4 oz. 

Fresh balm herb 60 " 1 to 1)^ oz. 

Cake of bitter almond.. 14 1 oz. 

Sweet flag root 112 16 oz. 

Geranium leaves.... 112 2 oz. 

Lavender flowers 112 " 30 to 32 oz. 

Myrtle leaves 112 5 oz. 

Patchouly herb 112 " 28 oz.. 

Provence rose blossom. .112 " 1}4 to 2 dr. 

Rhodium wood 112 " 3 to 4 oz. 

Santal wool 112 " 30 oz. 

Vitivert or kuskus root, 112 15 oz. 

Violets 112 " Hdr. 

Boiling and Congealing Temperatures of Var- 
ious Ottos, etc.— 

Fahr. 

Almond oil will not boil 660° 

Otto of patchouly boils 515° 

" vitivert 548° 

" santal wood boils 550° 

" cedar wood boils 507° 

" English lavender boils 475° 

" lemon grass boils 440° 

" rose (pure Turkish) boils 432° 

" geranium (Spanish) boils 430° 

" geranium (Indian) boils 420° 

" gaultheria boils 400° 

" almonds boils 356° 

" bergamot (pure) boils 370° 

" caraway boils 348° 

" lemon peel boils 345 c 

" orange peel boils 345° 

" French lavender (spike) 180° 

" white wax melts 150° 

" camphor sublimes 145° 

" spermaceti melts 112° 

paraffmeA 102° 

paraffineB 90° 

" otto rose (Italian) congeals 62° 

" otto rose (Turkish) congeals 58° 

" geranium, neroli, cloves, deposit 

crystals 2° 

" santal, cedar, lemon grass, con- 
geal to a jelly —5° 

" bergamot congeals —12° 

" cinnamon still fluid —13° 

Perfumes are extracted from plants as fol- 
lows : From the flowers by enfleurage, absor- 
tion or maceration; from the roots by tritu- 
ration; and by distillation from the seeds. 

The processes are divided into four distinct 
operations, viz., 1, expression; 2, distillation; 3, 
maceration; 4, absorption. 

1. Expression is only adopted where the 
plant is very prolific in its volatile or essential 
oil, i. e., its odor, such, for instance, as is found 
in the pellicle or outer peel of the orange, lemon 



Perfumery. 



384 



Perfumery. 



and citron, and a few others. In these cases, 
the parts of the plant containing the odorifer- 
ous principle are put sometimes in a cloth bag 
and at others by themselves into a press, and 
by mere mechanical force it is squeezed out. 
The press is an iron vessel of immense strength, 
varying in size from 6 in. in diameter and \Z in. 
deep, and upward, to contain one hundred 
weight or more; it has a small aperture at the 
bottom to allow the expressed material to run 
for collection; in the interior is placed a per- 
forated false bottom, and on this the substance 
to be squeezed is placed, covered with an iron 
plate fitting the interior. This is connected with 
a powerful screw, which, being turned, forces 
the substance so closely together that the little 
vessels containing the essential oils are burst, 
and it thus escapes. The common tincture 
press is indeed a model of such an instrument. 
The oils which are thus collected are contamin- 
ated with watery extract, which exudes at the 
same time and from which it has to be separ- 
ated; this it does by itself to a certain extent, 
by standing in a quiet place, and it is then 
poured off and filtered when requisite. 

2. Distillation. — The plant or part of it which 
contains the odoriferous principle is placed in 
an iron, copper or glass pan, varying in size 
from that capable of holding from 1 to 20 gal., 
and covered with water; to the pan a dome 
shaped lid is fitted, terminating with a pipe, 
which is twisted corkscrew fashion and fixed 
in a bucket with the end peeping out like a tap 
in a barrel. The water in the still — for such is 
the name of the apparatus— is made to boil; 
and having no other exit the steam must pass 
through the coiled pipe, which being surround- 
ed with cold water in the bucket, condenses the 
vapor before it can arrive at the tap. With 
the steam the volatile oil, %. e., perfume, rises 
and is liquefied at the same time. The liquids 
which thus run over, on standing for a time, 
separate into two portions and are finally di- 
vided with a funnel having a stop cock in the 
narrow r>art of it. By this process the majority 
of the volatile ottos are procured. In some 
few instances alcohol is placed upon the odor- 
ous materials in lieu of water, which, on being 
distilled, comes away with the perfuming sub- 
stance dissolved in it. But this process in now 
nearly obsolete, as it is found more beneficial 
to draw the oil or essence, first, with water, and 
afterward to dissolve it in the spirit. The low 
temperature at which spirit boils compared 
with water causes a great loss of otto, the heat 
not being sufficient to disengage it from the 
plant, especially where seeds, such as cloves or 
caraway, are employed. 

3 Maceration.— This operation is conducted 
thus: For what is called pomade, a certain 
quantity of purified beef or deer suet, mixed 
with purified lard, is put into a clean metal or 
porcelain pan; this being melted \>y a steam 
heat or bath, the kind of flowers required for 
the odor wanted are carefully picked and put 
to the liquid fat, and allowed to remain from 
twelve to forty-eight hours ; the fat has a par- 
ticular affinity or attraction for the otto of 
flowers, and thus, as it were, draws it out of 
them, and becomes itself, by their aid, highly 
perfumed ; the fat is strained from the spent 
flowers, and fresh are added ten or fifteen 
times over, till the pomade is of the required 
strength ; these various strengths of poma- 
tums are noted by the French makers as Nos. 6, 
12, 18, and 24, the higher numerals indicating 
the amount of fragrance in them. For per- 
fumed oils, the same operation is followed ; 
but, in lieu of .suet, fine olive oil, and the same 
results are obtained. These oils are called 
huile antique of such and such a flower. 

The orange, rose, and cassie compounds are 
principally prepared by this process. 

The violet and rezeda pomades and oils are 
prepared first by the maceration process, and 
then finished by enfleuraye. 

When neither of the three foregoing process- 



es gives satisfactory results, the method of 
procedure adopted is by— 

4. Absorption or Enflurage.— Of all the pro- 
cesses for procuring the perfumes of flowers, 
this is the most important to the perfumer, 
and is the least understood in England ; as this 
operation yields not only the most exquisite 
essence indirectly, but also nearly all those fine 
pomades known here as ' k French pomatums," 
much admired for their strength of fragrance, 
together with " French oils," equally perfumed. 
The odors of some flowers are so delicate and 
volatile that the heat required in the pre- 
viously named processes would greatly modify, 
if not entirely spoil, them ; this process is, 
therefore, conducted cold, thus: Square 
frames, called a chassis, about three inches deep, 
with a glass bottom, say two feet wide and 
three feet long, are procured ; over the glass a 
layer of fat is spread, about a quarter of an 
inch thick, with a kind of plaster knife or spa- 
tula ; on this the flower buds are sprinkled, 
completely over it, and there left from twelve 
to seventy-two hours. 

For oils of the same plants, coarse cotton 
cloths are imbued with the finest olive oil, and 
laid upon a frame containing wire gauze in 
lieu of glass ; on these the flowers are laid, and 
suffered to remain till fresh flowers are pro- 
cured. 

This operation is repeated several times, after 
which the cloths are subject to a great pres- 
sure, to remove the now perfumed oil. 

But for the pharmacist and the amateur, who 
desire to make only small quantities, the better 
and in fact the only way is, to buy the essential 
oils and prepare the perfume with their aid, as 
this requires no large plant or expenditure of 
capital. Care should be used to get deodorized 
alcohol, and all materials should be purchased 
of large drug houses who make a specialty of 
the expensive essential oils. The prices which 
are given in some receipts are only approxi- 
mate and were taken with the original receipt. 

Bouquets.— Perfumes where the odor of no one 
flower can be discovered as predominating 
over another. 

Esprits. — The name esprits is commonly given 
by the perfumers to alcoholic solutions of the 
fragrant essential oils and other odorous and 
aromatic substances. As a rule, esprits are 
less highly charged with odorous principles, 
and have less alcoholic strength than essences 
and extraits, as well as having little color, if 
any; but the term is often very loosely and 
capriciously applied in trade, just as its syn- 
onym or analogue, spirit, is in English. 

Essences.— The term essence is commonly 
very loosely applied to preparations that differ 
greatly from each other, and which are pre- 
sumed or pretended to contain the essential 
principles or qualities of anything disincum- 
bered of grosser matter. Thus, the essential or 
volatile oils obtained from vegetable substances, 
by distillation, are frequently called essences, 
as well as a strong solution of them in rectified 
spirit— a system of nomenclature which contin- 
ually leads to confusion and mistakes. In phar- 
macy, the concentrated infusions, decoctions, 
liquors, solutions, and tinctures, are also fre- 
quently called essences by those who vend 
them. In perfumery, a similar loose applica- 
tion of the term prevails; but it is more partic- 
ularly appropriated to concentrated, or some- 
what concentrated, alcoholic solutions of the 
essential oils and other fragrant substances, 
whether obtained by simple admixture, by dis- 
tillation, or by digestion as in making tinctures.. 
Indeed, the fragrant essences of the perfumers 
differ from their eaux, esprits, tinctures, and 
other forms of perfumed spirits merely in 
their greater richness in the odorous principles 
that characterize them, and the greater 
strength of the spirit that holds these princi- 
ples in solution. 

Extraits, Extracts— In French perfumery, 
these are, appropriately, strong spirituous so- 



Perfumery. 



385 



Perfumery. 



lutions, either simple or compound, of the es- 
sential oils and odorous principles of plants, 
and other substances obtained by infusion or 
digestion, as distinguished from those that are 
obtained by distillation and direct solution. 
Under the term, however, are often classed 
many perfumes prepared with rectified spirit 
by the latter methods, and which are highly 
charged with the fragrant matter, or matters, 
which they represent. 

The preparation of most of the extraits is 
simple enough, the chief care necessary being 
that the spirit be absolutely scentless and of 
sufficient strength, and that the oils, and other 
materials, be recent and perfectly pure. With 
some flowers of extremely delicate perfume, 
highly perfumed spirit of the finest quality can- 
not well be obtained either by infusion or dis- 
tillation, or by simple solution of the respective 
essential oils; or, at least, they are not usually so 
prepared by the Continental perfumers, who 
are undoubtedly the best judges in such mat- 
ters. For these, an entirely different and a 
rather tedious and indirect method is pursued. 
Pure rectified spirit is digested, for three or 
four days, on half its weight of the oils or pom- 
mades obtained by infusion or contact from the 
respective flowers. The operation is performed 
in a securely closed vessel or digester of porce- 
lain or tinned copper, set in a water bath, fre- 
quent agitation being employed during the 
whole time. After the whole has become quite 
cold, the vessel is opened, and the perfumed 
spirit carefully decanted into a second similar 
vessel or digester, containing a like quantity of 
oil to the first one. The whole process is then 
repeated a second time; and again a third time, 
with fresh oil or pommade. Finally, the cold 
spirit, after sufficient repose, is very carefully 
decanted through a glass or porcelain funnel 
stopped with a small wad of cotton wool, into 
the receiver or store bottle. 

Alcohol.— One of the first requisites in the 
manufacture of good perfumes is pure alco- 
hol, free from fusel oil or other foreign flavor. 
The purer grade of spirit is known in com- 
merce as pure spirits, silent spirits, or deodor- 
ized alcohol, and may readily be distinguished 
from ordinary alcohol by the absence of that 
peculiar pungency of odor which is present to 
a greater or less extent in most commercial 
samples. . 

Esprit d 1 Acacia. — 

Esprit de fleurs d'acacia (simple) 7 fl. oz. 

Esprit de fleurs jasmin 1% fl. oz. 

Esprit de tuberose iy& fl. oz. 

Essence of ambergris (finest, pale) . 1 fl. drm. 

Eau de fleurs d'oranges 3 fl. oz. 

Rectified spirit 73^ fl. oz. 

Mix. A favorite Italian perfume. 

Alhambra Perfume.— Extract tuberose, 1 
pt.; extract geranium, % pt.; extract acacia, 
34 pt.; extract fleur d'orange, 34 pt-; extract 
civet, 34 pt. 

Esprit d'Amande. Almond Perfume. — 

Essential oil of almonds 2\& fl. dr. 

Oil of bergamot J/ 2 fl. dr. 

Oil of cassia Y% fl. dr. 

Essence royale H A- dr. 

Rectified spirit 1 pt. 

Mix. 

Ambergris.— This substance, which is found 
floating in the sea, or is thrown up by the 
waves upon the shores of various countries, 
is now generally believed to be produced in the 
intestines of the sperm whale. The best gray 
ambergris is quite expensive, but is the only 
one worth buying. 

Tincture of Ambergris. — 

1. Ambergris 2 dr. 

Powdered orris root 2 dr. 

Deodorized alcohol 16 oz. 

Grind the ambergris and orris in a mor- 
tar until reduced to a fine powder, transfer to 



a bottle, and add the alcohol. Marcerate for 
thirty days, and filter through paper. 

2. Ambergris (gray) 30 gr. 

Orris root (powdered) 1 dr. 

Alcohol 8 oz. 

Beat the ambergris with the orris root to a 
powder, then add the alcohol and macerate for 
thirty days, with occasional agitation, and 
filter. 

A.mbergris Extract. — 

Spirit of rose 3 oz. 

Tincture of ambergris 8 oz. 

Tincture of musk 4 oz. 

Tincture of vanilla 1 oz. 

Cost, about $6.00 per pt. Where permanence is 
desired, this can be recommended. 

Essence of Ambergris. — 

1. Ambergris ..5 drm. 

Grain musk (Tonquin or Chi- 
nese, pure) 1% drm. 

Essence d'ambrette (or purple 
sweet sultan) 1 qt. 

This produces the finest quality of the West 
End and Paris houses. 

2. Ambergris ^ oz. 

Grain musk (finest) 45 grn. 

Essence d'ambrette 1 qt. 

As before. Very fine. 

3. Ambergris M oz. 

Grain musk.... 12 grn. 

Rectified spirit (56 o. p. ) 1 pt. 

Liquor of ammonia (0*880) 3^ A- drm. 

Proceed as for No. 1 (above). Good. It forms 
the ordinary essence of the shops. 

4. As the last, but replacing the liquor of am- 
monia with — 

Oil of cloves 15 drops. 

Balsam of Peru , 15 drops. 

Neroli . .20 drops. 

Or with — 

Essence of roses 34 P*- 

Eau de fleurs d'oranges 34 pt. 

at will. 

Almond {Amygdala Amara).— -Is a native of 
Persia, Syria and Barbary, and is cultivated in 
southern France and Italy. 

Almond Spirit. — 

Od of bitter almonds 80 drops. 

Deodorized alcohol 16 oz. 

Procure the best cologne spirits or deodorized 
alcohol obtainable. Do not use common alco- 
hol, as its odor is too strong and pungent for 
perfumers' use. 

Benzoic Acid. — Only that prepared from gum 
benzoin should be used. 

Benzoin (Benzoinum).— Benzoin is imported 
from Borneo, Java and Siam. The tincture of 
benzoin has the property of adding permanence 
to some of the more fleeting odors. 

Tincture of Benzoin. — 

Gum benzoin, in fine powder. ... 2 oz. 
Deodorized alcohol 16 oz. 

Macerate for thirty days, and filter. 

Bergamot (Citrus Bergamia).— The oil is ob- 
tained in Italy by expression from the peel of 
the fruit. It should be kept in a dark place, 
and in a tightly corked bottle. If not well 
taken care of it soon loses its green color, be- 
comes cloudy from a deposit of resin, and ac- 
quires a turpentine smefl. Care should be 
taken to preserve all oils as above directed. 

Essence of Bergamot.— The popular name of 
oil of bergamot. A spirituous essence may be 
made in a similar way to that of almonds. 

Sweet Brier.— Add to geranium, No. 2 : 

Verbena extract, No. 1 1 pt. 



Perfumery. 

Bouquets.— Essence Bouquet.— 

1. Rose spirit. 4 oz. 

Ambergris tincture 1 oz. 

Orris 2 oz. 

Berganiot oil 34 ° z - 

Lemon oil 34 oz. 

2. Rose spirit 2 oz. 

Ambergris tincture.... 2 arm. 

Orris tincture. 1 oz. 

Bergamot otto 1 arm. 

Lemon otto , 15 min. 

Cost, $1.32 per pint. 

3. Oil leaf geranium 1 oz. 

Oil Turkish geranium 34 oz. 

Otto rose 1 arm. 

Extract musk 6 oz. 

Extract tonka 6 oz. 

Extract orange flower 5 oz. 

Extract vanilla 2 oz. 

Extract civet 1 oz. 

Alcohol 1 gal. 

Water 4 oz. 

j. Extract musk 2 oz. 

Extract tuberose 2 oz. 

Otto rose, virgin 1 drm. 

Otto bergamot 134 arm. 

Otto neroli super J4 drm. 

Otto verbena (true) 8 min. 

Otto pimento 10 min. 

Otto patchouly 3 min. 

Otto red cedar wood (true) . . -34 drm. 

Otto lavender (English) 12 min. 

Pure spirit, sufficient to make 4 \>t. 

bouquet d'Amour.— 

Esprits de rose 2 oz. 

Jasmine 2 oz. 

Violette 2 oz. 

Cassie 2 oz. 

Essences of musk 1 oz. 

Ambergris .. 1 oz. 

Mix, and, if the liquid be not quite clear, add 
of strong alcohol, drop by drop, the least quan- 
tity sufficient to render it so. It may be filtered; 
but this should be avoided, as it occasions loss. 
A very agreeable perfume. 

Bosphorus Bouquet.— Extract acacia, 1 pt.; 
extract jasmine, 34 pt.; extract rose triple, 34 
pt.; extract fleur d'orange, % pt.; extract tube- 
rose, 34 pt.; extract civit, J4 pt-' otto of almonds, 
10 drops. 

Buckingham Palace Bouquet.— Extract fleur 
d'orange, extract cassie, extract jasmine, ex- 
tract rose, from pomade of each, 1 pt. Extract 
of orris, extract of ambergris, of each, 34 pt.; 
ottfo of neroli, %, dr.; otto of lavender, 34 dr.; 
otto of rose, 1 dr. 

Bouquet de Caroline.— Add to recipe for Ess. 
Bouquet 1 pt. extract neroli, costing same 
sum. 

Bridal Bouquet Extract.— 

Mix vanilla tincture 2 drm. 

Musk tincture 1 drm. 

Benzoin tincture 1 drm. 

( >rris tincture 1 drm. 

Cassie essence 4 oz. 

Tuberose essence 2 oz. 

Jasmine essence 2 oz. 

Berganiot, otto 16 min. 

Orange flower otto.,, 6 min. 

Cost, $2.35 per pint. 

Bouquet Fedora. — 

Otto rose, Kissanlik. ... ......... 34 drm. 

Turkish geranium 34 oz. 

Oil patchouly 34 drm. 

Extract tonka 3 oz. 

Extract musk 2 oz. 

Orange flower 3 oz. 

Extract vanilla 34 oz. 

Extract civet J^ oz. 

Alcohol.... 234pt. 



386 Perfumery, 



Floral Bouquet.— 

Mix Musk tincture 2 oz. 

Orris tincture 6 drm. 

Tonka tincture 6 drm. 

Vanilla tincture 6 drm. 

Ambergris tincture 1 oz. 

Rose spirit 4 oz. 

Cost, $1.05 per pt. 

The Guards 1 Bouquet.— Espirit de rose, 2 pt.; 
esprit de neroli, 34 pt.; extract vanilla, 3*6 pt.; 
extract orris, 34 pt.; extract musk, 34 pt-5 otto 
of cloves, J4 drm. 

Isle of Wight Bouquet.— Extract of orris, 3*6 
pt., extract of vitivert, 34 Pt-5 extract of san- 
tal, 1 pt.; extract of rose, 34 pf- 

Jockey Club Bouquet (English formula). — 
Extract orris root, 2 pt.; esprit de rose, triple, 
1 pt.; esprit de rose de pommade, llpt.; extract 
de cassie, tuberose de pommade, of each, 34 pt.; 
extract de ambergris, 34 pf-; otto of bergamot, 
34 oz. 

Jockey Club Bouquet (French formula).— 
Esprit de rose, de pommade, 1 pt.; esprit de 
tuberose, 1 pt.; esprit de cassie, 34 Pt •" esprit de 
jasmine, % pt.; extract civet, 3 oz. 

Bouquet de la Reine d'Angleterre.— The fol- 
lowing" is Piesse's formula, and the others 
given below are from the same excellent au- 
thority, unless otherwise specified : 

Extract of rose 56 parts. 

Extract of violets 56 parts. 

Extract of tuberose 28 parts. 

Extract of orange flowers 14 parts. 

Essential oil of bergamot 7 parts. 

Mix and filter. 

Bouquet de la Reine.— 

Essence (oil) of bergamot. . . . 2J4 drm. 

Oil of lavender (Mitcham) 1 drm. 

Oil of cloves 34 drm. 

Aromatic vinegar (glacial) — 34 drm. 

Essence of musk 34 drm. 

Alcohol 3 fl. oz. 

Mix, with agitation, as before. Very fine. 

Bouquet Ristori.— 

Oil rose, Kissanlik. 34 oz. 

Oil sandal wood 34 oz. 

Extract tonka 1 pt. 

Alcohol 2 gal. 

Water ... 4 pt. 

Bouquet du Roi.— Extract of jasmine, ex- 
tract of violet, extract of rose from pomade, 
of each, 1 pt. Extract of vanilla, extract of 
vitivert, of each, J4 pt. Extract of musk, ex- 
tract of ambergris, of each, 1 oz. Otto of ber- 
gamot, 1 drm.; otto of cloves, 1 oz. 

Leap Year Bouquet. — Extract tuberose, 1 
pt.; extract jasmine, 1 pt.; extract rose triple, 
34 pt»; extract santal, 34 pt-* extract vitivert, 
34 pt.; extract patchouly, 34 pt-5 extract ver- 
bena, 34 pf • 

Bouquet de Montpellier.— Extract tuberose, 
1 pt.; extract rose pomade, 1 pt.; extract rose 
triple, 1 pt.; extract musk, 34 Pt-' extract am- 
bergris, 34 pt.; otto of cloves, 134 drm,; otto of 
bergamot, 34 oz. 
Bouquet Pompeii.— 

Extract of jasmine 1 liter. 

Extract of rue 1 liter. 

Extract of cassia 0*50 liter. 

Essence of bergamot 0*060 grin. 

Essence of tonka beans 0*030 grm. 

Essence of santal 0*030 grm. 

Tincture of musk -. 0*200 grm. 

— S. Piesse, Chimie des Parfums. 
Princess Bouquet Extract.— 

Bergamot, otto 34 drm. 

Clove, otto J4 drm. 

Lavender, otto 1 drm. 

Musk tincture 2 drm. 

Vanilla tincture 2 drm. 

Ambergris tincture 2 drm. 

Rose spirit 1 oz. and 2 drm. 

Alcohol 8 oz. 

Costs $1.03 per pt. 

Mix. 



Perfumery. 



387 



Perfumery. 



Royal Hunt Bouquet.— Esprit de rose triple, 
neroli, acacia, fleur d'orange, musk, orris, of 
each- 34 pt.; esprit de Tonquin, \& pt.; otto of 
citron zeste, 2 arm. 

Tulip Bouquet.— Though most beautiful to 
look at, nearly all varieties of the tulip are in- 
odorous, yet the variety called Duke of Thol 
exhales a delicious odor, but which is not cul- 
tivated by the perfumer. Nevertheless an ex- 
cellent preparation is prepared in the following 
manner : 

Extract of tuberose, from po- 
made ..0*56 liter. 

Extract of violets, from po- 
made J 0*56 liter. 

Extract of jasmine, from po- 
made 0*56 liter. 

Extract of roses 85grm. 

Essence of almonds 3 drops. 

— S. Piesse, Chimie des Parfums. 

Yacht Club Bouquet.— Extract of santal, 1 
pt.; extract neroli, 1 pt.; extract jasmine, ex- 
tract rose triple, of each, }4 pt.; extract vanil- 
la, 34 Pt.; flowers of benzoin, 34 oz. 

Cassie (Acacia Farnesiana).— Cassie is culti- 
vated in southern France and Italy, and pro- 
duces a very valuable perfume, resembling vi- 
olets, but stronger. 

Essence of Cassie.— 

Cassie pomade 16 oz. 

Deodorized alcohol q. s. or 16 oz. 

Introduce the pomade and alcohol into a 
Mason fruit jar of *4 gal. capacity. Digest by 
means of a water bath until the pomade is 
barely melted ; shake well together, and repeat 
the shaking frequently until cold. Allow this 
to stand thirty days, then drain off the essence. 
If this falls short of 1 pt., repeat with a suffi- 
cient quantity of alcohol to make up that 
measure. The washing can be continued, and 
a. second pint of essence obtained, which, al- 
though much weaker, may be found useful in a 
cheaper grade of perfumes. 

Lebanon Cedar Wood.—¥ov the handkerchief, 
•otto of cedar, 1 oz.; rectified spirit, 1 pt., esprit 
rose triple, 34 pt. 

Citronella (Andropogon Mardus).—0\\ of cit- 
ronella is obtained by distillation from citron- 
ella grass, a native of Ceylon and India. 

Civet (from Viverra Civetta).— This substance 
is secreted by the civet cat. It is found in a 
large double glandular receptacle, between the 
aims and pudendum. The cat abounds in por- 
tions of Asia. Civet has a most disagreeable 
odor, but as a fixing substance, for giving per- 
manence to the more fleeting odors, it is very 
valuable. 

Tincture of Civet.— 

Civet. . . 1 drm. 

Orris root powdered 1 drm. 

Deodrized alcohol 16 oz. 

Proceed as with the tincture of ambergris. 

<Jivet Tincture. — 

Civet 30 grn. 

Orris root, powdered I drm. 

Alcohol 8 oz. 

Triturate the civet with the orris root until 
thoroughly mixed, then add the alcohol and 
macerate for thirty days, with occasional agita- 
tion and filter. 

Clove (Caryophyllus).— The clove tree is one of 
the most elegant trees found in the Moluccas 
and other islands of the Chinese seas. Clove 
is a leading feature in some of the line bou- 
quets. 

Spirit of Cloves.— 

1. Oil of cloves 4 drm. . 

Deodorized alcohol 16 oz. 

2. Mix clove otto 20 min. 

Alcohol 4 oz. 

Economical Perfumes. — 1. 90# alcohol, 1 pt.; 
essence bergamot, 1 oz. 
2. 90% Alcohol, 1 pt.; otto of santal, 1 oz. 



3. 90% Alcohol, 1 pt.; otto French lavender, J>£ 
oz.; otto bergamot, }4 oz.; otto cloves, 1 drm. 

4. 90$ Alcohol, 1 pt.; otto lemon grass, 34 oz.; 
essence lemons, 3^ oz. 

5. Alcohol, 2 pt.; otto petit grain, 34 oz.; otto 
orange peel, % oz. Nearly all these perfumes 
will require to be filtered through blotting pa- 
per, with the addition of a little magnesia to 
make them bright. 

Imitation Eglantine, or Essence Sweet Brier.— 
Spirituous extract of French rose pomatum, 1 
pt.; spirituous extract cassie, 34 pt.; spirituous 
extract fleur d'orange, 34 Pt.; esprit de rose, 34 
pt.; oil of neroli, % drm.; oil of lemon grass 
(verbena oil), 3^ drm. 

Extract of Elder Flowers.— Elder flower water, 
1 qt.; tincture benzoin, 1 oz. 

Empress Eugenie's Nosegay.— Extract of 
musk, vanilla, Tonquin bean and neroli, of each 
34 pt.; extract geranium, rose triple, santal, of 
each Ui Pt. 

Essences of Flowers.— The essences of those 
flowers which are not separately given in this 
work may be made by one or other of the fol- 
lowing general formulae : 

Take of — 
Essential oil of the respective flow- 
ers 1 oz. 

Rectified spirit 1 pt. 

dissolve, as directed for essence of almonds. 
Frangipanni. — 

1. Oil fine lavender 3^ oz. 

Oil geranium leaf 3^ oz. 

Oil Turkish geranium 3^ oz. 

Otto rose 1 dr. 

Extract musk 6 oz. 

Extract tonka 6 oz. 

Extract sandal wood 1 pt. 

Extract vanilla 2 oz. 

Extract civet 1 oz. 

Alcohol 1 gal. 

Water 8 oz. 

Extract orange flo wer 5 oz. 

2. Tuberose essence 1 oz. 

Vetivert spirit 3^ oz. 

Sandal otto 15 min. 

Rose otto 15 min. 

Orange flower otto 15 min. 

Alcohol 3^ oz. 

Musk tincture 2 oz. 

Orris tincture 1 oz. 

Orange flower essence 1 oz. 

Cost, $3.00 per pt. 

3. Extract orris 4 oz. 

Extract tuberose 2 oz. 

Extract musk 4 oz. 

Extract vanilla 2 oz. 

Extract jasmin 1 oz. 

Extract styrax 1 oz. 

Otto neroli sugar 1 dr. 

Otto rose virgin 3^ dr. 

Otto santal flav 1 dr. 

Otto red cedar wood, true 1 dr. 

Otto pimento 3^ dr. 

Otto cassia 20 min. 

Otto bergamot 3^ dr.' 

Otto ginger ... 4 drops. 

Otto lavender, English 6 drops. 

Benzoic acid 2 dr. 

Pure spirit sufficient to make 4 pints. 

4. Tincture of musk 5 oz. 

Tincture of civet 4 dr. 

Tincture of orris root 3 oz. 

Essence of orange flowers 3 oz. 

Essence of tuberose 3 oz. 

Spirit of vitivert 1 oz. 

Oil ol santal 60 drops. 

Oil of neroli petale 60 drops. 

Oil of rose 120 drops. 

Oil of rose geranium 60 drops. 

Cost, $6.50 per pint. Where there is a de- 
mand for something lasting, regardless of 
price, this will prove satisfactory. 



• 



Perfumery. 



388 



Perfumery. 



Geranium (Pelargoneum Camtatum). — Gera- 
nium oil is obtained in southern France and 
Turkey, from rose leaf geranium. 

Rose Geranium Extract.— 

Oil of rose geranium 1 oz. 

Deodorized alcohol 15 oz. 

Cost, 80c. per pt. 

Geranium No. 1.— 

Oil geranium leaf, .iniunutt 2 oz. 

Oil Turkishrose 2 oz. 

Oil bergamot 1 oz. 

Extract orange flower 5 oz. 

Extract civet 1 oz. 

Alcohol lgal. 

Water 8 oz. 

Geranium No. 2. — 

Oil geranium leaf ,...loz. 

Oil Turkish geranium 1 oz. 

Oil bergamot 1 oz. 

Extract benzoin 2 oz. 

Extract vanilla . . 2 oz. 

Alcohol 2 gal. 

Water.. 3 pt. 

GuibourVs Royal Essence for the Handkerchief. 
—This very persistent perfume is made as fol- 
lows: 
Take of— 

Ambergris 25 parts. 

Musk 12 parts. 

Civet ( Vivera civetta) 5 parts. 

Oil of rose 2 parts. 

Oil of cinnamon (Laurus cinnamo- 

mum) 3 parts. 

Oil of wood of Rhodes (Convolvu- 
lus scoparius) 2 parts. 

Oil of orange flowers (Citrus au- 

rantium) 2 parts. 

Carbonate of potash 6 parts. 

Alcohol at 90° 860 parts. 

Macerate for fifteen days and filter. 
Heliotrope, No. 1.— 

Extract orange flower 1 oz. 

Extract white rose .. . 1 qt. 

Extract vanilla ^ pt. 

Extract benzoin 1 oz. 

Extract civet 1 oz. 

Alcohol 1 pt. 

Oil of bitter almonds 3 min. 

Water 2 oz. 

Note.— If you will get the flower heliotrope, 
you will notice a slight odor of bitter almonds. 
Put into the extract only the amount required 
to imitate that. 

Heliotrope, No. 2.— 

Oil bergamot 1 oz. 

Extract vanilla ^ pt. 

Extract civet 5^ oz. 

Extract benzoin J^ oz. 

Alcohol 1 gal. 

Extract orris 1 pt. 

Oil bitter almonds 5 drp. 

Water 3 pt. 

3. Tincture of vanilla 8 oz. 

Tincture of ambergris 1 oz. 

Tincture of civet . 1 oz. 

Spirit of rose 3 oz. 

Essence of rose 3 oz. 

Oil of bitter almond ,....,,.. 5 drp. 

Cost, $2.10 per pint. 

Honeysuckle Extract. — 

Mix Patchouly extract 3 drm. 

Benzoin tincture 3^j oz. 

Rose essence y% oz. 

Clove spirit y% oz. 

Civet tincture 1 oz. 

Orange flower spirit 1 oz. 

Jasmin essence 4 oz. 

Vanilla tincture , , . 1 oz. 

Cost, $1.50 per pint. 



Honeysuckle.— 

Essence of rose «» »«*>»*» 4oz. 

Essence of violet. 4 oz. 

Essence of tuberose 4 oz. 

Tincture of vanilla 1 oz. 

Tincture of tolu 1 oz. 

Tincture of musk I oz. 

Oil of neroli petale 3 drops. 

Oil of bitter almond*. 2 drops. 

Deodorized alcohol ...,,. 1 oz. 

Cost, $2.80 per pint. 

Iceland Wintergreen. — Esprit de rose, 1 pt ;, 
essence of lavender, 34 Pt-; extract of neroli, y% 
pt.; extract of vanilla, 34 pt.; extract of viti- 
vert, 34 Pt.; extract of cassie, J^ pt.; extract of 
ambergris, 34 Pt. 

Japanese Perfume. — Extract of rose triple, J*£ 
pt.; extract vitivert, % pt.; extract patchouly. 
3^ pt.; extract cedar, % pt.; extract santal, J4 
pt.; extract verveine, 34 Pt. 

Jasmine (Jasminum Odoratissimum). — Jas- 
mine is cultivated in southern Prance and 
Italy. Its odor is so peculiar and fine, it cannot 
itself be imitated, but is used for imitating odors, 
of other flowers. 

Essence of Jasmine- 
Jasmine pomade 16 oz. 

Deodorized alcohol q. s. or 16 oz. 

Proceed as with cassie. 

Jasmine Extract. — 

Mix Jasmine essence. 4 oz. 

Vanilla tincture ^j oz. 

Ambergris tincture — . , 2 drm- 

Cost, $2.24 per pt. 

Jessamine. — 

Extract jessamine from pomade. 8 pt. 

Oil lemon \& oz. 

Oil bergamot , 3^ oz. 

Jockey Club Extract.— 

Mix Tuberose essence 2 oz. 

Rose spirit 2 oz. 

Rose essence 2 oz. 

Ambergris tincture V/% oz. 

Civet tincture 2 drm- 

Musk tincture 2 drm. 

Bergamot otto 30 min. 

Clove otto 10 min. 

Cost, $1.84 per pt. 

Jockey Club. — 

Extract jasmin. 5 oz. 

Extract orris . \ 20 oz. 

Extract musk 7 oz. 

Extract vanilla 13^ oz. 

Otto rose, virgin 13^drm.. 

Otto santal flav — 13^ drm. 

Otto bergamot 23^ drm. 

Otto neroli super 40 min. 

Benzoic acid 2 drm. 

Pure spirit sufficient to make 4pt. 

In this , as well as the following extracts, be- 
fore adding the last portion of the spirit, re- 
place as much of it with water as the perfume 
will bear without becoming milky, which will 
vary from 2 to 8 oz. or more. This addi- 
tion will make the perfume softer. 

Jockey Club, No. 1.— 

Extract musk : 1J^ pt. 

Extract civet 2 oz. 

Extract benzoin 114 oz. 

Extract orange flower 4 oz. 

Extract otto rose, Kissanlik 2 drm. 

Alcohol 1 gal. 

Water % pt. 

Note.— The water should not be put in until 
the oils are all cut or dissolved by the alcohol, 
and after that the extract should have time, 
say one night, so as to digest fully. 



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389 



Perfumery, 



Jockey Club, No. 2.— 

Oil bergamot 2 oz. 

Oil lavender, fine y 2 oz. 

Extract civet 2 oz. 

Extract benzoin 2 oz. 

Extract musk . . 1 pt. 

Alcohol 2 gal. 

Water , 3 pt. 

Jockey Club, No. 3.— 

Spirit of rose 4 oz. 

Essence of rose 1 oz. 

Essence of tuberose 4 oz. 

Esssnce of, cassie 2 oz. 

Essence of jasmine... 1 oz. 

Essence of orange flowers 1 oz. 

Tincture of civet 2 oz. 

Tincture of musk. 1 oz. 

Cost, $2.50 per pint. 

True Extract of Jonquil.— Jonquil pomade, 8 
lb.; spirit, 60 overproof , 1 gal. Let it stand one 
month. 

Imitation Extract of Jonquil.— Spirituous ex- 
tract of jasmine pomade, 1 pt.; spirituous ex- 
tract tuberose, 1 pt.; spirituous extract fleur 
d'orange, J^ pt.; extract vanilla, 2 fl. oz. 

Kew Garden Nosegay. — Esprit de neroli, pe- 
tale, 1 pt.; esprit de cassie, esprit de tuberose, 
from pomade, of each y% pt.; esprit de jasmine, 
esprit de geranium, of each y% pt.; esprit de 
musk, esprit.de ambergris, of each 3 oz. 

May Flowers.— Extract of rose de pommade, 
^3 pt.; extract of jasmine, % pt.; extract fleur 
d'orange, % pt.; extract cassie, y> pt.; extract 
of vanilla, 1 pt.: otto of almonds, M drm. 

Millefleur Lavender, Delcroix's.— Spirits from 
grapes, 1 pt.; French otto of lavender, 1 oz.; 
extract of ambergris, 2oz. 

Lavender, Lavendula Vera.— The best oil of 
lavender comes from Mitcham, in England, 
where the plant is grown extensively. 

Essence of Lavender. — 

Oil of lavender, Mitcham 1 oz. 

Rectified spirit, strongest ^ pt. 

Mix, with agitation ; a few drops of the es- 
sences of musk and ambergris being added, at 
will; very fine. 

Lavender Water. See Waters, 

Lavender Extract. — 

Oil of lavender, Mitcham 4 drm. 

Essence of rose 2 oz. 

Deodorized alcohol 14 oz. 

Cost, $2. 30 per pt. By using the common oil 
of lavender flowers, the cost will be about 
$1.20. 

Lemon (Citrus Limonum),— The lemon tree is 
a member of the great Citrus family. Sicily 
produces a large amount of oil of lemon. The 
raising and extracting of oils of lemon, orange, 
and bergamot form one of the chief industries 
in the vicinity of Palermo. 

Essence of Lemon. — 

Oil of lemon 4 drm. 

Carb. magnesia 4 drm. 

Sugar 4 drm. 

Deodorized alcohol 8 oz. 

Water 8 oz. 

Dissolve the oil in two ounces of alcohol; 
triturate in a mortar with the magnesia 
and sugar. Gradually add the remainder of 
the alcohol and water, and filter. This is also 
used for dispensing. 

Lemon Grass (Andropogar Citratus).— Is a 
species of grass growing in India; on account 
of its odor resembling verbena, the oil is used 
for preparing the extract of verbena. 

Imitation Essence of White Lilac.— Spirituous 
extract from tuberose pomade, 1 pt.; spiritu- 



ous extract of oranare flower pomade, J4 pt.; 
otto of almonds, 3 drops; extract of civet, ^oz. 

Lily of the Valley, or White Pond Lily.— 

1. Essence of tuberose 8 oz. 

Essence of jasmine l oz. 

Essence of orange flowers 1 oz. 

Essence of cassie 2 oz. 

Essence of rose 2 oz. 

Spirit of rose 1 oz. 

Tincture of vanilla 1 oz. 

Oil bitter almonds , , , , , . 2 drops. 

Cost, $2.50 per pint. 

2. The celebrated Lily of the Valley perfume 
is said to be made as follows : 

Extract of jasmine 1000 

Extract of ylang ylang 15*0 

Cardamom seeds.. 5*0 

Oil of orris Tower 10 drops. 

The cardamom odor, if predominating, must 
be neutralized with jasmine. 

Marie Stuar ;, No L— 

Extract musk 4 oz. 

Extract civet 4 oz. 

Extract benzoin 4 oz. 

Extract orange flower 16 oz. 

Extract oil of rose, Kissanlik. . 60 min. 

Oil bergamot .... 60 min. 

Extract tonka 4 oz. 

Alcohol , , 1 gal. 

Water 1 pt. 

Marie Stuart, No. 2.— To recipe for night 
blooming cereus : 

Extract tonka 4 oz. 

Magnolia, No. 1.— 

Otto rose 1 drm. 

Oil Turkish geranium 1 drm. 

Extract tonka 4 oz. 

Extract civet 1 oz. 

Extract musk 3 oz. 

Extract orange flower 6 oz. 

Extract vanilla 6 oz. 

Alcohol ; y% gal. 

Water 4 oz. 

Magnolia, No. 2.— 

Oil Bergamot 2 oz. 

Extract vanilla 8 oz. 

Extract tonka 2 oz. 

Extract civet 1 oz. 

Extract benzoin 1 oz. 

Alcohol 2 gal. 

Water 3pt. 

Mignonette.— 

Extract orris 12 oz. 

Extract tuberose 4 oz. 

Extract vanilla 4 oz. 

Extract musk 2 oz. 

Otto rose, virgin 1 drm. 

Otto neroli super 1J4 drm. 

Otto pimento 12 min. 

Benzoic acid 1 drm. 

Pure spirit sufficient to make 4 pt. 

Millefleur.— 1. Add to Bouquet de Caroline.— 

Extract orange flower 1 pt. 

Extract civet 1 oz. 

Extract benzoin 1 oz. 

2. Otto rose, virgin 1 drm. 

Otto red cedar wood (true).. . 1 drm. 

Otto orange (new) 1 drm. 

Otto pimento %Q min. 

Extract orris (j oz. 

Extract jasmine 2 oz. 

Extract styrax 1 oz. 

Extract tonka 4 oz. 

Pure spirit — sufficient to make 4 pt. 



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390 



Perfumery. 



Millefleurs (Thousand Flowers).— 

Spirit of rose 3 oz. 

Essence of rose 1 oz. 

Essence of jasmine 4 oz. 

Essence of,, orange flowers 2 oz. 

Essence of cassie 2 oz. 

Tincture of orris 2 oz. 

Tincture of tonka 4 drm. 

Tincture of ambergris 4 drm. 

Tincture of musk 4 drm. 

Gil bitter almonds 3d rops. 

Oil of neroli petale 3 drops- 
Oil of cloves 3 drops. 

Oil of bergamot 120 drops. 

Cost, $2.55 per pint. 

Mush (from Moschus, Moschatus).— Musk is 
obtained from the musk deer, a small animal 
inhabiting the mountainous regions of Central 
Asia. Grain musk is the best form in which to 
purchase the article Musk is used extensively 
in perfumes, both as a simple extract and for 
giving permanence to more fleeting odors. 

Tincture of Musk. — 

Grain musk 2 drm. 

Hot water 1 oz. 

Deodorized alcohol 15 oz. 

Hub the musk to a fine paste with the hot 
water. Digest in a covered mortar for two 
hours; add the alcohol, and transfer to a tightly 
corked bottle. Digest for thirty days and 
filter. 

Musk.— 

1. Tincture of musk 11 oz. 

Spirit of rose 4 oz. 

Tincture of civet 1 oz. 

Cost, $5.90 per pin*.. This is rather a high 
priced article, but the tincture of musk can be 
reduced one-half with alcohol and still yield a 
satisfactory result. '. The cost will then be 
$3.25. 

2. Extract musk 1 pt. 

Extract orris 6 oz. 

Extract vanilla 2 oz. 

Extract styrax 2drr".. 

Otto santal flav 1 drr".. 

Otto bergamot 2 drm. 

Otto neroli super 10 min. 

Otto patchouly 12 min. 

Otto lavender (English) 15 min. 

Otto cinnamon (true) 6 min. 

Pure spirit. ...suflicient to make 4 pt. 

3. Tonquin grain musk 1 drm. 

Hot water 4 drm. 

Alcohol 1 pt. 

Digest the musk in the hot water for three or 
four hours, then add the alcohol and macerate 
for thirty days, with occasional agitation, and 
filter. 

Musk Extract r— 

1. Mix musk tincture 2 oz. 

Cxvet tincture 2 oz. 

Rose otto 10 min. 

Alcohol loz. 

Cost, $2.26 per pt. 

This extract of musk is a more pleasant and 
of a more natural musk odor than any that 
has been produced from the grain musk alone. 

2. Take of pure grain musk, of the first qual- 
ity, 2 drm. Mix Vi oz. of liquor potassae with 
4 oz. of proof spirit, and triturate the musk 
with this mixture until it is thoroughly soft- 
ened and reduced to a creamy state; add 
enough proof spirit to make up about 1 pt.; 
stir well, then allow the coarser particles to 
subside, and pour off the supernatant fluid. 
Rub the coarser portions again with a fresh 
portion of spirit, proceeding as before, and re- 
peat the process until the musk is entirely re- 
duced, and the quantity of extract measures 3 
pt. Allow this to stand for a fortnight, with 
occasional shaking, when it will be ready for 
use. 



3. Grain musk 14 oz. 

Rectified spirit (56 o. p.) l qt. 

Essence of ambergris (finest) 2 fl. oz. 

Digest, etc., as before. Excellent, but greatly 
inferior to the others. 

Imitation Essence of Myrtle.— Extract of 
vanilla, }4 pt.; extract of roses, 1 pt.; extract 
fleur d'orange, }4 Pt-; extract tuberose, % pt.: 
extract jasmine, 2 oz. 

Extract of Narcissus.— Extract of tuberose, 3 
pt.; extract of jonquil, 2 pt.; extract ol" styrax,. 
34 pt.; extract of tolu, J4 Pt. 



Neroli Spirit.— 

Oil neroli petale 

Deodorized alcohol. 



4 drm. 
16 oz. 



New Mown Hay.— 

1. Tonka tincture 4 oz. 

Musk tincture 1 oz. 

Benzoin tincture 1 oz. 

Rose spirit 1 oz. 

Rose geranium oil 40 nun. 

Bergamot oil 40 min. 

Alcohol (rectified) 1 oz. 

2. Tincture of tonka 6 oz. 

Spirit of rose 3 oz. 

Essence of rose , 3 oz. 

Essence of jasmine 3 oz. 

Oil of neroli petal 10 drops 

Oil of rose geranium 60 drops- 
Deodorized alcohol 4 oz. 

Cost, $1.65 per pint. 

3. Extract tonka 25 oz. 

Extract musk 6 oz. 

Extract orris 8 oz. 

Extract vanilla 1 oz. 

Extract styrax 1 drm. 

Otto bergamot 1 drm. 

Otto neroli super 15 min. 

Otto rose, virgin 10 min. 

Otto cloves 6 min. 

Otto lavender (English) 10 min. 

Otto patchouly 10 min. 

Otto santal flav 1 drm. 

Benzoic acid 1J^ drm. 

Pure spirit suflicient to make 4 pt. 

4. Oil geranium from leaf 2 drm. 

Turkish geranium 2 drm. 

Extract white rose 1 qt. 

Extract orange flower 1 pt. 

Tonka extract 8 oz. 

Alcohol 2 qt. 

Extract vanilla 4 oz. 

Water 4 oz. 

Extract musk 4 oz. 

For new names for bouquet odors, take 
names of persons or places as desired. 

5. Mix moss rose extract ... 1 oz. 

Benzoin tincture 1 oz. 

Tonka tincture 4 oz. 

Musk tincture 1 oz. 

Rose geranium otto 40 min. 

Bergamot otto 40 min. 

Alcohol 1 oz. 

Cost, $1.50 per pt. 
Night Blooming Cereus.— 

1. Spirit of rose 4 oz. 

Essence of jasmine 4 oz. 

Tincture of tonka 2 oz. 

Tincture of civet 2 oz. 

Tincture of benzoin . . . 4 oz. 

Cost, $1.65 per pint. 

2. Extract vanilla 8 oz. 

Extract civet 2 oz. 

Extract benzoin 2 oz. 

Oil bergamot 2 oz. 

Alcohol 2 gal. 

Water 3 pt. 

Orange (Citrus Aurantum, Citrus Bigararte). — 
From the orange tree is obtained five distinct 
and valuable perfumes. 1. The true flower 
odor, obtained by digesting the flowers with 



Perfumery. 



391 



PerfumerT, 



lard. 2. Oil neroli petale, or oil neroli bigar- 
ade, by distilling the flowers of the sweet and 
bitter orange respectively. 3. Oil of neroli 
petit grain, by distilling the leaves and unripe 
fruit. 4. Oil of orange, Portugal, obtained by 
rolling the fruit in a metal cup covered with 
spikes, known as an ecuelle, which wounds the 
fruit and causes the oil to flow from the oil 
glands. 5. Commercial oil of orange, obtained 
by expressing or distilling the orange peel. 
The orange tree is cultivated extensively in 
southern France, Italy and Sicily. 

Essence of Orange Flowers.— 

1. Orange flower pomade . . ....... 16 oz. 

Deodorized alcohol q. s. or 10 oz. 

Proceed as with cassie. 

Essence of Neroli, Essence of Orange Blos- 
soms.— 

1. Neroli (pure) y% oz. 

Rectified spirit 1 pt. 

Dissolve. An ounce of the essence of jasmine, 
jonquille or violets is often added. A delicate 
and delicious perfume . A spurious or com- 
pound article is often prepared as f oIIoavs : 

2. Oil of orange peel (recent) 1 dr. 

Neroli \& dr. 

Ambergris 5 or 6 gr. 

Orris root (bruised) J4 oz. 

Rectified spirit J4 pt. 

Digest fourteen days. Strongly and agreeably 
fragrant, but less chaste than the preceding, 
and, to a cultivated nose, very different. 

Orange Flower Extract.— 

Essence of orange flowers 12 oz. 

Essence of cassie. t 2 oz. 

Tincture of musk 2 oz. 

Cost, $3.20 per pint. 

Orange Flower Spirit. — 

Orange flower otto 40 min. 

Alcohol 8 oz. 

Orris (Iris Florentlna).— Is largely cultivated 
near Florence, Italy. 

Orris Tincture. — 

Orris root, powdered 2 oz. 

Alcohol 4 oz. 

Macerate the orris root for seven days and 
filter, then percolate the orris root with alcohol 
sufficient to make the measure up to 4 fl. oz. 

Extract of Orris.— Seven pounds of finely 
ground orris root of good quality is treated 
by percolation with pure alcohol until 1 gal. of 
extract is obtained. 

Patchoulij (Pogostemon Patchouli, Lindley. — 
Patchouly is a native of Selhet, a district of 
Bengal. It is also found in Java, Ceylon and 
portions • of China. The oil is distilled from 
the fresh herb. It has a very peculiar, musty, 
mossy odor, but when properly blended forms 
a very fashionable perfume. 

Patchouli/.— 

1. Oil of patchouly 75 drops. 

Oil of rose . . 15 drops. 

Deodorized alcohol 16 oz. 

Cost, 75 cents per pt. 

2. Otto patchouly 2 dr. 

Otto santal flav ... 40 min. 

Rose, virgin 40 min. 

Ext. musk 8 oz. 

Ext. orris 8 oz. 

Ext. vanilla 4oz. 

Ext. sty rax 2 dr. 

Pure spirit sufficient to make 4 pt. 

3. Mix Patchouly otto 2 drm. 

Rose otto 20 min. 

Alcohol 15 oz. 

Cost, $0.96 per pt. 

Quality No. 1.— 

Oil pa tchouly 3 oz. 

Extract benzoin 2 oz. 

Extract civet 2 oz. 

Extract orange flower 4 oz. 

Alcohol 1 gal. 

Water 2 oz. 



Quality No. 2.— 

Oil patchouly l oz. 

Extract benzoin 1 oz. 

Extract civet 1 oz. 

Alcohol 1 gal. 

Water 3 pt. 

Sweet Pea.— 

Essence of tuberose 5 oz. 

Essence of orange flower 5 oz. 

Essence of rose 5 oz. 

Tincture of tonka 1 oz. 

Cost, $2.50 per pt. 

Essence of Peach Blossoms, Extract of Peach 
Blossoms.— T 1 is name is fancifully given to the 
following preparation : 

Oil of lemon (recent) » 1 fl. drm. 

Balsam of Peru 15 grn. 

Essential oil of almonds 8 grn. 

Spirit of orange flowers 2^ fl. oz. 

Spirit of jasmine 5 fl. drm. 

Rectified spirit 7 fl. oz. 

Agitate them together for a few days, and 
after another week pour off the clear portion. 
A refreshing and powerful perfume, much es- 
teemed for personal use. A second quality is 
made with spirit only 35$ over proof. 

Piesse^s Posy.— Extract of rose (from pom- 
ade), 1 pt.; esprit of rose triple, ^ pt.; extract 
of jasmine, extract of violet, from pomade, 
of each J^ pt.; extract of verbena, extract of 
cassie, of each 2J6 oz.; otto of lemons, otto of 
bergamot, of each J4 oz.; extract of musk, ex- 
tract of ambergris, of each 1 oz. 

Pimento.— The allspice tree is a native of the 
West Indies, Mexico, and South America. The 
oil is obtained by distilling the berries. 

Clove Pink.— 

1. Extract jasmine 12 oz. 

Extract orris 12 oz. 

Extract musk 8 oz. 

Otto rose, virgin 1 drm. 

Otto cjoves 2 drm. 

Otto neroli super 1 drm. 

Otto pimento 10 min. 

Otto patchouly 20 min. 

Otto santal flav 2 drm. 

Benzoic acid 1 drm. 

Pure spirit . . .sufficient to make 4 pt. 

2. Essence of rose 6 oz. 

Essence of cassie 4 oz. 

Spirit orange flower 4 oz. 

Tincture of vanilla 2 oz. 

Oil of cloves 10 drops. 

Cost, $2.40 per pt. 

3. Mix clove spirit 2 drm. 

Vanilla tincture \& oz. 

Violet essence y% oz. 

Orange flower spirit 1 oz. 

Rose spirit 2 oz. 

Cost, $1.35 per pt. 

Sweet Pink.— 

Oil ylang ylang 1 drm. 

Oil bergamot 2 drm. 

Extract benzoin 2 drm. 

Civet -. 2 drm. 

Extract rose from pomade 8 oz. 

Alcohol... 1J^ qt. 

The cost of these formulas varies from $1.50 
to 75 cents per pint, at present price of alco- 
hol and other material. 

Rondoletia.— 

1. Tincture of musk 4 drm. 

Tincture of ambergris 4 drm. 

Tincture of vanilla 4 drm. 

Oil of bergamot ... 1 drm. 

Oil of lavender (Mitcham) 2 drm. 

Oil of cloves 1 drm. 

Oh* of rose 30 dr'p. 

Deodorized alcohol 14 oz. 

Cost, $3 per pint. With common oil of laven- 
der flowers it will cost $1.6u. 



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392 



Perfumery. 



2. Otto lavender (English) 1 oz. 

Otto cloves % oz. 

Otto bergamot ^i oz. 

Otto rose geranium (Turkey) . . 2 drm. 

Otto cinnamon (true) 20 min. 

Otto rose, virgin — 10 mi n. 

Otto santal 13a vor 1 drm. 

Extract musk 2 oz. 

Extract orris 4 oz, 

i Extract vanilla 2 oz. 

Benzoic acid 1 drm. 

Pure spirit . . sufficient to make 4 pints. 

3. Mix lavender otto (English)... 1 drm. 

Cloveotto 15 min. 

Bergamot otto 30 min. 

Musk tincture 2 drm. 

Vanilla tincture 2 drm. 

Ambergris tincture 2 drm. 

Rose spirit 1\4, oz. 

Alcohol 8 oz. 

Cost, $1.10 per pint. 

Rose (Rosa Centifolia).- This is truly the 
queen of flowers; and although roses are found 
growing wild in nearly every part of the world, 
it is only in France, Turkey, and India that 
they are cultivated for their perfume. The 
Turkish oil is the one commonly found in the 
market. Oil of rose should congeal at 80° F. 
When slowly cooled to 50° F., the oil becomes a 
transparent solid, interspersed with numerous 
slender, shining, iridescent scale like crystals 
(U. S. P.). The oil is obtained by distilling the 
flowers with water. 

Essence of Rose — 

Rose pomade 16 oz. 

Deodorized alcohol q. s. or 16 oz. 

Proceed as with cassie essence. 
Spirit of Rose.— 

1. Oil of rose 2 drm. 

Oil of rose geranium 1 drm. 

Deodorized alcohol 16 oz. 

The oil of rose geranium is added to give per- 
manence to the spirit. 

2. Rose otto 50 min. 

Rose geranium otto 40 min. 

Alcohol 8 oz. 

Esprit de Rose.— The compound perfume sold 
under this name is commonly made as follows : 

1. Esprit de Rose (simple, finest). . . 1 pt. 

Essence of ambergris % fl. drm. 

Oil of rose geranium HA- drm. 

Mix. Delicately fragrant. 

2. Otto of roses (finest) 1)4 drm. 

Ne*oli % drm. 

Rectified spirit (56 o. p.; warm). . 5 pt. 

agitate them together, add of 

Chloride of calcium (dry; pow- 
dered) % lb. 

and again well agitate. Next throw the whole 
into a still, and draw over rapidly by steam 
heat, y 2 gal. Lastly, add to the distillate 1 11. 
drm. of essence royaie. Very fine. Both are 
delicate and favorite perfumes. 

Essence of Roses (Bed).— Concentrated tinc- 
ture of roses.— 

Red rose petale or leaves (dried) . 6 oz. 
Proof spirit 1 qt. 

Digest for fourteen days, press, strain, add of 

Acetic acid (sp. gr. 1'044) 2 H. drm. 

and the next day filter. Used chieHy to color 
and flavor cosmetics that do not contain alka- 
lies or earths, particularly liquid ones made 
with spirit. 

Essence of Roses.— 

1. Otto of roses (pure) 154 drm. (troy). 

Alcohol (0-806) 1 pt. 

Mix, place t he bottle in a vessel of warm water 
until its contents acquire the temperature of 
about 85° F., then cork it close, and agitate it 



smartly until the whole is quite cold. Very 
fine. 

2. Otto of roses 1 drm. 

Rectified spirit (66 o. p.) 1 pt. 

as before. Excellent. 
Moss Rose.— 

1. Extract rose from pomade.... 4 pt. 

Turkish rose y% oz. 

Otto rose, Kissanlik y> drm. 

Extract musk 1 oz. 

Extract civet y % oz. 

Extract benzoin J^ oz. 

Alcohol y% gal. 

Water 4 oz. 

2. Mix rose spirit 3 oz. 

Orange flower essence 1 oz. 

Ambergis tincture % oz. 

Musk tincture ,, 2 drm. 

Cost, $1.75 per pint. 

3. Spirit of rose 9 oz. 

Essence of orange flowers 3 oz. 

Essence of rose 2 oz. 

Tincture of civet 1 oz. 

Tincture of musk 1 oz. 

Cost, $2.85 per pint. 

4. Otto rose, virgin 2 drm. 

Otto santal 2 drm. 

Extract of musk 12 oz. 

Extract of vanilla 4 oz. 

Extract of orris 2 oz. 

Extract of jasmine 4 oz. 

Benzoic acid 1 drm. 

Pure spirit, sufficient to make 4 pints. 

Tea Rose — 

Essence of rose 4 oz. 

Spirit of rose 8 oz. 

Spirit of santal 2 oz. 

Essence of orange flowers 1 oz. 

Tincture of orris 1 oz. 

Oil of rose geranium 20 drops. 

Cost, $2.20 per pint. 

Essence of Tea Rose.— Esprit de rose pomade, 
1 pt.; esprit de rose triple, 1 pt.; extract of rose 
geranium, 1 pt.; extract santal wood, H> pt.; 
extract neroli, J4 Pt.; extract of orris, J4 Pt. 

White Rose.— 

1. Oil Turkish geranium 2 oz. 

Oil bergamot 2 oz. 

Extract benzoin 2 oz. 

Extract vanilla 2 oz. 

Alcohol 2 gal. 

Water 3 pt. 

2. Esprit de rose from pomatum, 1 qt.; esprij 
de rose triple, 1 qt.; esprit de violette 1 qt.; 
extract of jasmine, 1 pt.; extract of patchouly, 
Hpt. 

3. Spirit of rose 8 oz. 

Essence of rose 3 oz. 

Essence of jasmine 4 oz. 

Extract of patchouly 1 oz. 

Cost, $-2.50 per pt. 

4. Otto rose, Kissanlik. 2 drm. 

Extract orange flower 2 oz. 

Extract civet 1 oz. 

Extract benzoin 1 oz. 

Extract vanilla *4 oz. 

Turkish rose 1 drm. 

Alcohol 214 qt. 

Water 4 oz. 

5. Oil of rose 2 drm. 

Oil of geranium * 30 drops. 

Essence of rose 4 02. 

Deodorized alcohol 16 oz. 

Essence of jasmine 2 oz. 

Tincture of musk 1 oz. 

Tincture of ambergris 1 oz. 

Cost, $3 per pt. 

Extract of white rose is a general favorite, 
and cannot be recommended too highly. 









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393 



Perfumery. 



6. Mix rose spirit 4 oz. 

Violet essence 2 oz. 

Jasmine essence 2 oz. 

Patchouly extract % oz. 

Cost, $1.76 per pt. 

7. Otto rose, virgin 2 drm. 

Otto red cedar wood (true) 6 min. 

Otto patchouly 4 min. 

Otto orange (fresh) ^ drm. 

Extract tuberose 2 oz. 

Extract orris . . 2 oz. 

Extract jasmine 2 oz. 

Extract musk 2 oz. 

Benzoic acid 1 drm. 

Pure sairit (to which 4 oz. rose water has 
Toeen added), sufficient to make 4 pt. 

Rosemary (Rosemarinus Officinalis).— The rose- 
anary plant is a native of the borders of the 
Mediterranean Sea. It is also cultivated in 
this country. The oil is one of the leading in- 
gredients in cologne. 

Rose Sandal.— 

Oilsandal 2 oz. 

Alcohol }4 gal. 

White rose extract y% gal. 

Sandalwood Extract. — 

Sandalwood otto . 3 drms. 

Rose otto 20 min. 

Alcohol 8 oz. 

Mix. Cost, $1.25 per pt. 
Santal (Santalum Album).— The oil is distilled 
from the wood, which is a native of Australia 
and the South Sea Islands. 

Spirit of Santal.— 

Oil of santal wood 2 drm. 

Deodorized alcohol 16 oz. 

Tonka (Dipterix Odorata).— The tonka bean 
is the fruit of a large South American tree. 
When fresh they are very fragrant, having a 
strong odor of new mown hay. They are ex- 
ported from Para and Angostura. Tonka beans 
are used for scenting snuff, and by unscrupu- 
lous dealers for adulterating vanilla. And in 
perfumery in the form of tincture they enter 
into many of the leading bouquets. 

Tincture of Tonka.— 

Tonka beans 6 oz. 

Deodorized alcohol, a sufficient quantity. 
Reduce the beans' to a coarse powder; macer- 
ate in a corked bottle with 16 oz. of alcohol for 
thirty days. Tben filter, and add enough alco- 
hol through the. filter to make the product 
measure 16 oz. 
Spring Flowers.— 

1. Extract orris 4 oz. 

Extract jasmine 4 oz. 

Extract musk 4 oz. 

Otto bergamot 2 drm. 

Otto neroli super 3^ drm. 

Otto verbena (true) 10 min. 

Otto red cedar wood (true) ...... 1 drm. 

Benzoic acid 1 drm. 

Pure spirit sufficient to make 4 pints. 

2. Essence of rose 7 oz. 

Essence of violet 6 oz. 

Oil of bergamot 1 drm. 

Spirit of rose 1 oz. 

Tincture of ambergris 1 oz. 

Essence of cassie 1 oz. 

Cost, $2.95 per pint. 

3. Extract of rose, extract of violet from 
pomade, of each 1 pt.; extract rose triple, 2>£ 
oz.; extract cassie, 2% oz.; otto bergamot, 2 
drm.; extract ambergris, 1 oz. One of the best 
perfumes. 

4. Rose essence 2 oz. 

Tuberose essence 2 oz. 

Rose spirit 2 oz. 

Musk tincture y% oz. 

Ambergris tincture 13^ oz. 

Clove otto 10 min. 

Bergamot otto y^ drm. 

Mix. Cost, $2.60 per pint. 



Stephanotis. — 

1. Extract of cassia* 113 grm. 

Extract of tuberose 113 grm. 

Extract of jasmine 56 grm. 

Extract of musk 226 grm. 

Extract of iris 226 grm. 

Extract of tonka 85 grm. 

Essence of roses 1 grm. 

Essence of neroli 1 grm. 

Benzoic acid 1 grm. 

Alcohol 2 liters. 

S. Piesse, Chimie des Parfums. 

2. Extract of cassia 4 oz. 

Extract of tuberose 4 oz. 

Extract of jasmine 2 oz. 

Extract of musk 8 oz. 

Extract of orris 8 oz. 

Extract of tonka 3 oz. 

Otto rose, virgin . . . 1 drm. 

Otto neroli super y 2 drm. 

Benzoic acid 1 drm. 

Pure spirit sufficient to make 4 pints. 

Stolen Kisses.— Extract jonquil, extract orris, 
of each, 1 qt.; extract tonquin, extract rose 
triple, extract acacia, of each, 1 pt.; extract 
civet, extract ambergris, of each, 34 pt.; otto 
of citronella, 1 drm.; otto of verbena, y± drm. 

Extract Tonka.— Take 1 lb. tonka beans ; re- 
duce to a coarse powder and percolate with 
alcohol to make 1 gal. 

Tulip Nosegay. — Extract tuberose, extract 
violet, extract jasmine, from pomade of each, 
1 pt.; extract rose, 3^j pt.; extract orris, 3 oz.; 
otto of almonds, 3 drops. 

Extract Styrax.—'Eight drm. styrax balsam 
dissolved in 1 pt. of alcohol. 

Suave. — Extract tuberose, extract jasmine, 
extract cassie and extract rose, from pomade 
of each, 1 pt.; extract vanilla, 5 oz.; extract 
musk, extract ambergris, of each, 2 oz.; otto of 
bergamot, 34 oz.; otto of cloves, 1 drm. 

Extract of Tonquin Bean.— Tonquin beans, 1 
lb.; alcohol, 1 gal. Digest for a month at sum- 
mer heat. 

Tuberose (Paleanthes Tuberosa).— The tuberose 
is a native of the East Indies. It is cultivated 
for its perfume in southern France. Its odor 
is very fine, and is a general favorite. 

Essence of Tuberose.— 

1. Tuberose pomade 16 oz. 

Deodorized alcohol q. s. or 16 oz. 

Proceed as with cassie. 

2. Extract tuberose 24 oz. 

Extract musk 4 oz. 

Extract jasmine 1 oz. 

Otto rose, virgin 1 drm. 

Otto neroli super 10 min. 

Benzoic acid 2 drm. 

Pure spirit — sufficient to make 4 pints. 

3. Tuberose essence 4 oz. 

Orris tincture % oz. 

Ambergris tincture )4 oz. 

Cost, $2.24 per pt. 

4. Essence of tuberose 15 oz. 

Tincture of ambergris 1 oz. 

Cost, $2.85 per pt. 

5. Extract tuberose from pomade. . 8 pt. 

True cinnamon min. 

Oil bergamot \ 

Essence de Tuberose.— The extra ii toripU of the 
flowers, or a still stronger oared 

with rectified spirit, or a spirit ot <;ater 

strength than that usually employed for ex- 
traits. It is nearly colorless, but when re- 
quired white, or of still greatei th, the 
extrait triple is submitted to dis< by the 
heat of a water bath, the process being con- 
ducted as rapidly as possible, and the first half, 
or two-thirds, that comes over, being sep;' 
ly collected as the essence;. In geberal, how- 
ever, unless the process be very skilfully con- 
ducted, the odor of the essence, 
though stronger, is scarcely so chaste and deli- 



Perfumery. 



394 



Perfumery. 



cate as that of the extrait from which it has 
been prepared. 

In a similar way to essence de tuberose, the 
finer qualities of Essences of honeysuckle, 
jasmine or jessamine, jonquille, May blossom, 
May lily, myrtle blossoms, narcissus, orange- 
flowers, roses, violets, wallflowers, and, of 
other flowers of extremely delicate perfume, 
are usually obtained by the Continental manu- 
facturing perfumers; as also of essence of cas- 
sia, vanilla, etc., etc., except that the second is 
not distilled. 

Upper Ten.— 

Tincture of vanilla 4 oz. 

Tincture of ambergris 3 oz. 

Tincture of orris 3 oz. 

Spirit of rose 3 oz. 

Essence of orange flowers 3 oz. 

Oil of bergamot 90 drops. 

Oil of lemon 15 drops. 

Cost, $2.75 per pt. 

Vanilla (Vanilla Planifolia).—The best vanilla 
beans come from Mexico. Tincture of vanilla 
is used as a fixing ingredient in some perfumes. 

Tincture of Vanilla. — 

Vanilla beans 1 oz. 

White sugar 1 oz. 

Deodorized alcohol 16 oz. 

Cut the beans into small pieces. Beat with 
the sugar in a mortar until they are reduced to 
a coarse powder. Macerate with the alcohol 
for thirty days, and filter. 

Essence de Vanille Double. — 

Vanilla (finest) 12 oz. 

Cloves 30 grn. 

Ambergris 7 grn. 

Grain musk 7 grn. 

Esprit d'ambrette 1 pt. 

Rectified spirit 1 pt. 

Vanilla Tincture. — 

Vanilla beans 6 troy drm. 

Alcohol lpt. 

Beat the vanilla to coarse powder, macerate 
with gentle heat for four hours and filter; 
while macerating keep a wet towel over mouth 
of the bottle, using a water bath. 

Verbena.— 

Oil of lemon grass 50 drops. 

Oil of lemon 320 drops. 

Oil of neroli petale 20 drops. 

Oil of orange 160 drops. 

Essence of orange flowers .... 3 oz. 

Essence of tuberose 3 oz. 

Spirit of rose 3 oz. 

^Deodorized alcohol 6 oz. 

Cost, $1.90 per pint. 

2. Oil of lemon grass 3 drm. 

Oil of lemon 4 drm. 

Oil of orange 30 drops. 

Deodorized alcohol. 15 oz. 

Cost, 60 cents per pint. 

3. Oil lemon grass 3 oz. 

Oil bergamot 2 oz. 

Extract civet 1 oz. 

Extract benzoin 2 oz. 

Alcohol 2 gal. 

Water 3 pt. 

4. Mix verbena otto (true) 1 drm. 

Lemon otto. 1 drm. 

Alcohol 8 oz. 

Cost, $1 per pint. 

5. Alcohol, 1 pt.; otto of lemon grass, 3 drm.; 
otto of lemon peel, 2 oz.; otto of orange peel, y % 
oz. 

Extract de Verveine— Alcohol, 1 pt.; otto of 
orange peel, 1 oz.; otto of lemon peel, 2 oz. ; 
otto of citron zeste, 1 dr.; otto of lemon grass, 
2*4, drm.; extract de fleur d'orange, 7 oz.; ex- 
tract de tuberose, 7 oz.; esprit de rose, }4 pt. 
jTiis mixture is exceedingly refreshing and is 



one of the most elegant perfumes made. Being 
white, it does not stain the handkerchief. 
Victoria.— 

Otto rose, virgin 2 drm. 

Otto neroli super 2 drm. 

Otto bergamot 4 drm. 

Otto coriander 16 mim 

Otto pimento 24 min. 

Otto lavender, English 16 min. 

Extract jasmine 2 oz. 

Extract orris 16 oz. 

Extract musk 2 oz. 

Benzoic acid 2 oz. 

Pure spirit sufficient to make 4 pints. 

Violets, Viola Odorata.—A very delicate odor, 

but very fleeting; by the addition of some of 

the stronger perfumes a very fine and popular 
perfume is obtained. Violets are cultivated in 
southern France. 

Essence of Violets. — 

1. Violet pomade 16 oz. 

Alcohol deodorized q. s. or 16 oz. 

Proceed as with cassie essence. 

2. Extract violet from pomade 4 pt. 

Extract orris 4 pt. 

Extract orange flower 2 oz. 

Extract cassie 2 oz. 

Extract ylang ylang 1 drm. 

Otto rose, Kissanlik J^ drm. 

Civet 1 oz. 

Bergamot 1 drm. 

Water 4 oz. 

3. No. 1 ylang ylang 1 pt. 

Extract cassie from pomade 8 oz. 

. Extract civet ».. 2 oz. 

Extract vanilla 4 oz. 

Extract orris 1 pt. 

Alcohol 2 gal. 

Water 3 pt. 

4. Essence of violets 11 oz. 

Essence of cassie 2 oz. 

Tincture of musk 1 oz. 

Tincture of orris 2 oz. 

Cost, $3 per pint. 

5. Essence of cassie 6 oz. 

Essence of rose 3 oz. 

Essence of tuberose 3 oz. 

Tincture of orris 3 oz. 

Spirit of bitter almonds 1 oz. 

Cost, $2.05 per pint. 

Violet Extract.— 

1. Violet essence 4 oz. 

Cassie essence 1 oz. 

Rose essence 3 drm. 

Orris Tincture 1 oz. 

Ambergris Tincture 2 drm. 

Civet Tincture 2 drm. 

Almond spirit 20 min. 

Cost, $2.90 per pt. 

2. Extract orris 2 pt. 

Extract tuberose 4 oz. 

Extract vanilla 3 oz. 

Extract musk 3 oz. 

Extract tonka 2 oz. 

Otto rose, virgin 1 drm. 

Otto neroli super 40 min. 

Otto pimento 12 min. 

Otto bergamot 1 drm. 

Benzoic acid 1 drm. 

Pure spirit sufficient to make 4 pints. 

Wood Violet — 

1. Extact of violets, No."2 16 oz. 

Oil of bitter almonds 15 drops. 

Cost $2.10 per pint. 

2. Extract of orris 12 oz. 

Extract of tuberose — 2 oz. 

Extract of jasmin 1 oz. 

Extract of musk 4 oz. 

Vetivert Spirit.— 

Mix Vetivert otto 30 min. 

Alcohol 4 oz. 



:j 



Perfumery. 



395 



Perspiration. 



Vitivert or Kus Kus (Andropogon Mitrica- 
tus).— Is the rhizome of an Indian grass. 

Spirits of Vitivert.— 

Oil of vitivert 30 drops. 

Deodorized alcohol 4 oz. 

Essence of Volkameria.— Esprit de violette, 1 
pt.; esprit de tuberose, 1 pt.; esprit de jasmine, 
J4 pt.; esprit de rose, }4 pt.; essence of musk, 
2 oz. 

Rifle Volunteers' 1 Garland.— Alcohol, 1 pt.; 
otto of neroli, otto of rose, otto of lavender, 
otto of bergamot, of each, J4 oz.; otto of cloves, 
8 drops; extract of orris, 1 pt.; extract of jas- 
mine, extract of cassie, of each, y± pt.; extract 
of musk, extract of ambergris, of each, 2}^ oz. 

Essence of Wallflower. — Imitation. — Extract 
defleur d'orange, 1 pt.; extract vanilla, % pt-; 
esprit de rose, 1 pt.; extract of orris, ^1 pt.; 
■extract of cassie, }£ pt.; essential oil of almonds, 
5 drops. It should be made up for two or three 
weeks before using. 

West End — 

1. Extract orris 13 oz. 

Extract jasmine 4 oz. 

Extract musk 8 oz. 

Extrcct cassia 4 oz. 

Extract styrax 1 oz. 

Otto bergamot 3 drm. 

Otto verbena (true) 15 min. 

Otto neroli super Y% drm. 

Otto rose, virgin 1 drm. 

Otto red cedar wood (true) 1 drm. 

Benzoic acid 1 drm. 

Pure spirit. . . sufficient to make 4 pints. 

2. Mix Rose spirit 3 oz. 

Benzoin tincture 1 oz. 

Musk tincture 1 oz. 

Verbena extract \& oz. 

Civet tincture % oz. 

Sandalwood otto , , 10 min. 

Cost, $1.65 per pint. 

3. Rose spirit 6 oz. 

Verbena extract 1 oz. 

Benzoin tincture 2 oz. 

Civet tincture 1 oz. 

Musk tincture 2 oz. 

Sandal oil.. 20 m. 

Ylang or Ihlang (Cananga Odorata).— This 
plant is found in the Philippines and the islands 
of the Indian Archipelago. The oil is obtained 
by distilling the flowers. The perfume is very 
charming and lasting. 

Spirit of Ylang.— 

Ylang oil 3 drm. 

Deodorized alcohol 16 oz. 

In the following formulas, if the perfumes 
are too expensive, the ambergris can be omitted 
and civet substituted, except in extract of 
ambergris. The musk can also be reduced in 
strength one half, and still yield satisfactory 
results. In all cases secure the best goods, re- 
gardless of price. In perfumes, as well as in 
medicines, quality is of the first importance. 
When the perfumes are mixed they should be 
frequently agitated, and allowed to stand two 
or three weeks before filtering. 

Age improves all perfumes, if kept in a 
moderate atmosphere and in a dark place. 

Ylang Ylang. 

1. Extract tonka 3 oz. 

Extract musk 4 oz. 

Extract tuberose 4 oz. 

Extract cassia 4 oz. 

Extract orris 8 oz. 

Otto orange (new) 2 drm. 

Otto neroli super ^ drm. 

Pure spirit . sufficient to make 4 pt. 



Spirit of ylang. 8 oz. 

Spirit of rose * 4 oz. 

Essence of jasmine 2 oz. 

Tincture of civet 2 oz. 

Cost, $2.70 per pint. This is my favorite ; it 
combines fragrance and lasting qualities at a 
moderate price. 

3. Oil ylang ylang — 2 drm. 

Extract orange flower 2 oz. 

Extract civet 1 oz. 

Extract benzoin 1 oz. 

Extract vanilla ¥% oz. 

Oil of Turkish rose 1 drm. 

Alcohol 2^ qt. 

Water 4 oz. 

4. Mix Ylang ylang otto 80 min. 

Alcohol 8 oz. 

5. Mix Ylang Ylang spirit 8 oz. 

Jasmine essence 8 oz. 

Cost, $3.44 per pt. 

Perry.— A fermented liquid, prepared from 
pears in the same way as cider is from apples. 
The reduced pulp must not be allowed to remain 
long without being pressed. In the cask, perry 
does not bear changes of temperature so well 
as cider. It is therefore advisable, if at the end 
of the succeeding summer it be in sound con- 
dition, to bottle it, when it will keep perfectly 
well. The red, rough tasted sorts of pears are 
principally used for making perry. They should 
be quite ripe, without, however, approaching 
to mellowness or decay. The best perry con- 
tains about 9% of absolute alcohol; ordinary 
perry from 5% to 1%. 

Perry is a very pleasant tasted and whole- 
some liquid. When bottled champagne fash- 
ion, it is said to frequently pass for champagne 
without the fraud being suspected. 

Perspiration.— When perspiration is ex- 
cessive it may be regulated by using as a wash, 
once a day, not of tener, for about two min- 
utes, liquor atropise, 2 drm.; water, 1 pt. The 
face and other parts may also be washed as 
often as desired with alum, 1 oz.; glycerine, 1 
oz.; water, 10 oz. 

For Excessive Perspiration of Hands or Feet. — 
A German pharmaceutical journal recom- 
mends the following : 

Carbolic acid 1 part. 

Burnt alum 4 parts. 

Starch 200 parts. 

French chalk 50 parts. 

Oil of lemon 2 parts. 

Make a fine powder, to be applied to the 
hands and feet, or to be sprinkled inside the 
gloves or stockings. 

Perspiration, Prevention of. — 

Acid tannic 2 scr. 

Aqua rosal $4 oz. 

Spt. vin. rect %Y 2 oz. 

Aquae 3 oz. 

Use as a wash, each night and morning, with 
a soft sponge. The skin should be thoroughly 
cleansed with soap and warm water, and care- 
fully dried, and then apply the wash as di- 
rected. 

Perspiration Considered Medically.— T)o not 
try to prevent perspiration. It is one of the 
requirements of a healthy body. Closing up 
the pores of the skin by the use of certain 
washes or powders to prevent excessive per- 
spiration is a dangerous experiment. "The 
perspiratory glands of the skin are scattered 
everywhere throughout the integument, being- 
most abundant on the anterior portions of the 
body. They consist each of a slender tube, 
about j£ w of an inch in diameter, lined with 
glandular epithelium, which penetrates nearly 
through the entire thickness of the skin, and 
terminates below in a globular coil, very simi- 
lar In appearance to that of the ceruminous 
glands of the ear. These glands are very abun- 
dant in some parts. On the posterior portion 



Petroleum. 



396 



Phosphorescent. 



of the trunk, the cheeks, and the skin of the 
thigh and leg, there are, according to Krause, 
about 500 to the squai'e inch; on the anterior 
part of the trunk, the forehead, the forearm, 
and the back of the hand and foot, 1,000 to the 
square inch; and on the sole of the foot and 
palm of the hand about 2,700 in the same space. 
The whole number of perspiratory glands is 
not less than 2,300,000, and the length of each 
tubular coil, when unraveled, about ^ of an 
inch. The entire length must be not less than 
153,000 inches, or about two miles and a half. 
The fluid derived from this extensive apparatus 
is the perspiration. It is a clear, colorless, 
watery liquid, with a distinct acid reaction. Its 
constitution is as follows: Water, 995*00; chlor- 
ide of sodium, 2*23; chloride of potassium, 0*24; 
sulphate of soda and potassa, 0'01, salts of or- 
ganic acids with soda and potassa, 2*02. Total, 
1,000-00." 

Petroleum Cement. See Cements. 

Petroleum, to Deodorize.— Mix chlor- 
ide of lime with petroleum in the proportion of 
three ounces for each gallon of the liquid to be 
purified. It is then introduced into a cask. 
Some muriatic acid is added and the mixture is 
well agitated, so as to bring the whole of the 
liquid into intimate contact with the chlorine 
gas. Finally the petroleum is passed into an- 
other vessel containing slaked lime, which ab- 
sorbs the free chlorine and leaves the oil suffi- 
ciently deodorized and purified. 

Pewter. See Alloys. 

Pewter,Burnishing.— The burnishing of 
pewter articles is done after the work has been 
turned, or finished off with a scraper; the 
burnishers are of different kinds, for burnish- 
ing articles either by hand, or in the lathe; 
they are all of steel, and while in use are rub- 
bed with putty powder on leather, and moist- 
ened with soapsuds. 

Pewter, to Polish. See Polishing. 

Pewter, to Solder. See Soldering. 

Pharaoh's Serpents.— 1. These are little 
cones of sulphocyanide of mercury which, 
when lighted, give forth a long, serpent-like, 
yellowish brown body. Prepare nitrate of mer- 
cury by dissolving mercury dioxide in strong- 
nitric acid as long as it is taken up. Prepare 
also sulphocyanide of ammonium by mixing 1 
volume sulphide of carbon, 4 strong solution of 
ammonia, and 4 alcohol. This mixture is to be 
frequently shaken. In the course of about two 
hours, the bisulphide will have been dissolved, 
forming a deep red solution. Boil this until 
the red color disappears and the solution be- 
comes of a light yellow color. This is to be 
evaporated at about 80° P., until it crystallizes. 
Add little by little the sulphocyanide to the 
mercury solution. The sulphocyanide of mer- 
cury will precipitate ; the supernatant liquid 
may be poured off, and the mass made into 
cones of about y 2 in. in height. The powder of 
the sulphocyanide is very irritating to the air 
passages, and the vapor from the burning 
cones should be avoided as much as possible. 
To ignite them set them on a plate or the like, 
and light them at the apex of the cone. 

2. One grain of dry mercury sulphocyanide is 
mixed with 1 oz. gum tragacanth which has 
previously been soaked in hot water. When 
the gum is completely softened, it is transfer- 
red to a mortar and the mercury sulphocy- 
anide (in fine powder) is mixed with it by aid of 
a little water, so as to turn out a somewhat dry 
pill mass. This is then formed and cut into 
pellets of the desired size, which are dried on 
glass. These are very poisonous, and must be 
handled with care: do not inhale the fumes. 

3. Potassium dichromate, 2 parts ; potassium 
nitrate, one part ; white sugar, 3 parts. Pul- 
verize each ingredient separately, then mix 
them thoroughly. Make small paper covers of 
the desired size and press the mixture into 
them. 



4. Harmless Pharaoh's Serpents.— A new 
method of making the curious chemical toys 
called Pharaoh's Serpents has been suggested 
by Vorbringer. The "3lack liquor which results 
as a useless product when coal oil is purified 
with sulphuric acid is to be treated with fuming 
nitric acid. The dark colored resinous matter 
which swims on the surface is then collected, 
washed and dried, when it forms a yellowish 
brown mass having about the consistency of 
sulphur which has been melted and poured into 
water. When this mass is ignited it undergoes 
such a wonderful increase in bulk that a cylin- 
der 1 in. long will give a snake about 4 ft. in 
length. 

Phenol Phthalein Solution.— Dissolve 
1 part of the solid in 100 parts of alcohol, 60$. 
On dropping an alkali in, the solution is red- 
dened and bleached by acids. 

Phenol Sodique.— Dr. E. Wildman, in the 
Dental Times, remarks that this preparation of 
carbolic acid is deservedly quite popular with 
the medipal and dental professions, but its com- 
position has not been made public. The fol- 
lowing formula is the result of numerous ex- 
periments, and will give an article that will 
compare favorably with the best French phe- 
nol sodique : 

Carbolic acid in crystals 188 grn. 

Caustic soda 31 grn. 

Pure water 4 fl. oz. 

Mix. 

The carbolic acid should be free from offen- 
sive odor, such as is prepared for medicinal pur- 
poses. When first mixed it is nearly colorless, 
but in time assumes a wine color; does not de- 
posit any tarry residue, as is too often found in 
the commercial article. Carbolic acid has a 
feeble action as an acid, combining definitely 
with a very small portion of alkali. When the 
quantity of soda used was just sufficient to neu- 
tralize the carbolic acid, the compound did not 
appear to be as efficient as the one resulting 
from the above formula. 

Phenyl Paper. See Paper. 

Phosphate Solution.— Magnesium car- 
bonate, 115 grn.; calcium carbonate, 115 grn.; 
potassium bicarbonate, 115 grn.; phosphoric 
acid, 2 oz.; water, 1 pt. 

Phosphorescent Substances. See also 
Paint, Luminous.— Phosphorescence, or the 
emission of light without flame or sensible ele- 
vation of temperature, is a phenomenon ex- 
hibited in a greater or lesser degree by many 
substances— mineral, animal and vegetable — 
and is developed under a variety of conditions. 
In a few substances the light is developed by 
chemical change or a process of slow combus- 
tion, as in the case of phosphorus, from which 
the name phosphorescence has been derived. In 
others the substance suffers no appreciable 
change, only requiring exposure to a strong 
light to shine themselves when taken into the 
dark. The diamond and many mineral sub- 
stances develop light in this way, and it is sup- 
posed that these substances have the property 
of absorbing light in the same way they do neat, 
and of slowly parting with it when taken into 
the dark, much in the same way that hot bodies 
part with their heat when removed from the 
source of heat. 

With some of these substances the applica- 
tion of heat causes the development of brighter 
light (though for a shorter time than would be 
otherwise required to exhaust the supply), and 
again, there are some substances, such as fluor- 
spar, that absorb light, but do not give it out 
until heated. 

Many substances also become phosphores- 
cent while crystallizing. 

The color of the light developed by many of 
these substances varies with their nature and 
the degrees of heat to which they have been 
exposed. A certain scale of light and color 
may, therefore, be produced by grouping to- 



I 



Phosphorescent. 



397 



Photography. 



gether different substances or samples of the 
same substances previously heated at differ- 
ent temperatures. 

The fblolwing are methods for preparing" 
some of these pyrophors : 

Barium Sulphide.— Finely powdered barium 
sulphate, free from iron, is formed into balls 
with gum tragacahth; the balls are dried at a 
moderate temperature, then placed in a cruci- 
ble with a luted cover, and kept at a red 
heat for an hour. They are then allowed to 
cool slowly, and while still warm are trans- 
ferred to glass stoppered bottles. 

A better light is developed from the follow- 
ing charge : 

Barium sulphate (C. P.) 32 parts. 

Magnesium carbonate (C. P.) 1 part. 

Sulphur (C. P.) 1 part. 

Gum tragacanth q. s. 

This is heated in the crucible as before de- 
scribed. 

Strontium Sulphide- 
Strontium, sulphate (C. P.) 22 parts. 

Sulphur (C. P.) lpart. 

Gum tragacanth — q. s. 

Proceed as before. 

Calcium Sulphide. (Cantoris Phosphorus.)— 
Calcine clean oyster shells to whiteness in a 
crucible, separate the clearer portions, reduce 
these to a fine powder, and place in layers with 
intermediate layers of flowers of sulphur in a 
crucible, cover and heat to dull redness for 
about half an hour. Cover the crucible tightly 
and let it cool slowly in the crucible. 

Another method of preparing this phospor- 
escent sulphide is to heat bisulphide of lime- 
obtained by boiling lime in a little water with 
twice its weight of sulphur— in a covered cru- 
cible at a low red heat for one hour. 

Calcium and Antimony Sulphides. — 

Calcined oyster shells 3 parts. 

Flowers of sulphur 10 parts. 

Antimonic acid 1 part. 

Mix intimately in fine powder and heat for 
half an hour in a covered crucible at low red- 
ness. 

Chloride of Calcium.— Fuse chloride of cal- 
cium in a crucible and pour it out on a clean 
iron plate. As soon as it becomes cold enough, 
break it into pieces and transfer to well stop- 
pered bottles. 

Calcium Nitrate.— Dissolve chalk or marble 
dust in nitric acid, evaporate to dryness, and 
fuse in a porcelain crucible. 

These substances, when properly prepared and 
exposed to any strong light for a short time, 
exhibit phosphorescence for some time after 
removing to a dark place. A calcium sulphide 
has been prepared that, after a short exposure 
to sunlight, will continue to give out light for 
ten hours in the dark. When, by keeping in 
the dark, one of these substances has ceased to 
give out light, it may be made to give a series 
of fresh exhibitions by heating it first with the 
hand, then over a water bath, and finally on a 
hot stone plate. 

A remarkable phophorescence is developed 
in quinia and some of its salts by heat. Spread 
quinia or its sulphate on a sheet of paper, and 
spread the paper on a plate of hot metal in a 
dark room— a strong phosphorescent light de- 
velops at the edges and spreads to the center. 
A similar display is observed in sprinkling finely 
powdered fluorspar (calcium fluoride) over a 
plate of hot metal in the dark. 

Boracic acid fused and allowed to cool breaks 
into small pieces, and along the cracks a phos- 
phorescent light appears, which is sometimes 
strong enough to be visible even in daylight. 
Potassium sulphate fused with cream of tartar 
shows the same phenomenon. 

Phospho rats.— Phosphureted oil is the best 
means of exhibiting the luminous properties 
of phosphorus. A small piece of dry phos- 



phorus, about the size of a pea, is placed in a 
test tube with a little pure olive oil. The test 
tube is held in the water bath until the oil be- 
comes heated and the phosphorus liquefies; it is 
then shaken until the oil will take up no more 
phosphorus, and after allowing the oil to be- 
come clear, it is poured off inio a small glass 
vial provided with a glass stopper. Only a 
small quantity of this oil in the bottom of the 
vial is necessary. When it is shaken about so 
as to coat the sides of the vessel, and the stop- 
per is removed so as to let the air get in, the oil 
coated sides of the glass become at once lumi- 
nous, and continue so long as the stopper re- 
mains out. Characters written on paper with 
oil thus prepared (freshly), appear in the dark 
very brightly. 

Phosphureted ether is prepared by digesting 
phosphorus in ether for some days in a tightly 
stoppered bottle. A piece of sugar dipped 
into this ethereal solution and then thrown 
into water makes the surface of the latter ap- 
pear quite luminous in the dark. 

Young experimenters must remember that 
phosphorus is very dangerous to handle when 
out of water, and often inflames spontaneously 
when exposed dry in the air. 

Photographs. See Photography. 

Photographs, Lacquer for. See Lac- 
quers. 

Photography.— The subject of photogra- 
phy has received much attention in compiling 
this book. Only those formulas were selected 
that came from undoubted authorities. The re- 
ceipts do not form merely a collection of old 
receipts of the collodion process, but are the 
very latest that could be obtained, and the sub- 
ject of photography has been thoroughly re- 
vised as the book passed through the press, 
and it is hoped the result will prove a valuable 
acquisition to the art science. Specieal atten- 
tion has been given to the Eikonoger developer 
which is considered the best. Look for the 
main subjects, as Developers, Toning Baths, etc. 

Aphorisms, Photographic.— 1. When focusing, 
remember that the nearer the camera is to the 
subject the further away must the ground 
glass be from the lens, and vice versa. 

2. Always endeavor to shade the lens as much 
as possible, and the resulting picture will have 
its brihiancy proportionately augmented. 
Many landscape artists use a large cone-shaped 
hood on the lens for this purpose. ' 

3. On a hot summer day the atmosphere is 
often hazy and highly charged with non-ac- 
tinic light, while after, or even during a 
shower of rain the atmosphere is clear and 
bright. 

4. Give your plants full exposure ; over ex- 
posure is more easily corrected in the developer 
than is under exposure. 

5. Clouds, being eight or ten times more ac- 
tinic than the rest of the picture, will be pro- 
portionately over exposed, and unless they re- 
ceive much less exposure than the foreground, 
which may be attained by the use of a drop 
shutter, they will appear in the finished picture 
as a blank space. They may, however, be af- 
terward printed in from a separate negative 
by what is termed combination printing. 

6. The color of the object is a great factor in 
the exposure required ; whites and blues are 
rapid ; red, brown, yellow, etc., are slow, accord- 
ing to their actinism. 

7. Buildings taken full front elevation never 
look well ; the camera should be placed in a 
position to include the front and one side, 
showing the building in perspective. 

8. When the two sides of a picture are very 
similar, as in a street scene, for example, sym- 
metry should generally be avoided. By plac- 
ing the camera a little to one side, and pointing 
the lens at the other, the facsimile of the sides 
may be subdued. 



Photography. 



398 



Photography. 



9. Aim at the quality rather than the quan- 
tity of the views taken. 

10. Remember that photography, being- a wit- 
ness, needs to be treated with much judgment, 
lest it tells lies. Also that those who use the most 
art betray the least. And lastly, never go 
forth without a large reserve of patience, as it 
is sure to be needed. See also Negative, Failures, 
Photographing. 

Autotypes, Flexible Supports for.— Yellow 
resin, 6 dr.; yellow beeswax, 2 dr.; rectified 
spirits of turpentine, 20 oz, 

Backgrounds, Photographic— Purchase close- 
grained packing canvas cloth. Tack on frame 
and pull out projecting fibers. The cloth does 
not need to be stretched too tight, as it shrinks 
when painted. Coat it two or three times with 
the following mixture : 

Low grade of gelatine }£ lb. 

Water 1 gal. 

Molasses 2 oz. 

Whiting M lb. 

Sandpaper after drying to make it smooth, 
then paint with one coat of ordinary oil paint. 
The white lead ground in oil is thinned 
with turpentine and mixed with lampblack, 
part of which has been ground in oil, and part 
in powder. The color should be a dark brown. 
One coat of flatting is next put on, usually by 
two persons, one to paint and the other to dab 
with a soft brush. A drab colored cloth, mer- 
ino or woolen, answers very well. 

Backing Prints to Prevent Halation. See Hala- 
tion. 

Baths, Silver, to Clear.— Agitate with China 
clay or kaolin. 

Baths, Silver, to Renovate.— 1. Dilute with 3 
volumes of distilled water, expose to sunlight, 
filter, add sodium carbonate till slightly turbid. 
Expose to sunlight six hours more, filter, add 
sodium carbonate till the silver is all thrown 
down. Wash precipitate by decantation, then 
dissolve in nitric acid. Filter again, make up 
to 35 grm; neutralize, expose to the sun a week, 
and the bath is ready for use. 

2. Neutralize with ammonia till just alkaline; 
boil till black; let it cool, filter, acidify with 
pure nitric acid and evaporate to crystalliza- 
tion, then fuse. When cool add distilled water, 
shake and let stand exposed to light. Filter 
and add drained crystals; dissolve and make 
solution acid with pure nitric acid. Expose 
again to sunlight, filter, and the bath is ready 
for use. 

3. Add potassium permanganate, expose to 
sunlight, filter, acidify, put in clean bottles 
four-fifths full, cork and freeze in a tray; thaw 
gradually till a ball of ice y% size of the bottle 
remains. Remove this and use the rest. [This 
receipt should be used with caution, if at all; if 
the freezing is carried too far the bottle will 
inevitably be broken.— Ed.] 

To Blacken Cameras.— A good dead black is 
made as follows : Mix drop black, ground in 
turps, with gold size and turps— enough gold 
size to keep the black from rubbing off when 
dry. 

Blistei^s, to Prevent.— After toning, immerse in 
a mixture of 8 parts methylated spirit and 2 
parts of water. 

Blistering of Albumen Paper.— 1. Have the 
room warm, but do not dry the paper by ex- 
cessive heat. 

2. Avoid acidity in solutions. Test with lit- 
mus paper. Moisten the print before washing 
with a sponge saturated in alcohol. 

3. Add a slight trace of ammonia to the hypo. 

4. Soak the print before fixing in a weak alum 
bath. 

Blue Prints. — Float the paper for one minute 
in a solution of — 

Ferricyanide of potash 1 oz. 

Water „ 5oz. 

Dry it in a dark room and then expose be- 
neath negative Until the dark shades have as- 



sumed a deep blue color; then immerse the 
print in a solution of— 

Water 2 oz. 

Bichloride mercury 1 gm. 

Wash the print and then immerse it in a hot 
solution of — 

Oxalic acid 4 drm. 

Water 4 oz. 

Wash again and dry. 

For other prints in red, etc., see Printing 
Processes below. 

Blue Print Process.— 1. Cover a flat board, the 
size of the drawing to be copied, with two or 
three thicknesses of common blanket or its 
equivalent. 

2. Upon this place the prepared paper, sensi- 
tive side uppermost. 

3. Press the tracing firmly and smoothly up- 
on this paper by means of a plate of clear glass 
laid over both and clamped to the board. 

4. Expose the whole in a clear sunlight from 
four to six minutes. In a winter's sun from 
six to ten minutes. In a clear sky from twenty 
to thirty minutes. 

5. Remove the prepared paper and pour clear 
water on it for one or two minutes, saturating 
it thoroughly, and hang up to dry. 

The sensitive paper may be readily prepared, 
the only requisite quality in the paper itself 
being its ability to stand washing. 

Cover the surface evenly with the following 
solution, using such a brush as is generally 
employed for the letter press : One part soluble 
citrate of iron (or citrate of iron and am- 
monia), 1 part red prussiate of potash and dis- 
solve in 10 parts of water. 

The solution must be kept carefully protected 
from light, and better results are obtained by 
not mixing the ingredients until immediately 
required. After being coated with the solu- 
tion the paper must be laid away to diy in a 
dark place, and must be shielded entirely f rom 
light until used. When dry, the paper is of a 
yellow and bronze color. After exposure the 
surface becomes darker, with the lines of the 
tracing still darker. Upon washing the char- 
acteristic blue tint appears, with the lines of 
the tracing in vivid contrast. Excellent re- 
sults have been obtained from glass negatives 
by this process.— B. W. Jones, Proc. Eng, Club, 
Phila. 

3. Use two separate solutions of — 

Iron and ammonium citrate 1 oz. 

Water 4 oz. 

and — 

Potassium ferricyanide 1 oz. 

Water 4 oz. 

For use, mix equal quantities and float paper 
for two minutes. 
Blue Prints, to Change to Brown.— 

Borax 2J^ oz. 

Hot water 38 oz. 

When cool add sulphuric acid in small quanti- 
ties until blue litmus paper turns slightly red, 
then add a few drops of ammonia until the al- 
kaline reaction appears and red litmus paper 
turns blue. Then add to the solution 154 grn. 
of red crude gum catechu. Allow it to dissolve 
with occasional stirring. The solution will 
keep indefinitely. After the print has been 
washed out in the usual way, immerse it in the 
above bath a minute or so. longer than it ap- 
pears when the desired tone is reached. An 
olive brown or a blackish .brown is the result. 

To Make Blue Prints Green.— Make four solu- 
tions as follows: 

Solution A.— Water 8 oz and a crystal of ni- 
trate of silver as big as a pea. 

Solution B.— Hydrochloric acid 1 oz. and 
water 8 oz. 

Solution O— Pour a solution of iodide of po- 
tassium (iodide of potassium 1 oz. and water 8 
oz.) into a saturated solution of bichloride of 
mercury until the red precipitate is just dis- 



Ph otog-raphy . 



399 



Photography. 



solved, and then add four times as much water 
as the resulting solution. 

Solution D.— Water, 16 oz., and iodide of po- 
tassium, 1 drm. 

Then take the blue print and bleach it with 
solution A, when the image will become pale 
slate color or sometimes a pale yellow. 

Then wash thoroughly and immerse the print 
in solution B, when the image will again become 
blue. 

Then, without washing, immerse the print in 
solution C, when the image will become green 
but the "•whites" will be of a j-ellow tint. 

Then put the print in solution B again, with- 
out washing. 

Then wash and pour solution D over the 
print to purify the whites and to give the 
green image a bluer tint ; but do not leave print 
in this solution too long, as it has a tendency to 
make the print blue again. 

Converting Blue Prints^ into Brown Prints. — 
Immerse the blue print after it is dried in a so- 
lution of aqua ammonia containing 22 per cent. 
am. gas, 2 parts; distilled water, 18 parts. 
Leave the print in this solution from two to 
four minutes, or until the blue color entirely 
disappears, then rinse in clear water, and 
plunge in a filtered solution of tannic acid, 2 
parts; distilled water, 100 parts. Keep in this so- 
lution about twelve hours. If not as dark as 
desired, intensify by adding to the bath a few 
drops of ammonia water. Take out after a few 
minutes and wash thoroughly. The prints 
resemble sepia drawings. A greenish tone may 
be given blue prints by immersing after wash- 
ing in a 1 per cent solution of sulphuric acid. 

Obtaining Warm Brown Tones on Bromide 
Paper or Lantern Slides.— Two formula? given 
"by Mr. Robert Talbot in the Photographische 
Neuheiten, the author states, have proved to be 
very successful in his hands : 

1. With uranium nitrate. This method is 
very well suited for Eastman positive paper, as 
well as for transf errotype paper. After the 
prints have been fixed, washed, and eventually 
transferred, the following two solutions are 
prepared : 

Solution A. 

Ferricyanide of potassium 5 grm. 

Water 500c. c. 

Solution B. 

Uranium nitrate 5 grm. 

Water 500 c. c. 

Just before use, equal parts of solutions A 
and B are mixed. The print is immersed in the 
solution until the desired tone has been ob- 
tained, then washed thoroughly, and placed 
once more in the fixing bath. 

Water 100 c. c. 

Hyposulphite of soda 20 grm. 

After five minutes it is removed and well 
washed. The above gives warm red tones. 
Warm brown tones are obtained if the print is 
allowed to remain in the above bath until it 
begins to acquire a brown color; it is then im- 
mersed in a weak alum solution, when it is 
rinsed, fixed as above, and again thoroughly 
washed. 

2. With potassium chloride. Three solutions 
are prepared : 

Solution A. 

Water 1,000 c. c. 

Potassium oxalate 330 grm. 

Solution B. 

Water 1,000 c. c. 

Potossium chloride 130 grm. 

Solution C. 

Water 500 c. c. 

Sulphate of iron 24 grm. 

Citric acid 2 grm. 

Potassium bromide..., 2 grm. 



The paper should be fully exposed, and then 
soaked in clean water. Then mix. 

Solution A 20 c. c. 

Solution B 5 c. c. 

Solution C 5 c. c. 

The more of B, if taken, the browner will be 
the tone. The print is cleared, fixed, and 
washed as usual.— Photo News. 

Silver Bromide Emulsions.— Over exposed 
gelatino bromide prints may be cleared by 
treating them with a very dilute solution of 
potassium cyanide, to which a small quantity 
of iodine has been added. Fog at the edges of 
the paper may be removed by applying a some- 
what stronger solution with a brush, care be- 
ing taken not to touch the image.— C. T. F. 
Phot. A., xxxi. 

Bromide prints on paper or opal maybe toned 
with the Obernetter toning solution for gela- 
tino-chloride paper, viz. : (A) Gold chloride, 15 
grn.; sodium acetate, 1 oz.; water, 39 oz. (B) 
Gold chloride, 15 grn.; ammonium sulphocy- 
anide, 300 grn.; water, 39 oz. Mix 10 parts of A 
with 3 parts of B. Wash thoroughly after ton- 
ing.-F. Golby; Y. B. Photo., 1891. 

Another toning formula, designed especially 
for Eastman's paper, is ammonium sulpho- 
cyanide, 120 grn. (120 parts); gold chloride, 4 
grn. (4 parts); water, 16 oz. (7,000 parts). The 
prints must not be left in after they become 
blue gray, or they will be deep blue when dried. 
This last color is suitable for moonlight effects. 
— H. W. B. Bruno. 

Developing formulas : (D) Hydrochinon, 80 
grn.; sodium sulphite, 240 grn.; water, 10 oz. (A) 
Sodium carbonate solution, saturated at 60° F. 
Mix in equal volumes, and dilute the mixture 
with its own volume of water. — Pringle, A. 
Phot., xi. 

(D) Hydrochinon, 80 grn.; potassium bromide, 
15 grn.; sodium sulphite, 1 oz.; water, 20 oz.; ci- 
tric acid, 60 grn. (A) Potassium carbonate, 2 
oz.; sodium carbonate, 2 oz.; water, 20 oz. Mix 
in equal proportions; gives warm tones. — B. Al- 
fieri, A. Phot., xi. 

(D) Eikonogen, 15 parts; sodium sulphite, 60 
parts; water, 600 parts. (A) Potassium carbon- 
ate, 24 parts; water, 600 parts; mix in equal pro- 
portions, and add few drops 10^ potassium bro- 
mide solution.— Carbutt, Phot. T. 

Eikonogen, 4 grn.; sodium sulphite, 32 grn.; 
lithium carbonate, 2 grn.; water to 1 oz. 
—Cowan, Phot. N., xxxi v. 

Quinol, 2 grn.; sodium sulphite, 8 grn.; potas- 
sium carbonate, 10 grn.; water to 1 oz.— Cowan, 
ibid. — [Quinol = Hydrochinon. — Ed.] 

Bromide Prints, to Secure Pure Whites in. — 
If the whites of bromide prints are found on 
completion to be yellowed, the stain can be 
completely removed by immersing the print 
after fixing, and thorough washing in a strong 
solution of tartaric acid, keeping it in the 
solution for an hour or more, if necessary, and 
finally washing in clean water. 

Burnishing, Lubricator for. — 
A. 

1. Paraffine 8 drm. 

Benzine 10 oz. 

B. 

Gum ammoniacum 30 grn. 

Alcohol, quantity sufficient to prevent the 
gum from sticking to the pestle while grinding 
the gum in a mortar. Add A and B together, 
and shake well and apply with a flannel or rag. 
The above gives a fine polish. 

2. Lubricator for Hot Burnishing.— 

Cetaceum 1 part. 

Castile soap 1 part. 

Alcohol 100 parts. 

3. Glace Lubricator.— If a greater polish is 
desired than can be produced by the ordinary 
soap and alcohol lubricator, the following may 
be employed : Alcohol, absolute, 4 fl. oz.; Castile 
soap (white), 25 grn.; permaceti, 25 grn. Dis- 



Photography. 



400 



Photography. 



solve by heat ; add 1 fl. oz. chloroform. Apply 
in the usual manner. Dry thoroughly, and re- 
move all traces of the lubricator with a piece 
of Canton flannel. Burnish ; have the bur- 
nisher quite hot. (Swain.) 

4. Burnishing Solution.— 

Castile soap 4 grn. 

Alcohol (90%) 1 oz. 

Rub on the surface of the print, allow to dry, 
then burnish. 

Carbon Tissue, Sensitizing Solution for.— Po- 
tassic bichromate 1% oz.; water, 30 oz.; am- 
monia, at least V/z drm. No more ammonia 
should be used than will change the reddish 
color of the bichromate solution to yellow. 

Catechol. See Developers. 

To Cleanse the Hands from Silver and Iron 
Stains.— Dilute hydrochioric acid to half its 
strength; or, better still, chloride of lime in 
strong solution; pour 34 oz. of this on the 
hands, and rub well in till the stains disappear. 
Next rinse the hands and apply a little dilute 
solution of potassium oxalate. 

To Clean Negatives Stained hy Silver.— Make a 
weak solution of cyanide potassium. Rub the 
negative gently all over with a plug of cotton 
wool well wet in this solution, rubbing a little 
harder on the stained parts. Wash the nega- 
tive well, and dry on blotting paper. If de- 
sired to revarnish, the plate may be flooded 
once or twice with methylated spirit. After 
drying it may be varnished in the ordinary 
way. 

Clearing Solution (Edwards').— 

1. Alum 1 oz. 

Citric acid 1 oz. 

Sulphate of iron 3 oz. 

Water 20 oz. 

Soak for a minute or two, when clearing 
should be complete. 

2. Clearing Solution for Pyro Negatives.— (J. 
Hay Taylor.)— Alum, 2 oz.; hydrochloric acid, 
2 fl. oz.; boracic acid, 1 oz.; water, 32 fl. oz. The 
solution can be used over and over again. It 
will do its work in y% minute. The negative 
should be well washed. 

3. Clearing Solution for Gelatine Bromide 
Plates.— Alum, 2 oz.; citric acid, 2 oz.; sul- 
phate iron, 6 oz.; water, 40 oz. 

4. Sometimes by prolonged development ne- 
gatives become stained, and usually clearing 
solutions are employed after the negative is 
fixed. 

Mr. T. Bedding, in the British Journal of 
Photography, advises the use of an alum and 
citric acid bath, one part of citric acid to thirty 
of alum, before fixing. When the developer 
has "been poured off the negative, the latter has 
been washed in a couple of changes of water, 
and the clearing solution applied for a few 
minutes, after which it may be returned to the 
bottle for future use. It is then important 
that the negative be carefully washed prior to 
immersion in the fixing bath. 

5. Saturated solution of alum, 10 fl. oz.; hydro- 
chloric acid (commercial), 34 oz. After fixing 
and washing the negative, immerse in the above 
solution. Wash well. 

6. Negatives which, after development by 
ferrous oxalate, are opalescent from oxalate of 
lime, are immersed in the following solution : 

Water 100 parts. 

Oxalate of iron 2 parts. 

Alum 8 parts. 

By which the opalescence will be completely 
cleared, and the whites of the negative will re- 
main transparent. 

7. Clearing Solution (Cowel's).— 

Alum 2 oz. 

Citric acid 1 oz. 

Water 10 oz. 

Wash moderately after fixing, and immerse 
the negative in the above. 



8. Saturated solution of alum 20 oz. 

Hydrochloric acid (commercial). . . 1 oz. 

Immerse the negative after fixing, having 
previously washed it for two or three minutes 
under the tap; wash well after removal from 
the alum and acid. 

9. Chautauqua Clearing Solution.— Alum, 2 
oz.; water, 30 fl. oz.; citric acid, 34 oz. 

Clouds, Photographing of.— The best time to 
photograph clouds is in the spring, say March or 
April, when, after a storm, the heavy cloud 
banks assume fantastic forms. To successfully 
photograph clouds, the photographer must 
take up a position where his view will be un- 
obstructed by trees, houses, telegraph posts, 
chimneys, or other high objects. Then focus- 
ing upon the extreme distance, and including 
but a small portion of the landscape in his pic- 
ture, let him, if he has not fixed upon the 
cloud, wait until the effect is most striking, 
then with a rapid shutter and a medium stop, 
say, f/22 and a slow plate, let him make his 
exposure. Development should not be too 
heavy, and should be stopped when all detail 
is fully out and sufficiently dense not to dis- 
appear in the fixing. With a suitably selected 
and properly developed negative of cloudland, 
landscape pictures can very frequently be con- 
siderably improved by the operation of print- 
ing in from the cloud negatives. 

Clouds, Printing in.— Many pictures are im- 
proved by the addition of clouds. A bare ex- 
panse of white sky is very rarely attractive. 
To do this, special cloud negatives must be 
made or purchased. It is essential, to secure a 
satisfactory and pleasing effect, that the cloud 
should be lit from the same direction as the 
negative. Having made a suitable selection of 
two negatives, a print is first taken of the land- 
scape. If the negative is very dense in the sky 
it will print out quite white. Two prints should 
be taken, one to make the final picture, the 
other to serve as a mask. This must be care- 
fully cut through along the line dividing the 
blank sky from the objects in the picture. Fine 
branches of trees and such like projections need 
not be troubled with. Having carefully fitted 
this mask over the printed portion of the pic- 
ture, it is piaced in contact with the cloud 
negative and printed in the usual way, the 
mask protecting the lower portion of the 
printed picture from further action of the 
light. If the sky portion of the original nega- 
tive is thin and it would in the ordinary course 
of printing print out more or less tinted, the 
sky must be blocked out. This can be done by 
running a brush filled with vermilion along the 
face of the negative for an eighth of an inch 
above the sky line, and then cutting a rough 
mask of paper and pasting on to meet this and 
cover up the rest of the sky. This will enable 
the sky portion to print perfectly white, when 
it is ready for the reception of the cloud im- 
pressions in the manner just described. 

Collodio Bromide Emulsion.— 

Ether, s. g. 0'720 4 fl. oz. 

Alcohol, s. g. 0-820 2J4 fl. oz. 

Pyroxyline 40 grn. 

Castile soap dissolved in alco- 
hol 30 grn. 

Bromide of ammonium and 
cadmium 56 grn. 

Dissolve 125 grn. nitrate of silver in 1 oz. boil- 
ing alcohol and sensitize the emulsion by add- 
ing 1 drm. of the silver* solution at a time, 
thoroughly stirring with a glass rod until the 
silver is well incorporated. After the whole 
has stood for twelve hours, add 30 grn. more of 
the double bromide of ammonium and cad- 
mium dissolved in 34 oz. alcohol. After stand- 
ing for a few hours longer the emulsion is 
poured into a flat dish and allowed to evapo- 
rate and dry. It is then washed with distilled 
water by repeated soakings until all the soluble 
salts are removed. After drying it is again re- 



Phot ography. 



401 



Photography. 



dissolved in equal parts of alcohol, at the rate 
of from 20 to 24 grn. to the oz. of solvents. 
Then it is ready for use, and plates may be used 
wet or dry. 

Collodion Formula.— Mix 6 oz. sulphuric acid, 
4 oz. nitric acid at 1*450 sp. gr. and 2 oz. water. 
The temperature will rise to about 170° F., 77° 
C. When it is cooled down to about 100° F., 38° 
C., immerse perfectly dry cotton wool, best 
carded and of long fiber, pull it in under the 
acid with a piece of glass rod, and let each 
piece be well saturated before adding another. 
Cover the vessel and leave it for twelve to 
twenty hours in a situation where any fumes 
generated may escape into the outer air. 
Next lift the cotton out and plunge it quickly 
into a large quantity of water, separating the 
tufts with pieces of glass; wash in changes of 
water till no acid is left. Wring the cotton in 
a coarse towel as dry as possible, and then pull 
out the tufts and place them in the air to dry. 
Collodion made with this cotton will be very 
soluble and leave no sediment; 5 to 6 grn. will 
dissolve in 1 oz. mixed ether and alcohol and 
still the collodion will be very fluid. 

To prepare one pint of collodion with 
above— 

1. Alcohol 10 oz. 

Sulphuric ether 5 oz. 

Cotton as above 100 grn. 

To Iodize— 

2. Alcohol.. 5 oz. 

Ammonium iodide 60 grn. 

Cadmium iodide 30 grn. 

Cadmium bromide 20 grn. 

Shake till dissolved and then pour into 1. 
Another plan, better for small quantities : 
Dissolve the iodides, as above, in 10 oz. alco- 
hol, then put in 100 grn. cotton and shake well. 
Lastly, add 10 oz. ether and shake till cotton is 
dissolved. This collodion will be ready for use 
in a few hours, but will improve with age. 

For Washed Eumlsion (for Transparen- 
cies- 
Ether, s. g. 720 5 fl. oz. 

Alcohol, s. g. 0-820 3 fl. oz. 

Pyroxiline pr papyroxyline... 60 grn. 
Bromide of cadmium and am- 
monium 100 grn. 

Or Bromide of zinc 96 grn. 

Hydrochloric acid, s. g. 1'2 8 min. 

Sensitize with 20 gr. of nitrate of silver to 
•each oz. dissolved in a minimum of water with 
2 dr. of boiling alcohol. Allow to stand for 
two or three days. 

N. B.— In the last three formula?, the emul- 
sion, after being allowed to ripen for the time 
stated, should be poured into a dish and allowed 
to become thoroughly dry. The mass of dry 
emulsion is then washed, to remove all the sol- 
uble salts, and is then again dried and redis- 
solved in eaual parts of ether and alcohol at 
the rate of from 20 to 24 gr. to the oz. of sol- 
vents. 

Organifiers (for Unwashed Emulsions).— For 
Landscape Work. — 

1. Tannin % oz. 

Gallic acid 60 gr. 

Water 20 fl. oz. 

2. Tannin 300 gr. 

Water 20 fl. oz. 

For Landscapes or Transparencies (warm, 
brown tone).— 

3. Freshly ground coffee 1 oz. 

Boiling water 1 pt. 

For Transparencies (brownish black tone.)— 

4. Tannin 30 gr. 

Pyrogallic acid 60 gr. 

Water 20 fl. oz. 

Developing Solutions for Collodion Emulsion. 

A. Pyrogallic acid 96 gr. 

Alcohol 1 fl.oz. 



B. Bromide of potassium 10 gr 

Water 1 fl. oz. 

C. Liquor ammonia, s. g. 0*880 ... 1 fl. dr. 
W ater 15 fl. dr. 

D. Carbonate of ammonia 2 gr. 

Water 1 fl.oz. 

For each drm. of developer take, for a nor- 
mal exposure, 5 min. of A, 1 or 2 min. of B, and 
1 or 2 min. of C; or if D be used, add the above 
quantities of A, B and C to 1 drm. of D. When 
the details of the image are out, add double the 
quantities of B and C. 
Intensifying Solutions for Collodion Emulsion.-- 

Nitrate of silver. 60 gr. 

Citric acid 80 gr. 

Nitric acid 30 min. 

Water 2 oz. 

To each drm. of a 3 grn. solution of pyrogal- 
lic acid add 2 or 3 min. of the above, and apply 
until sufficient density is attained. 

Collodion Bottles, to Clean.— Leave the stopper 
out until all the ether and alcohol have evapo- 
rated; when dry, remove the film with water 
and a bottle brush. Rinse with alcohol. 

Dry Collodion Processes.— Pyroxyline.— For 
Collodio Bromide or Unwashed Emulsion. 

Nitric acid, sp. gr. 1'45 

Sulphuric acid, sp. gr. 1*845 

Water 

Cotton (cleaned and carded) . . . 
Temperature. 



' 2 


fl.oz. 


4 


fl. oz. 


1 


fl.oz. 


100 


grn. 


150° 


F. 



Time of immersion, ten minutes. 
1. For Washed Emulsion.— 

Nitric acid, sp. gr. 1*45 2 fl. oz. 

Sulpuric acid, sp. gr. 1*845 6 fl.oz. 

Water 1 fl.oz. 

Cotton (cleaned and carded) ... 100 grn. 

Temperature 140° F. 

Time of immersion, ten minutes. 

2. Nitric acid, sp. gr. 1*45 2 fl. oz. 

Sulphuric acid, sp. gr. 1*845 3 fl. oz. 

White blotting paper 145 grn. 

Temperature 100° F. 

Time of immersion, thirty minutes. 

Collodio-Bromide Emulsion.— 

Ether, sp. gr. 0*720 5 fl. oz. 

Alcohol, sp. gr. 0*820 3 fl.oz. 

Pyroxyline 50 grn. 

Bromide of cadmium and am- 
monium 80 grn. 

or Bromide of zinc 76 grn. 

Sensitize by adding to each oz. 15 grn. of ni- 
trate of silver, dissolved in a few drops of 
water and 1 drm. of boiling alcohol. This is 
suitable for slow landscape work or for trans- 
parencies. 

1. Washed Emulsion (for Landscapes)- 

Ether, sp. gr. 0*720 . 4 fl. oz. 

Alcohol, sp. gr. 0*820 2% fl.oz. 

Pyroxyline 40 grn. 

Castile soap (dissolved in al- 
cohol) 30 grn. 

Bromide of ammonium and 
cadmium 84 grn. 

Sensitize with 100 grn. nitrate of silver 
dissolved in 1 oz. boiling alcohol ; and after 
standing ten days, add a further 20 grn. silver 
dissolved as before in 2 drm. alcohol. 

2. Rapid.— 

Ether, sp. gr. 0*720 4 fl. oz. 

Alcohol, sp. gr. 0*820 2^ fl. oz. 

Pyroxyline 40 gnr. 

Castile soap 30 grn. 

Bromide of ammonium and 
cadmium 56 grn. 

The Wet Collodion Process.— Iodized Collodion 
(for Negatives).— 

Ether, sp, gr., 0*725 10 fl. oz. 

Alcohol, sp. gr., 0*805 8 fl. oz. 

Pyroxyline 120 grn. 

Iodide of ammonium 12 grn. 

Iodide of cadmium 20 grn. 



Photography. 



403 



Photography. 



Bro mo- Iodized Collodion (for Negatives).— 

Ether, sp. gr.. 0'725 10 fl. oz, 

Alcohol, sp. gr., 0-805 10 fl. oz. 

Pyroxyline 120 gra. 

Iodide of ammonium 40 grn. 

Iodide of cad mium 40 grn. 

Bromide of cadmium 20 grn. 

Bromo-Iodized Collodion (for Positives or 
Ferrotypes).— 

Ether, sp. gr., 0725 10 fl. oz. 

Alcohol, sp. gr., 0*805 ... 10 fl. oz. 

Pyroxyline 100 grn. 

Iodide of cadmium 50 grn. 

Bromide of ammonium 20 grn. 

The Nitrate Bath (for Negatives).— 

Nitrate of silver (recrystallized). 6 oz. 

Distilled water 80 fl. oz. 

Nitric acid (pure) 10 min. 

Saturate with iodide of silver and filter. 
For Positives or Ferrytypes. — 

Nitrate of silver (recrystallized). 5 oz. 

Distilled water 80 fl. oz. 

Nitric acid (pure) , 12 min. 

Saturate with iodide of silver and filter. 
Developer.— For Negatives.— 

1. Protosulphate of iron J4 oz. 

Glacial acetic acid J4 oz. 

Alcohol % oz. 

Water 8 oz. » 

2. Protosulphate of iron 15 grn. 

Acetate of soda 15 grn. 

Glacial acetic acid 30 min. 

Alcohol 30 min. 

Water 1 oz. 

3. Protosulphate of iron 1 oz. 

Glacial acetic acid 1 oz. 

Citric acid y% drm. 

Water 1 pt. 

4. Ammonio-sulphate of iron 15 grn. 

Glacial acetic acid 75 grn. 

Sulphate of copper 7 grn. 

Water 3 oz. 

5. Protosulphate of iron 7 drm. 

Water 20 oz. 

Collocine 2 sm. drp. 

Alcohol q. s. 

This developer can also be used for glass pos- 
itives and ferrotypes. 
For Collodion Positives or Ferrotypes.— 

Protosulphate of iron 1)4 o z - 

Nitrate of baryta 1 oz. 

Water 1 pt. 

Alcohol 1 oz. 

Nitric acid 40 drp. 

For Collodion Transfers.— 

Pyrogallic acid 5 grn. 

Citric acid 3 grn. 

Acetic acid 45 min. 

Water 1 oz. 

Alcohol q. s. 

Intensifying Solution.— 

A. 

Pyrogallic acid 3 grn. 

Water 1 oz. 

B. 

Nitrate of silver 10 grn. 

Citric acid 20 grn. 

Acetic acid 1 drm. 

Water 1 oz. 

For use, mix in a few drops of B with enough 
of A to cover the surface of the plate. 

Curling, to Prevent Prints from.—l. Try a 
very little glycerine in the toning and fixing 
baths. 

2. A more correct heading of this receipt 
would perhaps be to flatten prints after they are 
curled. Lay the photograph face down upon 
a pad composed of several sheets of paper and 
place upon it at the left-hand margin a straight 



and rather sharp edge of a smooth ivory or box- 
wood rule. Move the rule slowly to the right, 
and with the left hand raise up the margin of 
the print nearest to that hand, pulling up 
rather strongly, yet so as not to allow the print 
to drag over the pad upon which it is laid. This 
will flatten the print and remove any further 
tendency to curl. 

3. Immerse the finished prints in the follow- 
ing solution for a few minutes : 

Water 1 parts. 

Alcohol 4 parts. 

Glycerine 3 part. 

4. Gelatine Paper Prints, to Prevent the 
Curling of.— After the print has been fixed 
and washed, it is immersed for a few min- 
utes in a 5% solution of glycerine and water,, 
then removed, and directly squeegeed on a 
sheet of smooth hard rubber, then left to dry. 
When pulled off, it will lie as flat as a sheet of 
glass. 

Daguerreotypes, to Restore.— Daguerreotypes 
do not fade, but become stained if much ex- 
posed to air and dampness, and need clean- 
ing. To clean daguerreotypes according to 
P. C. Duchochois, take hold of the da- 
guerreotype with pinchers by one corner, and, 
keeping the plate level, cover it with a solu- 
tion of potassium cyanide (1 part to 25 of 
water), and if the picture be much stained, 
heat it moderately with an alcohol lamp for 
fifteen or twenty seconds, when the solution 
is thrown off and the plate rinsed. This done* 
flow the plate with clear water, heat it as be- 
fore, and holding it then almost vertically, 
dry it; in commencing, heat it at one of the 
upper corners and dry the water by blowing 
upon it toward the opposite corner. The whole 
operation should be quickly done, and the 
plate not too strongly heated, especially when 
covered with cyanide ; otherwise the image 
might be obliterated. The daguerreotypes 
may be dusted with a fine camel's hair 
brush, but not touched with the fingers 
nor rubbed with any hard material. 
They are very easily scratched. 

To Clean a Tarnished Daguerreotype.— Wash 
the plate gently, pour on carefully a 3% solution 
of cyanide of potassium. Keep the plate in 
motion. Keep the solution only a short time 
on the plate, pour off, and wash well. If the 
tarnish remains, pour on more solution, repeat 
until the plate is clean. Wash with distilled 
water, and dry over a flame. Blow on the 
plate constantly, so that the water may be 
driven off evenly. 

Negatives, Density of, Reducing.— Solution for 
Reducing Over Density.— 1. 
A. 

Hyposulphite of soda 2 oz. 

Water 1 pt. 

B. 

Ferrocyanide of potassium 2 drm. 

Water 5 oz. 

Mix Yz oz. of B with 5 oz. of A just before use. 

2. According to the Beacon, the following 
formula of L. Belizki is said to possess severa- 
advantages over Farmer's well known potas- 
sium ferricyanide and hypo. It must be 
mixed in the order given. 

Water 200 parts. 

Potassium ferric oxalate 10 parts. 

Sodium sulphite (neutral) — 8 parts. 

Oxalic acid 3 parts. 

Sodium hyposulphite 50 parts. 

It will retain its working strength if kept in 
the dark, and may be used over and over so- 
long as it has a green color. 

3. Red prussiate of potash 30 grm. 

Water 500 c. c. 

Hypo. Solution.— 

Hypo 30 grn. 

Water 500 c.c. 



Photography. 



403 



Photography. 



4. In cases of error in development the nega- 
tive is too intense. The high lights may be safely 
reduced by the method of Mr. Howard Farmer, 
viz. : Ferricyanide of potassium (red prussiate 
of potash) 1 oz.; water, 16 oz.; hyposulphite of 
soda, 1 oz.; water, 16 oz.; immerse the negative 
in sufficient hypo solution to cover it, to which 
have been added a tew drops to each ounce of 
the above ferricyanide solution; the speed of 
reduction depends on the quantity of ferricy- 
anide present. When sufficiently reduced, 
wash thoroughly. To reduce loeallj r , apply the 
mixed solution to the wet negative with a 
camel's hair brush to the parts requiring re- 
ducing. 

5. There are three principal methods of re- 
ducing density: 

a. The image may be changed in color, so as 
to be more transparent to actinic light, h. It 
can be partly converted into some compound, 
which can be dissolved out in hypo, or other 
solvent, c. The gelatine film can be reduced 
in thickness by solution or mechanical means. 

Mr. W. E. Debenham's Method with Ozone 
Bleach.— Two solutions are required.— 

No. 1. 

Chrome alum 1 oz. 

Water 1 pt. 

No. 2. 
The plate is immersed in a solution composed 
of }4 oz. of each of these in 5 oz. of water, and 
then in the hypo. bath. To reduce locally a 
stronger solution is poured in a stream on the 
part desired, the operation being repeated, if 
necessary. 

6. Method with Chloride of Lime or with Eau 
de Javelle (hypochlorite of potash).— For the 
first a saturated solution of chloride of lime is 
prepared, and for the second.— 

Chloride of lime. 2 oz. 

Carbonate of potash 4 oz. 

Water 40 oz. 

The lime is mixed with 30 oz. of the water, and 
the carbonate dissolved in the other 10 oz. The 
solutions are mixed, boiled and filtered. Either 
of these are diluted and the plate immersed 
until the required reduction is produced; it is 
then passed through the fixing bath and 
washed. In these cases a double action occurs, 
part of film being dissolved off and a portion 
of the silver being converted into chloride, 
which is removed in the fixing bath. 

7. Method with Ferric Chloride.— A solution 
is prepared with— 

Ferric chloride 1 drm. 

Water 4 oz. 

The plate is immersed in this, which converts 
the silver into silver chloride, and on washing 
and immersing in the hypo, bath this is dis- 
solved out. 

8. Other Methods.— There are various other 
methods extant for reducing density. One or 
two, requiring only a single solution, have been 
found to answer very well. 

No. 1. 

Copper sulphate y z oz. 

Ammonia, sufficient. 

Water 1 pt. 

The quantity of ammonia is such as to redis- 
solve the precipitate first formed on adding it 
to the copper sulphate. 

No. 2. 

Potassium ferricyanide (red prussi- 
ate of potash) 1 oz. 

Water 1 pt. 

A few drops of ether should be added to 1 oz. 
of the hypo, bath diluted with 4 oz. of water, 
and the plate immersed until the requisite re- 
duction is obtained and washed. In the first 
case silver sulphate, and in the second silver 
ferrocyanide, are formed, and immediately 
dissolved out by the hypo.— Br. Jour, of Photo. 



9. (Seed).— Saturated solution chloride of lime, 
2 fl. oz.; water, 8 fl. oz. This solution should be 
poured over the negative in a tray. Soak for 
two or three minutes. Rub gently with the 
finger, the spot to be reduced, until the desired 
intensity is obtained. Wash five minutes and 
dry. 

10. The Hypochlorite Method.— It is often ad- 
visable to harden the film by immersion for 
some minutes in a solution made by dissolving 
80 to 100 grn. of chrome alum in a pt. of water, 
after which it is immersed in the following hy- 
posulphite of potash solution until nearly suf- 
ficient reduction is effected. Finally immerse 
in the hyposulphite fixing bath, and thorough- 
ly wash. 

11. The Hyposulphite of Potash Solution.— 
Agitate 3 oz. of good chloride of lime (bleach- 
ing powder) with 30 oz. of water, then add 5 
oz. of carbonate of potassium dissolved in 10 
oz. of water; agitate well, and filter through 
calico. 

Reducing Over Printed Proofs (Salomon's).— 
Immerse for a short time in the following solu- 
tion : Cyanide of potassium, 10 grn.; liquid am- 
monia, 10 drops; water, 1 qt. Watch the 
prints carefully, and wash well. 

Developers. — The following large collection 
of developers comprises all that are of any 
value, and the very latest formulas are pub- 
lished. The eikonogen developer is perhaps 
the best, and the developers using eikonogen 
and hydrochinon are also recommended. 

Catechol.— Catechol (pyrocatechin) gives clear 
good printing negatives with less density and no 
greater detail for a given exposure than pyro or 
quinol, but has the advantage that it works well 
in dilute solutions. The following formula is 
given: (A.) Caustic potash, 10 parts; water, 
1,000 parts. (D.) Catechol, 2 parts; sodium sul- 
phite, 10 parts; water, 100 parts. Mix 5 parts 
of both with 100 parts of water, and, if neces- 
sary, add potassium bromide. The two solu- 
tions may be kept ready mixed.— L. Backe- 
landt, A. Phot. B., xxi., 77-79. 

Eikonogen.— The eikonogen developer allows 
of much shorter exposure than with pyro, does 
not deteriorate, and is not poisonous, and gives 
a fine deposit on the negative. The solutions 
can be used until exhausted, and over expos- 
ure can be remedied by its use. Eikonogen is 
frequently contracted to eiko, aspyro, hydro, 
etc. 

No. 1. 

Distilled water 20 oz. 

Sulphite of soda crystals 2 oz. 

Eikonogen crystals J^ oz. avd. 

No. 2. 

Distillod water 20 oz. 

Carbonate of potash % oz. 

Mix Nos. 1 and 2 in equal parts, and to each 
ounce add 2 to 4 drops 10$ solution bromide of 
sodium. A few drops of a 10$ solution caustic 
soda will give additional energy for instanta- 
neous exposures. The after treatment is same 
as with any other developer. 

Although the above developer will keep if 
made up in one solution, we recommend mak- 
ing up stock in separate solutions, and mixing 
as wanted. Ihe mixed developer can be kept 
in separate bottles for future use. 

A mixture of equal parts eikonogen and 
hydrochinon developer yields lantern slides 
of great beauty, and we strongly recommend it 
also for negatives. 

2. Eikonogen Developer for Short Exposures. 
—Distilled water, 100 parts; sulphate of soda, 
40 parts. Dissolve and add crystallized eikono- 
gen, 10 parts; caustic potash, 10 parts. For use 
dilute with three to ten times its value of 
water. 

3. An eikonogen developer, said to be very 
simple, and to work good for lantern slide 
plates, is advised by T. A. Sinclair. 



Photography. 



404 



Photography. 



No. 1. 

Eikonogen J^oz. 

Sulphite soda 2 oz. 

Water 20 oz. 

No. 2. 

Washing soda 2 oz. 

Carbonate of potash 2 oz. 

Water.... 20 oz. 

Take one ounce of No. 1, half an ounce of 
No. 2, and add half an ounce of water. This 
will develop eight or ten plates in succession. 

4. Eikonogen and Soda Developer.— 

A. 

Sodium sulphite (crystals C. P.). . . . 4 oz. 

Distilled water 60 oz. 

Eikonogen 2 oz. 

B. 

Sodium carbonate (crystals) 3 oz. 

Distilled water 20 oz. 

Dissolved in order named. A developer is 
made by adding to 3 oz. of A 1 oz. of B. 

Single Solution, Eikonogen and Soda De- 
veloper.— 

Sodium sulphite (crystals C. P.) 4 oz. 

Sodium carbonate 3 oz. 

Distilled water 80 oz. 

Eikonogen 1 oz. 

Dissolve in the order named. Add a few 
drops of the hypo, solution during development. 
All of the formulas are based on 437^ grn. to 
the oz. 

The usual alum and fixing baths may be em- 
ployed. 

5. With any developer that may be devised it 
is impossible to produce an image if the light 
has had no effect on the sensitive film, as is the 
case when a plate is described as being rather 
under exposed. Generally such exposures only 
develop on the surface, as the light has not had 
time to affect the underlying particles of sil- 
ver. We advise the use of the eikonogen and 
potash developer. If this tails to produce an 
effect, no other developer is likely to. Make the 
eikonogen as follows : 

No.l. 

Warm water 40 oz. 

Sulphite sodium 2 oz. 

Eikinogen 1 oz. 



No. 2. 

Water ... . . . .3 oz. 

Carbonate of potash 1 oz. 

Take 2 oz. of No. 1, and add from 1 to 2 drm. 
of No. 2, or 3 drm. if necessary, to bring out the 
details; allow from half to three-quarters of an 
hour's time tor the development of one plate, 
should it be greatly under exposed, and see 
that the temperature of the solutions is 70° 
Fah. Density is only obtained by a strong 
eikonogen solution and length of time of de- 
velopment. 

6. The developing and fixing baths must be 
kept separate. An energetic developer is made 
by dissolving in warm 

Water 40 oz. 

Sulphite sodium, c. p 2 oz. 

Eikonogen 1 oz. 

To 2 oz. of the above add 1 drm. of following 
solution : 

Water 3 oz. 

Carbonate of potash 1 oz. 

Begin by soaking the plate in the first solu- 
tion a few minutes; then, should the plate re- 
fuse to develop, add the second. A fixing bath 
is made by dissolving 1 oz. of hyposulphite of 
soda in 6 oz. of water. 

7. Himly's Eikonogen Developer.— Captain 
Himly recommends the following : 

Water 1,000 parts. 

Glycerine 100 parts. 

Meta bisulphite of potassium 2 parts. 

Bisulphite of sodium 75 parts. 

Eikonogen 12 parts. 

Carbonate of potassium 60 parts. 

Yellow prussiate of potas- 
sium 40 parts. 

8. Hubert's Eikonogen Developer.— 

Rain water 300 pai'ts. 

Sulphite of soda 50 parts. 

Eikonogen 10 parts. 

The water should be warm and the salts dis- 
solved in the order given in the formula ; then 
add— 

Carbonate of soda 30 parts. 

For extremely rapid exposures the undiluted 
developer is to be used. For shutter exposures 
of medium rapidity a sufficient quantity of the 
developer is diluted with half its bulk of water. 
For time exposures take equal parts of develo- 
per and water.— Le Progres Photographique. 



o 
bo 
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9. Formula of manufacturers of eikonogen, 1 

10. Seed Dry Plate Co 1 

11. Cramer Dry Plate. Works 1 

12.- Eagle Dry Plate Works,for time exposures 1 

13. Eagle Dry Plate Works, instantaneous 

exposures 1 

14. Harvard Dry Plate Works 1 



for instantaneous 



Allen & Rowell Co. 

16. Allen & Rowell Co. 

exposures 1 

17. Alien & Rowell Co., for bromide paper ... 1 

18. Allen & Rowell Co., for lantern elides. ... 1 

19. Allen & Rowell Co., average for plates, 

bromide paper, and lantern slides 1 3 1-9 2^$ 



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Photography. 



405 



Photography. 



20. Development with Separate Solutions.— 
A. Sulphite of soda, V/% oz., 30 grn.; eikonogen, 
180 grn.; water, 26^ oz. B. Carbonate of soda, 
1 oz., 1 drm., 40 grn.; water, 8 oz., 6 drm., 50 
min. 

Note.— Dissolve the sulphite of soda in the 
water, and then add the eikonogen. For use 
employ three parts of No. 1 and 1 part of No. 2. 
N. B.— Be sure the sulphite is dissolved before 
adding the eikonogen. 

21. Development with Single Solution.— Sul- 
phite of soda, \% oz., 30 grn.; carbonate of soda, 
1 oz., 1 drm., 40 grn.; eikonogen, 180 grn.; 
water, 35 oz., 1}4 drm. 

Note.— Dissolve the sodas in the water, and 
afterward add the eikonogen. This solution 
is used direct for developing without the addi- 
tion of water. The sulphite of soda must be 
pure and fresh. 

22. For very short instantaneous exposures 
(tsW of a second), and for increasing the pow- 
er of the developers Nos. 20 and 21, in cases 
where the plate has not been sufficiently ex- 
posed.— 

Sulphite soda 5 parts. 

Carbonate of potassium 2 parts. 

Eikonogen 1 part. 

Water 30 parts. 

allowed to cool and preserved in a tightly closed 
stoppered bottle. To prepare this developer, 
place the chemicals in an earthenware jar, and 
add the water; stand the jar in a saucepan of 
boning water, and bring about dissolution by 
boiling and stirring. 

Preliminary Bath for No. 22. — 

Hyposulphite soda 15 grn. 

Chloride of mercury solution (1 

in 100) ... .15 min. 

Water 55 oz. 

Place the plate in this bath for one minute, 
and develop without rinsing. 

23. Messrs. Fradelle and Young's Formula for 
Portraiture.— A. For normal exposures in the 
studio: Sulphite of soda, 4 oz.; eikonogen, 1 
oz.; distilled water, hot, 100 oz. B. Carbonate 
of soda, 1 oz.; distilled water, 100 oz. 

Notes.— For normal exposures take equal 
quantities of each, but varied at discretion. 
For instantaneous work and certain effects of 
lighting, the face, use a stronger solution by 
reducing the water to 50 oz. in both A and B. 
Solutions of bromide of potassium and carbon- 
ate of soda, 1 in 10, may be kept in reserve for 
correcting over and under exposure. These 
are called 10^ solutions. 

24. Dr. Mitchell's (Photo Soc. of Philadelphia) 
Formula. — For lantern slides and transpar- 
encies. — 

A. Sulphite of soda, 1 oz.; eikonogen, ^ oz.; 
water, 1 pt. B. Carbonate of soda, % oz.; 
water, 1 pt. (N. B. — The American pint is 
16 oz.) 

Is otes. — For normal exposure take equal 
parts of A and B and add 2 parts water. For 
warm tones use half of No. 2 only and give a 
longer exposure. 

25. Formula by Dr. H. G. Piffard (New York 
Camera Club).— With ammonia addition.— 

Sulphite of soda, 2 oz. avoirdupois; eikono- 
gen, 1 oz. avoirdupois; bromide of potassium, 8 
grn.; boiling distilled water, 1 qt. 

Notes.— Dr. Andresen forbids ammonia with 
eikonogen; but Dr. Piffard says it can be used 
as the alkali, and works beautifully ; time 
alone will show. Dr. Piffard 's directions ai*e— 
To 1 oz. of above solution add from 1 to 2 
drops of liquid ammonia; but this shouid be 
used only in cases of decidedly under exposure. 
1 to 1]4 drops will do for a properly exposed 
plate. Instead of ammonia, add, if preferred, 
from \i to 1 drm. of an 8% solution of carbon- 
ate of potassium, which gives more density 
than ammonia. 



26. Warnerke's Formula.— For Copying Line 
Drawings and Engravings.— 

Sulphite of soda 40 parts. 

Eikonogen 20 parts. 

Caustic potassium 20 parts. 

Distilled boiling water 100 parts. 

Use 1 part of developer to 3 of water. Restrain 
with bromide if necessary. Dissolve the sul- 
phite, then the eikonogen, and lastly the al- 
kali. Filter while still hot, and store away for 
use. This developer has been used by M. Marey, 
in Paris, who is working on physiological sub- 
jects requiring extreme rapidity of exposure. 
He had previously been using hydrokinone, 
but he found a marked increase in the amount 
of detail obtained when using eikonogen in- 
stead. 

27. Formula by Herr Eugen Von Gothard, 
Herenz Observatory. — For Stellar Photogra- 
raphy.— 

A. Sulphite of soda, 200 grm.; eikonogen, 50 
grm.; water, 3 liters. B. Carbonate of soda, 150 
grm.; water, 1 liter. 

For use.— Take 3 parts solution A and 1 part 
solution B. 

28. Combined Hydrokinone and Eikonogen 
Developer.— 

Sulphite of soda • ........ . .300 gr. 

Carbonate of soda 200 gr. 

Hydrate of soda 30 gr. 

Bromide of soda 5 gr. 

Hydrokinone 20 gr. 

Eikonogen 30 gr. 

Water 10 oz. 

This developer possesses the rapid action of 
the eikonogen combined with the sustaining 
energy of the hydrokinone, and keeps indefi- 
nitely. This is the latest phase of a single solu- 
tion developer, presumably for instantaneous 
subjects, but I have not yet tried its powers. 

29. Dr. Andresen's Fixing Bath. — Plates 
which have been developed with eikonogen 
should be well washed, and will greatly benefit 
by being fixed in the following bath : 

Hyposulphite of soda 4 parts. 

Bisulphite of soda 1 part. 

Water 20 parts. 

The advantages of fixing in this bath are 

that- 
ch The negatives have a perfect tone, which 

enables very fast printing, 
b. This new fixing bath remains, even after 

frequent usage, clear and water white. 

30. Eikonogen, 10; potassium caustic, 10; 
sodium sulphite, 20; water, 100; dilute with 3 to 
10 vols, water, according to result required, 
adding potassium bromide in case of over ex- 
posure.— Warnerke, Phot J., xiv., 57. 

31. (D.) Eikonogen, 25; sodium sulphite, 50; 
water, 1,000. (A.) Potassium carbonate, 100; 
water, 100. (R.) Potassium bromide, 10; water, 
100. Mix (D) 3 parts, (A) 1 part, and add small 
quantity (R) if developer is new.— Cramer, Phot. 
T., xx., 208-210. 

32. (D.) Eikonogen, 1; sodium sulphite, 2; 
water, to 32. (A.) Potassium carbonate, 1; 
sodium sulphite, 0'5; water to 64. Mix in equal 
volumes.— C. A. Dundore, Phot. T., xx., 233, 
234. 

33. (D.) Eikonogen, 25; sodium sulphite, 50; sod- 
ium carbonate crystal, 50; potassium bromide, 
05; water, 1,000— C. Jones, B. J, Phot, .J., 1891, 
560,561. 

34. (A.) Potassium carbonate,9; sodium carbon- 
ate, 18; sodium sulphite, 120; water, 950. Dilute 
1C0 parts with an equal volume of water, and 
add eikonogen, 5 parts.— Phot, A., xxxi., 35, 36, 
from Amer.A. Phot. 

35. Eikonogen, 50; sodium sulphite, 250; boiled 
distilled water, 400. (A.) Potassium carbonate, 
1; sodium carbonate cryst., 1; boiled distilled 
water, 10. To 100 parts (D) add 4 parts (A), or 
more as required.— A. Phot. B., xxi., 69. 

36. (D.) Eikonogen, 1 oz.; sodium sulphite, 2 
oz.; water, 40 oz.; potassium bromide, 8 grn. 



Photography. 



406 



Photography. 



! 



To 1 fl. oz. add not more than 2 drops strong- 
ammonia solution; to get density add 30 to 60 
drops of a solution of potassium carbonate (1*8). 
— H. Piifard. 

37. (D.) Eikonogen, 5 to 6; sodium sulphite, 
25; water, 500. When dissolved add 20 parts of 
a mixture of 500 parts of a saturated solution 
of sodium sulphite with 40 parts hydrochloric 
acid. (A.) Sodium carbonate, 20; potassium 
' carbonate, 5; water, 500. Mix 3 parts (A) with 
1 10 parts (D).-T. H.Voight, Phot. A., xxxi., 144. 
h 38. Eikonogen Developer for Bromide Paper, 
"* by M. V. Portman.— The following is the pro- 
cess I advise for Eastman's bromide paper. 
(Workers may, of course, try the ferrous oxa- 
late developer recommended in the instruction 
with this paper, but I admit that after a con- 
siderable experience with it, I have a strong 
objection to it.) 

Developer A.— 

Eikonogen 2 drm. 

Sulphite of soda 4 drm. 

Water 8 oz. 

To be mixed according to the instructions 
sent with the eikonogen. 

Developer B.— 

Carbonate of soda 4 drm. 

Water 1^ oz. 

Mix just before use. This amount will de- 
velop a 15"xl2" print. Use fresh developer for 
each print, and take care, by experiment, that 
your exposure is correct. Always do your 
contact printing by a standard artificial light. 

After development and washing in water 
(not under a tap), place the print in a fixing 
bath of— 

Hyposulphite of soda 10 oz. 

Sulphite of soda 2 oz. 

Water 45 oz. 

Sulphuric acid 110 min. 

Leave the print in this bath for half an hour; 
then wash, not under tap, but in a print 
washer (I always use the Godstone print 
washer, which answers very well) for half an 
hour. Then immerse the print for one minute 
in a tanning bath. 

Sulphite of soda 2^ drm. 

Water 7}i oz. 

Dissolve and add— 

Tannin 15 grn. 

Hydrochloric acid 1^ drm. 

Wash in a Godstone washer for three hours. 
If after washing the print is muddy in the high 
lights, immerse it for a short time (sufficient to 
clear it only) in — 

Cyanide of potassium y% oz. 

Water 40 oz. 

Iodine 1 grn. 

Then wash it again thoroughly. 
Formaldehyde.— Formaldehyde, which, with 
some of its compounds, has been recommended 
as a constituent of developers, has been further 
investigated by W. Eschweiler and G. Gross- 
man (Annalen. cclviii., 95-110). Formaldehyde 
sodium bisulphite (sodium oxymethyj sulpho- 
y nate) is obtained by mixing a strong solution 
f of sodium bisulphite with crude formaldehyde, 
and adding ethyl alcohol. It forms trans- 
parent crystals, easily soluble in water 
or in methyl alcohol, but only slightly 
soluble in ethyl alcohol. The crystals have 
the composition CH 2 0,NaHS0 3 ,H 2 0, but ef- 
floresce and lose water slowly when exposed to 
dry air. The salt can also be obtained in long, 
needle shaped crystals containing only half as 
much water (CH 2 0,NaHSO ? ) 2 ,H 2 0. Formalde- 
hyde-potassium bisulphite is obtained in a sim- 
ilar manner, and forms large tabular crystals, 
which contain no water of crystallization, and 
have the composition CH 2 0,KHSO s . 

Formaldehyde sodium bisulphite, when add- 
ed to a pyrogallol developer produces variable 



effects, though in some cases greater detail is 
obtained with less fog. When used in dilute 
solution (1 : 1000 or 1 : 2000) as a preliminary 
bath before ferrous oxalate development, it 
reduces the time of development, and gives 
stronger images, with more detail. The plate 
should be washed, after immersion in the bath, 
before being placed in the ferrous oxalate, or 
fog may result.— Eder, Phot. C, xxvii., 105-107. 

P. Richter (Phot. Mitt., xxvi., 352) was unable 
to recognize any advantages arising from the 
addition of formaldehyde sodium bisulphite to 
the developer. 

Hydrochinon Developers. — These are excellent 
developers and are excelled only by the eikono- 
gen developer. The word is spelled hydrochi- 
non, hydrochinone, hydrokinone, hydroquin- 
one, quinol, hydro, etc. / 

1. Water 10 oz. ^ 

Sulphite sodium crystals chemi- 
cal, pure 2 oz. 

Hydrochinon 1 oz. 

Dissolve in the order named, using, if possi- 
ble, distilled water. This solution should be 
kept in a yellow bottle or in a dark place. It 
will retain its strength for a year or more. 

2. Water. 10 oz. 

Carbonate of potash 2 oz. 

Carbonate of soda 1 oz. 

The weights are based on 437 grn. to the oz. 
Put in the graduate 2 drm. of No. 1 and V/%, drm. 
of No. 2, then fill up to 3 oz. with water. If the 
developer Avorks too slowly, add 1 drm. addi- 
tional of No. 2. This will develop several 
plates in succession. When through, pour the 
developer into a separate bottle, filtering it 
through cotton, and preserve for use on future 
plates, adding a little fresh developer to it. 

Make up the following stock solutions: 1. 
Hydroquinone 8 grn.; distilled water, 8 drm. 
This must be kept well corked and in a cool, 
dark place. 2. Carbonate of potash (dry), 12 
drm.; distilled water, 3 oz. When quite dis- 
solved filter carefully. This will keep any time. 
3. Tartaric acid, 1 drm; distilled water, 30 drm; 
mythylated spirit (pure), 2 drm. This will keep 
if well corked. This No. 3 solution is 4 oz. in all, 
water, acid, and spirit together. To develop a 
quarter plate, take of these stock solutions : 
Hydroquinone, 30 minims; add water to make 
up to 1 oz.; carbonate of potash solution, 2 
drm.; water, 6 drm. This makes 2 oz. developer 
when mixed and should then be poured over 
the plate, while in the developing dish. Keep 
the solution moving. The image should ap- 
pear in from 20 to 30 seconds, and when the de- 
tail appears in the shadows add tartaric acid 
solution, 30 minims. Put this in the develop- 
ing cup, and pour the developer from the plate 
into the cup, and return the solution to the 
dish. 

3. Carbonate of soda 4^ oz. 

Sulphite of soda 2\i oz. 

Hydrochinon 150 grn. 

Water.... 36 oz. 

When freshly prepared the bath is too strong 
and should have a third of water added to it; 
afterward each time of using a certain quan- 
tity of new solution should be added. The so- 
lution is not filtered; the clear part is de- 
canted off. 

4. Citric acid ' 5 grn. 

Bromide of potassium., 10 grn. 

Hydrochinon 60 grn. 

Sulphite of soda 120 grn. 

Water 10 oz. 

Grind the hydrochinon in a mortar with warm 
watei-, then add the rest and pass it on to the boy 
to be shaken till thoroughly dissolved; either 
filter or allow to stand till clear. The alkali to 
be either caustic soda (4 to 6 grn. per oz.) or 
common crystals of soda (40 or 50 grn. per oz.), 
or any chosen mixture of the two. Equal quan- 
tities of each for developing. 



Photograph y. 



407 



Photography. 



5. Sulphite of soda 
Boiled water.. 



A. 



. 2Y 2 oz. 
.16 oz. 



JB. 



. ^ lb. 
.20 oz. 



Crystal carbamate of soda . . 

Water (boiled) ... 

C. 

Hydrochinon 1 drm. 

Rectified 90% alcohol 23^ oz. 

Take half oz. each of A and B, and add ^ drm. 
of C. 

If overexposure occurs, add to this quantity, 
say, 2 or 3 drops of — 

Bromide of ammonium 200 gr. 

Water , 2 oz. 

For Chloride Plates.— 

6. Hydrochinon 2 grn. 

Sulphite of soda 10 grn. 

Carbonate of ammonia (or pot).. 10 grn. 

Bromide of potassium i\> grn. 



Water. 



Hydrochinon 120 grn. 

Sulphite of soda 1 oz. 

Bromide of potassium 25 grn. 

Water , , . 15 oz. 

B. 



oz. 



oz. 

oz. 



Dry powdered pure carbonate of 

potash 2 

Dry powdered pure carbonate of 

soda .. 2 

Water to make up to 20 

A and B are mixed in equal parts for devel- 
opment, and the picture is brought out in 
about three minutes when ordinary bromide 
plates are used. 

8. Carbutt's Hydrochinon Developer. — 
A. 

Warm distilled water 20 

Sulphite soda crystals 4 

Sulphuric acid 1 

Hydrochinon 360 

Bromide potassium 30 

Water to make up to 32 

B. 

Carbonate potash 1 

Caustic soda in stick y% oz. 

Water, to make 32 oz. 

C. 



oz. 

oz. 

drm. 

grn. 

grn. 

oz. 

oz. 



Accelerator. — 

Caustic soda. . . . 
Water, to make. 

Restrainer.— 



. 1 

.10 



oz. 
oz. 



D. 



Bromide potassium ^ oz. 

Water 5 oz. 

Take of A 1 oz., B 1 oz., water 2 to 4 oz.— the 
first for instantaneous and short exposures on 
eclipse and special plates, and the latter for 
time exposures, portraits and views on our B 
landscape and ortho. plates. For lantern 
transparencies, 1 oz. A, 1 oz. B, water, 4 oz.; 15 
to 30 drops of a 10$ solution bromide potassi- 
um. After using, filter into bottle for future 
use, and for starting development on time ex- 
posed plates and films. 

9. Hydrochinon Developer. — J. D. Cooper 
communicates to the British Journal of Pho- 
tography the following formula : 

Hydrokinone 6 grn. 

Bromide potassium 1 grn. 

Citric acid. ^ grn. 

Sulphite sodium (crystals) 20 grn. 

Water 1 oz. 

The sulphite and other ingredients are first 
dissolved, then the hydrokinone is added. 

An alkali solution of carbonate of soda 
(crystals) is made, 40 grn. of soda to 1 cz. of 
water. 



Equal quantities of the hydrokinone and 
soda solutions make up the developer for 
negatives. 

The formula is somewhat strong for films 
rich in silver. If too much density is pro- 
duced, the right amount may be obtained by 
dilution, which will adapt the developer per- 
fectly for the production of opals or lantern 
slides. 

10. Hydrochinon Developer (Piffard).— Hydro- 
chinon (Merck's), 50 grn.; carbonate of potash, 
150 grn. ; sulphite of soda crystals, 200 grn.; 
water, 10 full oz. Mix and filter. After using 
it may be returned to the bottle for future 
use. 

11. Hydrochinon— For Lantern Slides. — 

A. 

Hydrochinon 10 grn. 

Sulphite soda crystals, C. P 60 grnc 

Water 1 oz. 

B. 

Carbonate of potash, C.P 30 grn. 

Water J^oz. 

Add B to A, and also enough water to 
make the whole measure two fluid oz., and pour 
upon the plate. 

The development starts rather slower than 
usuai, but when once commenced proceeds with 
remarkable uniformity. 

12. A developer for negatives is made up as 
follows : 

A. 

Hydrochinon 15 grn. 

Water 1 oz. 

B. 

Carbonate of soda crystals, C. P., 30 grn. 
Water 1 oz. 

Use equal parts of each; and less of No. 2 in 
case over exposure is feared. After use the 
developer may be preserved until as high as 
forty plates have been developed. 

13. Hydrochinon Developer for Lantern 
Slides. — At a general meeting of the North Mid- 
dlesex Photographic Club, Mr. Beadle read an 
interesting paper on slide making, and recom- 
mended the following developer : 

Hydrochinon 160 grn. 

Sodium sulphite 2 oz. 

Nitric acid , 60 grn. 

Potassium bromide 30 grn. 

Water, to make up to 20 oz. 

For the second solution ; 

Sodium hydrate 160 grn. 

Water... 20 oz. 

Equal parts of the two solutions form the de- 
veloper. For use, take equal parts of this solu- 
tion and water. The picture should come up 
quickly and perfect in details, with full density 
in the shadows.— A merican Journal of Photog- 
raphy. 

14. Combined Hydroquinone and Eikonogen 
Developer. — In consideration of the fact that 
eikonogen, per se, tends to give flat negatives, 
though the energy of the developer is im- 
paired, and that hydroquinone, per se, acts 
rather slowly, giving, however, great density, 
a combined hydroquinone and eikonogen de- 
veloper is used and strongly recommended by 
a well-known amateur photographer. Its com- 
position is the following : 

No.l. 

Sulphite of soda cryst 60 grm. 

Cryst. soda 40 grm. 

Distilled water 1,000 c. c. 

After solution, to be filtered; keeps any 
time. 

No. 2. 

Eikonogen 50 grm. 

Hydrochinon 50 grm. 

Are placed together in a porcelain mortar, 
rubbed down to fine powder, and then kept 



Photography. 



408 



Photography. 



dry for use in a well stoppered glass bottle. 
For use, take 1 grm. of No. 2 and dissolve it in 
100 c. c. of No. 1. The solution keeps well for 
several weeks. This developer is said to possess 
all the advantages of the hydroquinone, iron 
oxalate and pyro developers, without their dis- 
advantages. The greatest advantage, however, 
consists of the fact that the developer, if 
larger quantities are to be prepared, is always 
ready at hand, and that larger or smaller quan- 
tities may always be prepared without any de- 
lay.— If. E, Gunther, in Photo, News. 

No. 1. 

15. Soda carbonate 60 grn. 

Water 1 oz. 

No. 2. 

Hydrochinon 2 grn. 

Soda sulphite 60 grn. 

Water 1 oz. 

For use mix- 
No. 1 1 oz. 

No.2 2 oz. 

Water 1 oz. 

The above is a modification of a formula 
given by C. E. Van Sothern, in which he ad- 
vises the use of 12 grn. hydrochinon to 1 oz. 
water. It is usually advisable to employ a 
larger quantity than I have stated when it is 
found that the gelatine plate used gives a thin 
image. For line work, negatives and transpar- 
encies, the developer may be used over and 
over again, and then be bottled for use as a 
starter on another batch of plates. Each suc- 
cessive exposure should be longer when the 
old developer is used. 

16. Hydrochinon Developer for Bromide 
Prints.— Sodic sulphite, 3 oz.; water, 30 oz.; hy- 
drochinon, 45 grains; sodic carbonate (pure 
but not dried) 4^ oz.; potassic carbonate, 4^ 
oz.; potassic bromide, 60 grn. Divide the water 
into two parts. Dissolve the sodic sulphite, hy- 
drochinon and bromide in one part, and the 
other ingredients in the other part. Mix the 
solutions in equal parts for use. 

Paramidophenol Developer.— This new devel- 
oper, introduced by Messrs. Lumiere, has now 
been tried also by our German authorities, and 
their judgments are, on the whole, favorable to 
this reducing agent. Professor Vogel finds 
that the pure paramidophenol is very insoluble, 
so that it was impossible to prepare with it the 
solution recommended by Messrs Lumiere. 
Dr. Schuchardt, of Gorlitz, has, however, suc- 
ceeded in producing a hydrochloric preparation 
of this substance, which, in the hands of Prof. 
Vogel, proved to be more soluble than the first 
one,, though it is said to dissolve much less 
readily in cold water than hydroquinone. It 
is, therefore, necessary to heat the water pre- 
viously. The developer thus obtained is very 
energetic, giving, however, somewhat thin 
negatives, and the mixed solution soon becomes 
brown. If the paramidophenol solution and 
the sodium sulphite solution are kept separate- 
ly, they will keep clear. Also Profs. Eder and 
E. Valenta state that the paramidophenol forms 
an excellent developer, giving, according to its 
composition, every degree of softness or inten- 
sity. The color of the negatives is grayish 
black, the film being free of every bluish or 
greenish color, even if a neutral fixing bath is 
used. The authors recommend the use of a 
dilute solution for the reason that then the 
paramidophenol does not crystallize out of its 
solution, and the developer becomes less expen- 
sive. Moreover, the diluted solutions form 
equally excellent developers as the concen- 
trated ones. The formulae recommended by the 
authors are the following : 
Paramidophenol Soda Developer.— 

Water 1,000 c. c. 

Sodium sulphite 80 grm. 

Carbonate of soda 40 grm. 

Paramidophenol 4 grm. 



Paramidophenol Potash Developer.— 

Water 1,000 c. c. 

Sodium sulphite 120 grm. 

Carbonate of potash 40 grm. 

Paramidophenol 4 grm. 

The latter is specially well suited for plates 
which tend to give thin negatives, while the 
soda developer yields more delicate images. 
With the latter, also, transparencies on gela- 
tino bromide emulsion may be developed very 
successfully.— H. E. Gunther, in Photo. News. 

Hydroxylamine Developer.— 1. Hydroxylamine 
hydrochlorate, 2 gr.; caustic soda, 3 gr.; potas- 
sium bromide, }4 gr«; water, to 1 oz., adding 
citric acid, 1 grn. oi less, if the water used is 
hard, to prevent the precipitation of lime car- 
bonate (from the carbonate always present 
in caustic soda) upon the face of the negative. 
If the citrio acid is necessary the bromide of 
potassium may be omitted, except in cases of 
over exposure. Hydroxylamine is stated to 
have a considerable tendency to cause frilling 
(and therefore must be used dilute) and to be 
unsuitable for developing plates that have re- 
ceived anything less than a full exposure. 

2. Hydroxylamine and Pyro. Developer.— In 
a paper read before the Photographic Society 
of Philadelphia, reported in the American Jour- 
nal of Photography, by Dr. Charles L. Mitchell,, 
the following formula is given : 

1. Hydroxylamine chloride 30 grn. 

Pyrogallol 240 grn. 

Water . . , 16 oz. 

2. Sodium carbonate (crystals) U4 troy oz. 

Sodium sulphite (crystals) 4>£ troy oz. 

Water 16 oz. 

To develop, take of No. 1 from 1 to 2 11. oz.; 
No. 2, y s fl. oz.; water, 4 oz.; flow over the plate, 
and if the image does not appear within thirty 
or forty seconds, add more of No. 2 solution in 
small portions at a time, until development 
commences. 

I have developed a dozen lantern slides, using 
the same developer for all, and alter the last 
plate was finished, the developer was but of a 
moderately light orange color. The mixture 
of the pyro and the hydroxylamine chloride 
seems to possess remarkable keeping qualities. 
As a general rule, pyro. mixtures should be 
stored in yellow or amber colored glass bottles, 
provided with rubber corks, as the amber color 
prevents the actinic light from penetrating to 
the contents of the bottle. The developer is 
very superior for negatives, giving clear shad- 
ows free from stain. Hydroxylamine, though 
a somewhat new article in photography, can 
be had from the largest dealers and manufac- 
turers in photographic materials. 

Iron Developers.— 1. For Cold Tones- 
Potass citrate - 136 gr. 

Potass oxalate 44 gr. 

Hot distilled water 1 oz. 

2. For Warm Tones.— 

Citric acid 120 gr. 

Ammonia (carbonate) 88 gr. 

Cold distilled water 1 oz. 

3. For Extra Warm Tones.— 

Citric acid 180 gr. 

Ammonia (carbonate) 60 gr. 

Cold distilled water 1 oz. 

In mixing the solutions Nos. 2 and 3, it is ad- 
visable to place the crystals of the salts in a 
deep vessel, and after adding the water to leave 
alone till all effervescence ceases. Make over- 
night. To 3 parts of any of the above formulae 
add 1 part of the following at the time of using °. 

Sulphate of iron 140 gr. 

Sulphuric acid 1 drop. 

Distilled water 1 oz. 

To develop place the exposed plate in a porce- 
lain dish, flood over with sufficient of either of 
the solutions just mentioned, and keep the 
dish rocking. The time required to complete 



Photography. 



409 



Photography. 



development will vary from one to ten min- 
utes, accoruing to the developer used and the 
density required. The first formula given is 
the quickest and the last is the slowest devel- 
oper. 
Ferrous Citro-Oxalate Developer. — 

1. Potassium citrate TOO grn. 

Potassium oxalate 200 grn. 

Water 3V6 oz. 

2. Ferrous sulphate 300 grn. 

Water 3% oz. 

Mix in equal parts. 

3. For black and white tones, develop with 
ferrous oxalate. The following is the for- 
mula : 

Oxalate Solution.— 

Neutral oxalate of potash 1 oz. 

Bromide of potassium 2J^ grn. 

Hot distilled water 5 oz. 

Iron Solution.— 
Pure proto-sulphate of iron .... 2 drm. 
Hot distilled water 2 oz. 

To develop, mix together 2 parts of oxalate 
solution with 1 part of iron solution, and pour 
in 1 wave across the plate. Rock well during 
development, which it is advisable to continue 
as long as detail is visible in the high lights of 
the picture. Rinse well after development, 
and previous to fixing. The fixing solution 
should be of the strength of 1 oz. in 4 oz. of 
water. The hyposulphite of soda solution 
should not be mixed till required, as a trace of 
this salt in the developing bath is ruinous. 

4. The following oxalate developer is said to 
keep well, and was proposed by Mr. Archer 
Clarke at a regular *meeting of the London and 
Provincial Photographic Association : 

No. 1. 

Citric acid 1 oz. 

Citrate of ammonium 1 oz. 

Chloride of ammonium 1 drm. 

Bromide of ammonium 1)4, drm. 

Oxalate of potash 10 oz. 

Water 50 oz. 

No. 2. 
Protosulphate of iron.. 3 oz. and 63 grn. 

Citric acid 1 oz. 

Water 50 oz. 

Mix in equal proportions. 
Pyro (Pyrogallic Acid) Developers.— 1. The fol- 
lowing formula, given by Captain Abney, in 
his splendid treatise on photography (of the 
greatest service to the expert), is an excellent 
one, giving the very highest results, and is de- 
servedly popular. The solutions here given 
will have to be made up and kept in tight fit- 
ting stoppered bottles : 

1. Pyro Solution. 

Pyrogallic acid 50 grn. 

Sodium sulphite 150 grn. 

Citric acid 10 grn. 

Water 1 oz. 

2. Bromide Solution. 

Potassium bromide 50 grn. 

Water 1 oz. 

3. Ammonia Solution. 

Ammonia (0*880) 2 drm. 

Water 2*4 oz. 

These are not exactly 10 per cent, solutions, 
but for all practical purposes may be regarded 
as such. Ten drops of No. 1 (pyro solution) will 
contain 1 grn. of pyrogallic acid; 10 drops of No. 
2 (bromide solution) 1 minim of potassium 
bromide; 10 drops of No. 3 (ammonia solution) 
1 minim of pure ammonia. 
2. Beach's Potash Developer.— Pyro solution. 

Warm distilled water 4 fl. oz. 

Sulphite of soda (pure) 4 oz. 

When cooled to 70° F., add— 

Sulphurous acid (strong) 3V6 fl. oz. 

Pyogallic acid 1 oz. 



No. 2.— Potash Solution.— 

a. Carbonate potash (chem. pure) . . 3 oz. 
Water 4 oz. 

b. Sulphite soda (chem. pure crys- 

tals) 2 oz. 

Water 4 oz. 

Mix a and b separately, and then combine in 
one solution. 

3. Carbutt's Pyro Developer.— 

a. Pyro Stock Solution. 

Distilled or ice water 10 oz. 

Sulphuric acid 1 dr. 

Sulphite of soda, crystals 4 oz. 

Then add Schering"s pyro, 1 oz., and water to 
make 18 fl. oz. 

b. Stock Soda Solution. 

Water 10 oz. 

Soda sulphite crystals 2 oz. 

Soda carbonate crystals tor dry 

gran., 1 oz.) 2 oz. 

Potash carbonate 1 oz. 

Dissolve, and add water to make measure 16 
fl. oz. 

c. Bromide Solution. 
Bromide of sodium or potassium. % oz. 

Water 5 oz. 

For Developer.— 

Dilute 1 oz. of stock b with 7 oz. of water for 
cold weather and 10 to 12 oz. of water in sum- 
mer. To 3 oz. of dilute b add V/% to 2^ drm. 
of a. The more pyro the denser the negative, 
and vice versa. No yellowing or fogging need 
be apprehended if our directions are followed. 
Development should be continued until the 
image seems almost buried, then wash and 
clear. 

4. Cramer's Pyro Developer.— Prepare the 
following solutions : 

a. Alkaline Solution. 

Engl. Meas. Metric Wghts. 

Troy Wyht. and Meas. 

Water 64 oz. 1,250 c. c. 

Carbonate of sodium crys- 
tals (sal soda) 2\i oz. 50 grm. 

Sulphite of sodium crys- 
tals 3 oz. 60 grm. 

This will produce negatives of a warm tone. 
If the sulphite is increased to 6 oz. the nega- 
tives will be of a gray or black tone. The alka- 
line solution must be kept in well stoppered 
bottles. If the negatives show yellow stain, 
make a fresh solution and try another lot of 
sulphite crystals. 

b. Pyro Solution. 

Distilled or pure ice water 6 oz. 300 c.c. 

Oxalic acid 10 grn. 1 grm. 

Sulphite of sodium crys- 
tals 1 drm. 6 grm. 

Pyrogallic acid 1 oz. 50 grm. 

All pyro solutions work best while fresh. 
Eight grains dry pyro may be substituted for 1 
drm. of this solution. 

c. Bromide Solution. 

Water 10 oz. 300 c. c. 

Bromide of potassium. ... 1 oz. 30 grm. 

For Use.— 

Alkaline solution 8 oz. 250 c. c. 

Pyro solution 2\&, drm. 10 c. c. 

When the developer is quite new the addition 
of— 

Bromide solution 10 to 40 min. 1 to 3 c. c. 

is necessary to make it work perfectly clear. 

Keep the deveidper moderately warm in win- 
ter, cool in summer. 

Bromide solution produces intensity, con- 
trast and clearness. It should be added when 
developer is strong in alkali and new, also 
when developer is warm, when plates are over 
exposed, or when the plates develop without 



Photography. 



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Photography. 



411 



Photography. 



sufficient strength and brilliancy. Use Cramer's 
clearing- solution. 

In compounding developers, carbonate of 
potassium or of sodium in different forms may 
be used to answer the same purpose, if proper 
attention is paid to their relative strength. 

Twelve parts carbonate of sodium crystals 
(commonly termed sal soda or washing soda) 
are equivalent to 5 parts carbonate of sodium, 
dried, or 6 parts carbonate of potassium. 

The sulphite of sodium is added to prevent 
rapid decomposition of the pyro or eikonogen. 
Too much sulphite in the developer renders its 
action slower . 

5. Cramer's One Solution Developer.— Stock 
Solution.— 

Sulphite of soda, crystals 3 troy oz. 

Bromide of ammonium ^ troy oz. 

Bromide of potassium. 1)4 troy oz. 

Pyrogallic acid 2 troy oz. 

Dissolve thoroughly in distilled 
water 32 fl. oz. 

Add sulphuric acid, c. p 20 min. 

Finally strongest aqua ammo- 
nia 3 fl. oz. 

And water to make up bulk to. 40 11. oz. 



acid, 120 gr.; bromide ammonium, 40 gr.; pyro- 
gallic acid, 2 oz. 2. Water, 24 fl. oz.; sulphite of 
soda crystals, 4 oz.; carbonate of potash, 6 oz. 
To develop a 5x7 plate, take water 4 oz.; No. L, 
2 dr.; No. 2, 2 dr. If more intensity i S required, 
use more of both No. 1 and No. 2. More of No. 
1 will restrain, more of No. 2 accelerate. 

8. Hoover Potash Developer.— A. Water, 12 fl. 
oz.; crystals sodium sulphite, 2 oz.; citric acid, 
60 grn.; bromide ammonium, 20 grn.; pyrogal- 
lic acid, 1 oz. 

B. Water, 12 fl. oz.; crystals sodium sulphite, 
2oz.; potassium carbonate, 3 oz. Mix AandB 
in equal parts and use one drachm of the mix- 
ture to each ounce of water. 

Tintypes, Developer for.— Messrs. Spiller & 
Crook, after long experience, give the follow- 
ing as a good developer for ferrotype plates : 

Water 1 oz. 

Sulphate iron 14 grn. 

Saltpeter 10 grn. 

Acetic acid, No. 8 30 min. 

Nitric acid 2 min. 

Some have added— 
Sulphate of potash 10 grn. 



Ackland's Table for the Simplification of Emulsion 
j Calculations. 



•» 




- 1 <_ 


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Weight of A 
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Weight of S 
Haloid requ 
Convert 1 
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Weight of 
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Weight of S 
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toprodi ce 1 
of Silver Ha 


Weight of 
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Ammonium bromide 


QS 


1734 


'576 


1918 


521 




Potassium ., 


119 I 


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1-578 


•633 




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1-825 


548 


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172 


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I 25 


Soo 


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Zinc 


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1670 


660 


/ 


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53 5 


3 -77 


315 


2*632 


*3?3" 


| '$44 


Sodium- M 


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'344 


2 453 


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Ammonium iodide 


145 


1 172 


■05? 


I 6?o 


•617 


j 


Potassium ... 


I66-I 


1-023 


'977 


1*415 


•707 


1 1-382 


Sodium ,„ 


159 


1 133 


SS2 


1-566 


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Cadmium . . 


183 


•929 

] 


1-076 


1 284 


•778 


1 

/ 



Measure the sulphuric acid and the aqua am- 
monia very exactly, and keep the latter in a 
cool place. 

For use dilute as follows: For normal expos- 
ures, 1 oz. to 11 oz. water. For instantaneous 
exposures, use 1 oz. with 3 or 6 oz. water. For 
overexposed plates, 1 to 20 oz. Fix in alum and 
hypo. bath. 

fi. The pyro. and carbonate of soda developer 
will give softness. Dissolve in— 

Water 6 oz. 

Sodium sulphite . 2 dr. 

Sodium carbonate 2 dr. 

and just before using add— 

Dry pyrogallic acid 3gr. 

Should the density be too weak, put in twice 
the quantity of pyro. The softness is regu- 
lated by the quantify of pyro. No bromide is 
necessary. 

7 Hoover's Potash Developer.— 1. Water, 24 
fl. oz.; suiphite of soda crystals, 4 oz.; citric 



A potassium collodion should be used. The 
tones which this developer give are of a metal- 
lic luster, resembling the daguerreotype. 

The Dusting on Process.— 1. Saturated solu- 
tion bichromate of ammonia, 10 drm.; honey, 6 
drm.; albumen, 6 drm.; distilled water, 40 to 60 
drm. 

2. Dextrine, 1 oz.; grape sugar, 1 oz.; bichro- 
mate, 1 oz.; water, 1 pt. 

Eikonogen. See Developers. 

Enameling Photo. Prints. — Use very "clean 
plates and rather larger than the prints to be 
enameled. Wipe them well, rub them with talc, 
and remove the excess with a soft brush 
passed lightly over the surface. In a dish, half 
filled with ordinary water, immerse the photo- 
graphs and adow them to soak. This being 
done, coat one of the talcked plates with enam- 
eling collodion in the ordinary way, agitate to 
cause the ether to evaporate, and when the 
lilm has set— that is to say, in a few seconds- 
steep this plate, the collodionized surface up. 



Photography. 



412 



Photography. 



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Photography. 



413 



Photography. 



in a second dish containing 1 pure water. Now 
take one of the prints in the first dish and ap- 
ply the printed side to the collodion, remove 
the plate from the dish, keeping- the print in 
its place with the finger of the left hand, and 
remove the air bubbles by lightly rubbing the 
back of the photograph with the forefinger of 
the right hand. Care has been taken before- 
hand to prepare some very pure starch 
paste, passed through a cloth, and some 
thin cardboards, or simply thick paper, the 
size of the plates used. The air bubbles 
having completely disappeared, and the 
perfect adherence of the print ascertained, 
dry with bibulous paper, and spread over 
the prepared cardboard on paper a coat- 
ing of the collodion by means of a flat 
brush. Apply this sheet on the print, pass the 
finger over it to obtain complete adherence, 
and give it twenty-four hours to dry. At the 
expiration of this time, cut with a penknife 
the cardboard or paper even with the print, 
and detach by one corner. If the plate has 
been well cleaned, the print will come off itself. 
We get in this manner a very brilliant surface, 
and as solid as that obtained by the use of gela- 
tine, which, as it is seen, is entirely done away 
with in this process. The prints are afterward 
mounted on thick cardboard in the usual way. 
It is possible, by mixing with the collodion 
some methyl blue dissolved in alcohol (a few 
drops are sufficient), to obtain mooolight ef- 
fects, especially if a rather strong negative has 
been used. For sunsets, make use of an alco- 
holic solution in coccinine. — F. Tarniquet, in 
Science en Famille. 
Encaustic Paste.— 

1. Pure wax 500 parts. 

Gum elemi 10 parts. 

Benzole 200 parts. 

Essence of lavender 300 parts. 

Oil of spike 15 parts. 

2. A glace appearance may be given to 
prints by rubbing over the surface lightly 
with clean flannel the encaustic paste made by 
dissolving in 200 grm. of benzole the following 
ingredients : 

Gum elemi 10 grm. 

Essence of lavender 300 grm. 

Oil of spike 15 grm. 

Filter and add— 

Pure virgin wax 500 grm. 

The whole should be set on a water bath, 
which will aid in dissolving the wax. To make 
the paste thinner add more of the essence of 
lavender. 

3. Dr. Eder's Cerate (Encaustic) Paste.— 
White wax (pure), 100 grn.; dammar varnish, 
40 drops; oil of turpentine, 100 drops. 

4. Salomon's.— Pure virgin wax, 250 parts; 
gum elemi, 5 parts; benzole, 100 parts; essence 
of lavender, 150 parts; oil of spike, 7^ parts. 

5. Best white wax (cut in shreds), 2 oz.; tur- 
pentine, 10 fl. oz. Dissolve with moderate heat. 
If too hard, add a small quantity of turpen- 
tine. 

Faded Photographs, to Restore.— The follow- 
ing method is simple and in most cases quite 
effective : Put the card in warm water until 
the paper print may be removed from the card 
backing without injury. Hang up the paper 
in a warm place until perfectly dry, and then 
immerse it in a quantity of melted white wax. 
As soon as it has become thoroughly impreg- 
nated with the wax it is pressed under a hot 
iron to remove excess of the latter, and rubbed 
with a tuft of cotton. This operation deepens 
the contrasts of the picture and brings out 
many minor details previously invisible, the 
yellowish whites being rendered more trans- 
parent, while the half tones and shadows re- 
tain their brown opaque character. The pic- 
ture thus prepared may then be used in pre- 
paring a negative which may be employed for 
printing in the usual way. 



Faded prints can be restored by means of the 
following solutions: A. Sodium tungstate. 
100 parts; water, 5,000 parts. B. Precipitated 
chalk, 4 parts; bleaching powder (chloride of 
lime), 1 part; sodium aurochloride, 4 parts; dis- 
tilled water, 400 parts. Solution B is made in a 
well corked yellow glass bottle, is allowed to 
stand twenty-four hours, and is then filtered 
into another yellow bottle, The faded prints 
are well washed, and placed in a mixture of 1 
to 2 parts of B and 40 parts of A. When the 
intensification is sufficient, the prints are im- 
mersed in a solution of 1 part of hypo in 10 
parts of solution A until all yellowness has dis- 
appeared, and are then well washed.— (H. Lau- 
daurek, A. Phot. B., xxi., 420). 

Failures.— Foggy Negatives.— Caused by over- 
exposure ; white light entering camera or dark 
room; too much light during development; 
decomposed pyro., introduction of hypo, or 
nitrate of silver into the developing solution, 
from the fingers or from tablets used for wet 
plates ; developer too warm or containing too 
much carbonate of soda or potassium. 

Weak Negatives with Clear Shadows. — Under 
development. 

Too Strong with Clear Shadows.— Under 
exposure. 

Weak Negative with plenty oi Detail in the 
Shadows.— Want of intensity, caused by over 
exposure. Shorter exposure with longer devel- 
opment will in most cases produce sufficient in- 
tensity, and an addition of more pyro. stock so- 
lution to the developer will seldom be neces- 
sary. 

Fine Transparant Lines.— Using too stiff a 
brush in dusting off plates. 

Transparent Spots.— Dust on plate or air 
bubbles while developing. 

Crystallizations on the Negative and Fading 
of Image. — Imperfect elimination of the hypo. 

Yellow colored negatives are caused by not 
using enough sulphite of sodium in developer, 
or if the article used is old and decomposed. 

Yellow stains are caused by using old hypo, 
bath which has assumed a dark color, or by not 
leaving plate in hypo, bath long enough. 

Mottled appearance of negative is caused by 
precipitation from fixing bath containing 
alum, if the solution becomes old or if it is 
turbid. 

Films, to Strip.— M. Izard recommends the 
following plan of stripping photographic films 
from glass. Make a solution of rubber in ben- 
zol, and coat your negative with it ; when dry, 
apply a film of collodion, yet another of rubber, 
and finally, another of collodion. A narrow 
strip of black paper is then cemented to the 
margin of the p^ate all round, and this, when 
the film is dry and is stripped with a penknife, 
makes a suitable frame. 

Fixing Baths.— Carbutt's New Acid Fixing 
and Clearing Bath.— 

1. Hyposulphite of soda 16 oz. 

Sulpnite of soda 2 oz. 

Sulpnuric acid 1 drm. 

Chrome alum y 2 oz. 

Warm water 64 oz. 

Dissolve the sulphite of soda in 8 oz. of the 
water. Mix the sulphuric acid with 2 oz. of the 
water, and add slowly to the solution of soda 
sulphite ; dissolve the chrome alum in 8 oz. oi 
the water, the hyposulphite soda in the re- 
mainder, then add. the sulphite solution, and 
last the chrome alum. This fixing bath will not 
discolor until after long usage, and both clears 
up the shadows of tne negative and hardens 
the fiim at the same time. 

Let remain two or th^ee minutes after nega- 
tive is c 1 eared of all appearance of silver bro- 
mide. Then wash in running water for not less 
than half an hour to free from any trace of 
hypo, solution. Swab the surface with wad of 
wet cotton, rinse, and place in rack to dry 
spontaneously. 

2. Cramer's Fixing Bath.— After developing 



Photography. 



414 



Photography. 






Metric W'ghts. 
and Meas. 
1 liter. 

120 arm. 



15 c. c. 
90 grm. 



grm. 
liters. 

kilo, 
kilo, 
grm. 
liters. 



and rinsing, the negatives may be fixed in a 
plain hypo, bath, 1 part hyposulphite of soda to 
4 parts of water, but the following formula is 
especially recommended : 

Engl. Meas. 
Troy Wght 

Water 1 qt. 

Sulphite of sodium crys- 
tals 4 oz. 

After being dissolved add— 

Sulphuric acid ^ oz. 

Chrome alum, powdered. 3 oz. 

Dissolve and pour this 
into a solution of— 

Hyposulphite of soda 2 lb. 1 kilo. 

Water 3 qt. 3 liters. 

This bath combines the following advan- 
tages : It remains clear after frequent use ; it 
does not discolor the negatives and forms no 
precipitate upon them. It also hardens the 
gelatine to such a degree that the negatives 
can be washed in warm water, provided they 
have been left in the bath a sufficient time. 
The plate should be allowed to remain in the 
bath five to ten minutes after the bromide of 
silver appears to have been dissolved. The per- 
manency of the negative and freedom from 
stain as well as the hardening of the film de- 
pends upon this. 
3.— Fixing Bath.— 

Hyposulphite of soda 500 

Water 4 

4.— Hot Weather Bath.— 

Hyposulphite of soda 1 

Powdered alum 1 

Bicarbonate of soda 250 

Water 8 

Flash Light Poivder to Burn.— A square me- 
tallic spirit lamp, having a flat top, is fitted 
with two wicks, one in front of the other, and 
separated by two or three inches. Immediately 
behind this lamp is a short wide-mouthed bot- 
t le containing magnesium in powder. Dipping 
into this powder is a glass tube, the other end 
being carried up through the cork and bent 
toward the flames of the spirit lamp, which are 
in a line with the direction of the blowpipe. 
A second short piece of tube is passed through 
t he cork, its outer end being connected with 
the rubber tube of a pneumatic ball. On giv- 
ing this ball a quick, sharp squeeze, a small 
quantity of the powder is suddenly ejected 
from the blowpipe nozzle against the flames, 
this being attended by a dazzling flash. This is 
capable of being repeated as long as any of the 
magnesium powder remains in the bottle.— 
Br. Jour^ of Photography. 

Flash JLdght Powders.— 1. Magnesium powder, 
6 oz. ; potassium chlorate, 12 oz.; antimony sul- 
phide, 2 oz. ; 75 to 150 grn. of the powder should 
be used. 2. 15 grn. of gun cotton and 30 grn. 
of magnesium powder are used. 

3. Magnesium 40#. 

Permanganate of potassium 40$. 

Peroxide of barium 20#. 

4. Purchase 1 oz. of magnesium powder and 1 
oz. of negative gun cotton from dealers in pho- 
tographic materials. Place on a dust pan 
enough cotton, when pulled out, to measure 
about 3^ in. in diameter. Sprinkle it over 
with 20 grn. of magnesium powder to form a 
thin, even film. Lay over the magnesium thus 
arranged a very thin layer of gun cotton. 
Connect to the bunch of cotton a small fuse of 
twisted cotton about 6 in. long, so that it will 
extend to the side of the dust pan. Then set 
the pan on a step ladder near the object, and 
when ready, light the gun cotton fuse with a 
match, when instantly a brilliant flash will en- 
sue. There are several ready prepared magne- 
sium compounds now sold with special devices 
and lamps to fire them. 

Td Find the Focus of a Lens.— The focus of a 
lens, i. e., the distance it is from the ground 



glass when the object to be photographed is in 
correct focus, differs with the distance at which 
the object photographed is from the camera. 
The focus, however, for the purpose of defini- 
tion, is what is known as the equivalent focus, 
and is taken as that distance at which an 
object at a considerable distance off is found to 
be in focus. The simplest way to find the 
equivalent focus of a lens is to point the lens 
and camera at the sun, and focus the image of 
the latter on the ground glass. The distance, 
then, between the ground glass and the lens, it 
a single one, or between the ground glass and 
the diaphragm aperture, will be the equivalent 
focus of the lens. There are more exact and 
mathematical methods than this, but it will be 
found to be practically all that is desired ex- 
cept for purely scientific purposes. 

Formaldehyde. See Developers. 

Frilling.— 1. The following formula of Cap- 
tain Abney's is, in most cases, a sure remedy 
against frilling : 

Tough pyroxyline 6 grn. 

Alcohol (0*820) U oz. 

Ether (0'75.) y 2 oz. 

Apply this to the film before development; the 
solvents must then be washed away in a dish of 
clean water. When all repellent action is gone* 
apply the developing solution. 

2. No. 1. Gallic acid, 1 part; alcohol, 10 parts. 
No. 2. silver nitrate, 1 part; water, 16 parts; 
acetic acid, \i part. Mix 1 part No. 1 with 4 parts 
water and add a few drops No. 2. 

Frost Pictures on the Window.— The beautiful 
fairyland like forms which frost often takes 
on the window panes of a cold morning form 
a splendid and attractive subject for camera 
work. They are best taken when the light 
falls on them sideways, and not full from the 
front. Set the camera dead square with the 
window and, behind the window pane and a 
foot from it put a board covered with black 
velvet or other dark non-actinic material. Use 
a slow plate, stop down until the utmost sharp- 
ness is obtained, and give an exposure of three 
or four seconds, calculated at //16. Of course in 
most cases to secure these pictures the photog- 
rapher must be up early. 

Glazing Gelatine Prints.— The use of highly 
hand polished sheet vulcanite rubber for im- 
parting a high gloss to the surface of gelatino- 
bromide prints is now well known, but, in con- 
sequence of the difficulty in obtaining good 
samples, and of its high cost, the general use 
of it has been somewhat limited. A substitute, 
in the shape of ferrotype plates, costing but a 
mere fraction of the rubber, has been recently 
tried with success. Upon the smooth, varnished 
side of the sheet is laid the moist print, film, 
side down. It is then squeegeed by passing a 
rubber roller over the back, which presses out 
all the air bells. In an hour or so the print, 
when dry, can be pulled off at one corner, and 
will possess a high gloss. A slight heat applied 
on the rough side of the metal sheet will ma- 
terially hasten the drying.— Scientific American. 

Glace Prints.— Apply the prints face down 
while wet to the smooth varnished side of a 
ferrotype plate, squeezing it by rolling a rubber 
roller over the back, having blotting paper 
between the print and paper. When dry it 
will have a high polish and drop off the sheet. 
The polish is called glace finish. To mount such 
prints without losing the gloss, make the fol- 
lowing mounting solution: Soak 1 oz. refined 
gelatine in cold water for an hour, then drain 
off and squeeze out the water as much as pos- 
sible; put the gelatine in a jelly pot and place 
the latter in a pan of hot water on the fire; 
when the gelatine has melted stir in slowly 2^£ 
oz. pure alcohol, and bottle for use. This glue 
will keep indefinitely, and can be melted for 
use in a few minutes by standing the bottle in a 
basin of hot water. As it contains a very small 
percentage of water, it hardly affects the gloss 
of the prints and dries almost immediately. 



Photography. 



415 



Photography. 



Glass Substitute, Orange.— Mr. J. B. Huffman, 
of Chillicothe, Mo., sends the following substi- 
tute for orange glass for dark room work to 
the St. Louis Photographer. It is simple and 
easily tried : 

Asphaltum 3 parts. 

Spirits of turpentine 1 part. 

Coat the glass plate from one to four times, 
as desired, flowing the same as if it were col- 
lodion. 

Photographic Dark Room Windows.— The fol- 
lowing formula has been recommended as a 
stain for dark room windows : 

Water .100 c. c. 

Gelatine 5 grm. 

Nitrate of silver 1 grm. 

Glass coated with this solution is exposed to 
light until it assumes a reddish brown tint. It 
is then washed to eliminate the nitrate of sil- 
ver. A surface is thus obtained through which 
the actinic rays do not pass. The coloration 
may be deepened by increasing the proportion 
of nitrate of silver up to 3 or even 4 grm. Glass 
tinted in this way may also be used to shade 
the dark room lantern. 

Gold, Chloride o/.-Dr. John H. Janeway, an 
amateur photographer, suggests the following 
method : Dissolve a $2.50 gold piece in 6 drm. of 
chemically pure muriatic acid, 3 drm. chem- 
ically pure nitric acid, and 3 drm. distilled 
water. Put the gold in a large graduate, pour 
on the acids and water, cover the graduate 
with a piece of glass to shut off or retard the 
escape of fumes, and set in the sun or in a warm 
place. When the gold is dissolved add bicar- 
bonate of soda very gradually, stirring with 
a glass rod at each addition, until effervescence 
has ceased and the froth subsided, and the car- 
bonate of copper which has been formed is de- 
posited as a green precipitate. Now add 6 oz. 
of water, and let the whole settle for not over 
thirty minutes, and then very carefully filter 
the solution. To the clear golden liquid which 
has passed through the filter add carefully 
enough nitric acid, chemically pure, to turn 
blue litmus paper decidedly red, then add 
enough pure water to make the solution meas- 
ure 33 fl. oz. The solution will keep for any 
length of time, and 1 oz. will tone 4 sheets of 
paper.— From Philadelphia Photographer. 

Halation and its Prevention.— Halation is the 
term given to the halo which often surrounds 
windows in photographs of interiors, and 
blocks up the details. It is, too, often found to 
occur in landscapes taken in a strong light, the 
tops of trees and other objects which are sur- 
rounded by strong light being lost in a mist, or 
entirely obliterated. It is caused by reflection 
from the back of the plate, and occurs most 
strikingly in plates of the cheap class, which 
are thinly coated. With very thickly-coated 
plates it rarely occurs, except when taking 
brightly-lighted interiors. To prevent it the 
back of the plate may be coated with a mix- 
ture of powdered burnt sienna, ^ oz.; gum 
arabic, % oz.; glycerine, 1 oz.; water, 5 oz. This 
is readily washed off before development. A 
special ready-made preparation is sold for this 
purpose by Tylar, if preferred. Another way 
is to cut dead black needle paper, or black 
American cloth, to the size of the plate, coat it 
with glycerine and squeegee it on to the back 
of the plate when placing it in the slide. 

1. Cornu (Compt. Rend., B. S. F. Phot.) has 
discussed the phenomena of halation, and 
points out that in order to prevent halation 
entirely the varnish or pigment put on the 
back of the plate must have the same refract- 
ive index as glass. Such a pigment is obtained 
by mixing lampblack with certain essential oils, 
a mixture of oil of cloves and oil of cinnamon 
answering very well. 

2. Debenham (Phot. J.) has investigated the 
relative efficiency of various substances when 
applied as a backing to plates with a view to 
prevent halation, and finds that very good re- 



sults are obtained with a mixture of gelatine 
and burnt sugar, or gum, burnt sugar, and 
Chinese ink. 

3. J. Pike (B. J. Phot. A.) backs plates with 
a mixture of matt varnish and collodion deeply 
stained with rosaniline. The collodion he makes 
by dissolving 1 oz. pyroxylin in 12 oz. methyl- 
ated spirit and 36 oz. methylated ether of sp. gr. 
0-735. 

4. Mr. W. E. Debenham (Jnl. of Photo. Soc. 
N. S., xiv.) has devised an apparatus for esti- 
mating the efficiency of plate backings. He 
employs a paraffine lamp behind an optical lan- 
tern condenser, and a graduated screen in front 
of it, reflecting the light into the camera -lens 
by a right-angled prism, on the reflecting sur- 
face of which the material to be tested is placed. 
He has tested a considerable number of sub- 
stances, and the following list enumerates them 
in the order of their efficiency, and gives occa- 
sional explanatory remarks : 

a. No backing. 

b. Two parts of lampblack with 1 part of bi- 
tumen. Optical contact very poor when dry. 

c. Carbon tissue squeegeed on after soaking 
it in a mixture of equal parts of glycerine and 
water. Practically impossible to get optical 
contact. 

d. Burnt sienna laid on with a sponge. 

e. A benzine solution of bitumen applied 
thickly. 

/. A commercial dead black. 

g. Gum and burnt sienna. 

h. Gelatine, burnt sugar and China ink. 

i. Gelatine and burnt sugar. 

3. Gum, burnt sugar and China ink. 

It seems that with backing e the exposure 
must be increased about 240 times to get an 
effect equal to that when no backing is applied. 
The last three give practically equal results, 
and are very strikingly superior to the bitumen 
e. Mr. Chapman Jones (Photography) holds 
that under theoretically perfect conditions the 
whole of the photographically active light that 
impinges upon a sensitive plate would be re- 
tained in the film, and be available for the pro- 
duction of the image on development, and that 
the film ought to be, and practically can be, so 
opaque that backing the plate is unnecessary 
in landscape work and portraiture. Some 
Continental savants have given much attention 
to the subject of halation, but they do not ap- 
pear to have added anything to our knowledge 
of the matter. 

Hydrochinon. See Developer's. 

Hydrozylamine. See Developers. 

Hypo., to Remove.— 1. Hydroxyl. 
Peroxide of hydrogen (20 vol.) ... 1 drm. 
Water 5 oz. 

After washing the negative well it is im- 
mersed for a couple of minutes in the solution 
and again rinsed in water, when the intensifi- 
cation with silver can be at once proceeded 
with. 

2. Where peroxide of hydrogen is not obtain- 
able the following may be used as a substitute, 
the solution containing that substance in com- 
bination with others : 

Barium dioxide 1 oz. 

Glacial acetic acid 1 oz. 

Water 4 oz. 

Beduce the barium dioxide to a fine powder 
and add it gradually to the acid and water, 
shaking until dissolved. A few minutes' im- 
mersion in this solution will effectually remove 
or destroy the last traces of hypo. 

Hypo., Test for.— A simple test to tell when 
the hypo, is eliminated is to add to the washing 
water in which the prints are immersed a 
small quantity of an alcoholic solution of 
iodine. This will change the white back of 
each print to a light blue color, which proves 
that hypo, is still present in the paper. The 
prints are continued to be washed until the 
blue disappears from the back of the print. 



Photography. 



418 



Photography. 



"We then know that the hypo, is completely 
eliminated. 

Ink for Writing on Photographs.— The follow- 
ing- answers very well for numbering- and mark- 
ing proofs, the writing being executed on a 
dark portion : 

Iodide of potassium 10 parts. 

Water 30 parts. 

Iodine 1 part. 

Gum 1 part. 

The lines soon bleach under the strokes by the 
conversion of the silver into iodide. 

Ink, Printing Process.— By means of gelatino- 
bromide of silver emulsions, rapid printing- 
paper can be successfully made, but its manu- 
facture is attended with considerable bother; 
.and as it will keep well it is advisable for the 
beginner to purchase it ready prepared from 
dealers in photographic materials. One method 
of preparing the paper is, first, to make a sen- 
sitive emulsion as given by Henderson on page 
293 of the November 8, 1884, issue of the Scien- 
tific American, and then to coat a sheet of plain 
Saxe paper with it, by laying the moistened 
sheet upon a level plate of glass, and bending 
the edges up by strips of wood, to form a paper 
dish. The emulsion while warm is now poured 
on the center of the sheet until a pool is 
formed large enough to permit it to be spread 
equally over the sheet by a glass rod. It is 
then allowed to cool, and when sufficiently set 
the sheet of paper is hung up to dry. It may 
now be exposed, film side away from the face 
of the thick cardboard drawing, in an ordinary 
printing frame for two or three seconds to dif- 
fused daylight, or for a minute and a half to 
the light from a large kerosene lamp. The im- 
age is then developed by immersing the exposed 
sheet in a solution of ferrous oxalate of pot- 
ash composed, of saturated solution of neutral 
oxalate potash acidified with a solution of ox- 
alic acid sufficient to turn blue litmus paper 
red, 6 oz. saturated solution of sulphate of iron, 
1 oz. The iron must be poured into the oxalate. 
Half a dozen exposed sheets may be developed 
one after the other, in the same solution. The 
sheet is next washed by soaking in a pan of 
water for four or five minutes, removed and 
immersed in a solution of — 

Hyposulphite soda 1 oz. 

Water . . . 6 oz. 

for eight minutes, which fixes the print; the 
latter must now be washed for two or three 
hours in several changes of cold water, when 
it may be hung up to dry, which it must do 
spontaneously, as the application of heat will 
melt the '. gelatine film. Examination of the 
print will show the lines and figures non-re- 
versed as in the original drawing, because the 
sensitive sheet was laid on film side away from 
the drawing. The operation of preparing and 
developing the paper must be carried on in a 
dark room lighted only by a deep ruby red 
non-actinic lamp. 

A. Intensification. — With correct exposure and 
development, intensification need never be 
resorted to. The following formula is, how- 
ever, very effective. 

1. Bichlor. mercury, 240 grn.; chloride am- 
monia, 240 grn.; distilled water, 20 oz. 

2. Chloride ammonia, 480 grn.; water, 20 oz. 

3. Sulphite of soda (crys.) 1 oz.; water, 9 oz. , 
Let the plate to be intensified wash for at 

least half an hour; then lay in alum solution 
for ten minutes and again wash thoroughly; 
this is to insure the perfect elimination of the 
hypo. The least trace of yellowness after in- 
tensifying shows that the washing was not suffi- 
cient. 

Flow sufficient of No. 1 over the negative to 
cover it, and allow to either partially or en- 
tirely whiten; the longer it is allowed to act 
the more intense will be the result; pour off 
into the sink, then flow over No. 2, and allow to 
act one minute; wash off and pour over or im- 
merse in No. 3 until changed entirely to a dark 



brown or black. No. 3 can be returned to its 
bottle, but NOs. 1 and 2 had better be thrown 
away. Wash thoroughly and dry. 

B. In the following paragraphs various meth- 
ods of intensifying gelatino-bromide plates are 
arranged according to the amount of density 
producible by their (means. 

1. Almost Imperceptible Increase of Density. 
— The negative is soaked for a minute in water, 
then dried rapidly by taking off the surface 
moisture with a soft cloth or blotting paper, 
after which the plate is placed in a horizontal 
position and exposed to a current of warm, 
dry air, until it is quite dry. 

2. Perceptible Increase of Density.— The wet 
negative is wiped back and front with a cloth, 
then immersed for a few minutes in a bath of 
methylated spirits; when taken out it is drained 
for a few seconds, wiped again with a dry 
cloth and held before the fire or over a gas 
flame, keeping it at a safe distance at first and 
in a horizontal position. 

3. Slight Increase of Density.— The plate, af- 
ter being washed from the hypo., is immersed 
in a saturated solution of bichloride of mer- 
cury in water. It should remain in this bath 
until it bocomes white ; if it refuses to bleach, 
it is probable that the hyposulphite has not 
all j been removed. The bleached plate is 
rinsed for about 3 seconds — not more— in water, 
so as to remove the surplus mercury solution 
from the surface, then it is at once dipped into 
a bath consisting of a semi-saturated solution 
of sulphite of soda. This second bath will 
slowly turn the plate black, and will also, as a 
consequence of the insufficient washing, cover 
the surface of the film with a dense white de- 
posit, which cannot be rubbed off ; but this de- 
posit will very quickly dissolve away in the 
final washing and leave the image perfect. 
The density will remain the same if the plate is 
dried slowly, but will be increased by drying 
quickly, according to No. 2. 

4. Moderate Increase of Density.— The plate 
is treated precisely as in No. 3, except that a 
thorough washing is given between the bichlo- 
ride of mercury and the sulphite of soda baths. 
This gives additional density. No white deposit 
will be produced, but a good final washing 
should be given. Extra density may also be 
produced by quick drying. 

When the image is of a deep yellow or non- 
actinic color, such as is sometimes produced 
with pyro. development, the use of this intensi- 
fier, No. 4, will alter the color to a neutral gray 
of about equal printing value. If it should 
then prove to be too dense, the plate can be im- 
mersed for a few minutes in the hypo. bath. This 
will take away the extra density, and leave a 
gray image equal in depth to the original yel- 
low one, but of course much quicker for print- 
ing purposes. 

5. A Vigorous Intensifier.— The plate, or 
rather the film upon it, is bleached in a sat- 
urated solution of mercury bichloride in water, 
washed, dried ; then, when dry, immersed in 
a semi-saturated solution of sulphite of soda, 
washed again and dried. The only difference 
between this process and No. 4 is in the drying 
of the plate between the mercury and sulphite 
of soda baths. This drying causes a decided in- 
crease of density. 

6. A Powerful Intensifier.— This, the well- 
known ammonia process, ' is about equal in 
strength to the preceding. The plate is bleached 
as before and washed thoroughly. If the wash- 
ing is too short, stains will be produced which 
cannot be removed. After washing, the wet 
plate is immersed in very weak ammonia (wa- 
ter, 20 parts ; ammonia, 1 part). The plate in- 
stantly turns black. A fair amount of wash- 
ing should then be given to secure permanence 
and freedom from stains. Dry slowly, if the 
density is sufficient. 

7. In addition to the above, we recommend 



Photography. 



417 



Photography. 



Monckhoven's cyanide of silver intensifier, 
made as follows : 

No. 1. 

Bichloride of mercury 120 grn. 

Bromide of potassium 60 grn. 

Water 12^ oz. 

No. 2. 

Cyanide of potassium crystals 

(pure) 120 grn. 

A. Water 6^4 oz. 

B. Nitrate of silver 120 grn. 

Water 6J4 oz. 

Pour A into B, which forms cyanide of silver. 
A slight excess of silver will settle at the bot- 
tom of the bottle, which assists in keeping the 
solution up to its full strength and does no 
harm. 

The plate should be left in No. 1 until the 
film appears white on the back. It is then 
thoroughly washed and immersed in No. 2, or 
the solution may be poured on quickty. Im- 
mediately the film will commence to blacken, 
and the plate should be kept in until there ap- 
pears to be no white cOlor on the back, if left 
too long, the cyanide will commence to reduce 
the negative. 

This intensifier acts rapidly and imparts to 
the film a bluish black color. It is an excellent 
intensifier for lantern slides, imparting a de- 
sirable warm purple color. 

8. To Cure Over Intensification.— There is a 
very simple method of reducing negatives 
which have been intensified by mercury solu- 
tions. It is simply to leave them in the fixing 
bath for a longer or shorter period, according 
to th« amount of reduction desired. If left for 
half an hour, the whole of the extra density 
imparted by the intensifying process will be 
removed, and the plate will then be in its origi- 
nal condition. The hypo, should of course be 
finally freed from the film by a copious wash- 
ing. 

9. Cramer's Intensifying Solution. — Prepare 
a saturated solution of bichloride of mercury 
in water, and of this pour a sufficient quantity 
gradually into a solution of— 

Engl. Meas. Metric Wghts. 
Troy Wght. and Meas. 
Iodide of potassium . 1J4 oz. 50 grm. 

Water 6 oz. 250c.c. 

until the point is reached when the forming 
red precipitate will no longer dissolve by shak- 
ing, but be careful not to add more mercury 
than just enough to make the solution very 
slightly turbid. Now add— 

Hyposulphite of soda 1 oz. 40 grm. 

Dissolve and fill up 

with water to make 

total solution 20 oz. 800 c. c. 

For use this should be diluted with about 3 
parts of water. If the plate has not been thor- 
oughly fixed, the intensifying solution will 
produce yellow stains. Be careful not to over- 
do the intensifying. Should it have gone too 
far, the negative can be reduced by placing it 
in the fixing bath for a short time. 

10. Intensifying Solution. — Saturated solu- 
tion bichloride mercury. — 

Iodide potassium 40 grm. 

Water 180 c. c. 

Hypo 30 grm. 

Water to make up to 600 c. c. 

11. Lead Intensifier.— Lead nitrate, 20 grn.; 
ferricyanide of potassium, 30 grn.; distilled 
water, 1 oz., and filter. Follow, after very 
thorough washing, with ammonium sulphide in 
10 times its bulk of water. The washing before 
the ammonium sulphide should be continued 
until thedrainings from the plate give a scarce- 
ly perceptible blue color, with ferrous sulphate 
solution, that is, until the ferricyanide is quite 
washed out, for the least trace of lead remain- 
ing will surely cause fog. 



12. Uranium Intensifier. — Cranium nitrate, 
4 grn. to 1 oz. of water. After soaking the 
plate in this, mix the liquid with a dilute solu- 
tion of potassium ferricyanide made by run- 
ning water over a few crystals to wash them, 
and then shaking them with a drachm or two 
of water a few seconds. Add more ferricyan- 
ide as necessary. 

13. Intensification with Cupric Bromide.— 
Prepare cupric bromide solution by mixing a 
solution of lpart potassium bromide in 25 parts 
water with a solution of 1 part cupric sulphate 
in 25 parts water, allow to settle, and filter or 
decant off the clear liquid. Wash the negative 
until free from hypo, and immerse in the cup- 
ric bromide solution, which will convert it 
into a brilliant white positive. Wash well and 
immerse in strong ammonia solution diluted 
with 12 parts of water. This intensifier gives 
increased contrasts. — S. R. Bottone, Y. B. 
Phot. 1891, 115, 116. 

Lantern Plates, a Use for Spoiled.— The best 
thing to do when lantern plates have been 
spoiled by over exposure or errors in develop- 
ment, or by the light getting at them, is to 
strip the films from them, and use them as 
cover glasses for binding up the completed 
slides. 

Leaf Photographs. — Pass the paper first 
through a solution of gelatin, 1 part in 20 parts 
of hot water, and use a strong solution of pot- 
assium bichromate; or the gelatin and bi- 
chromate may be used together. Wash with 
hot water. A strong blue background may 
be produced as follows : Dissolve in 2 oz. of 
pure water 120 grn. of red prussiate of potash 
(potassium ferrocyanide), and separately 140 
grn. double citrate of iron and ammonium in 2 
oz. of water; mix the solutions, filter, float the 
paper for a few minutes on the filtrate; print 
from the dried paper as beforehand wash 
thoroughly in water. By adding a little phos- 
phoric acid to the bichromate solution and ex- 
posing the print before washing to the vapor of 
a hot solution of aniline in alcohol, a blackish- 
green or red positive is obtained. Or, prepare 
the paper with solution of iron sesquichloride, 
and develop after exposure with a very dilute 
solution of silver nitrate. Use plain photo- 
graphic paper. 
.Light, the Safest for Dark Room Use.— Bear in 
mind that very rapid plates are sensitive to light 
of any color. The safest light is a combination 
of a ruby and yellow, just strong enough to en- 
able you to judge of intensity of negative and 
progress of development, and the plate should 
not be held close to the light for examination 
for more than a few seconds. 

The following combinations make a safe 
light : 

Orange colored paper with ruby glass. 

Orange glass with cherry fabric. 

Ruby glass with canary fabric. 

Orange and ruby glass combined with ground 
glass. 

Green is not as non-actinic as ruby and yel- 
low combined, and it has furthermore the dis- 
advantage that with it the intensity of nega- 
tive cannot be judged so well as with the ruby 
light. 

To make sure your light is safe, make the fol- 
lowing test : 

Cover one half of a lightning plate with 
opaque paper and expose it to the light for 
about two minutes at the distance generally 
observed while developing. Develop, and if the 
unprotected part of plate shows fog, screen the 
light with additional paper or fabric until it is 
found perfectly safe. 

Lightning, Photographing of.— A very inter- 
esting study is lightning photography. It is a 
Euzzling one to the beginner, yet it is, per- 
aps, the simplest form of photography which 
can be imagined. If the photographer has had 
much experience, he will doubtless know the 
point at which his camera requires to be racked 
out to insure the lens being in proper focus 



Photography. 



418 



Photography. 



for a distant object. If this is so, lie need have 
no further trouble than, when night conies on 
and the lightning commences to play, to rack 
out his camera to this point, fix it up, and di- 
rect it toward that portion of the sky from 
which the lightning appears, then place the 
dark slide in the back, and draw the slide, re- 
move the cap, and wait for the flash. It being- 
night, no harm can come to the plate by rea- 
son of this exposure during the interval of 
waiting. The lightning will impress itself upon 
k tie plate without any need of shutter or other 
contrivance. If the point at which the camera 
is in focus is at a distance which is not known, 
there will probably be a lamp somewhere or 
other within sight, and in this case a rough 
focus can be obtained upon that. 

Linen or Other Fabric, Photographing on.— 
For decorating table napkins, bed room trim- 
mings, etc., the following simple process works 
satisfactorily, and photographers may often 
do much extra business by introducing it to 
their customers. 

Boil the fabric in water containg a little 
soda, so as to remove the dressing, iron smooth, 
and saturate with— 

Ammonium chloride 2 grammes. 

(about 31 grains). 
"Water 250 cubic cents. 

(about 9 ounces). 
White of two eggs. » 

The above are well beaten together, allowed 
to subside, and strained. When dry, sensitize 
on the usual silver bath— rather a strong bath 
is to be preferred— expose, tone, and fix as for 
an ordinary print on albumen paper.— Photo. 
Review. 

Machinery, Photographing of.— A color for 
coating machinery previous to photograph- 
ing : 

Dry white lead... 5 lb. 

Lampblack 2to 5 oz. 

Gold size 1 pt. 

Turpentine 1)4, pt. 

The amount of lampblack is varied to suit ma- 
chine or lighting. This paint is easily removed 
with turpentine. 

Matt Surface on Silver Prints.— Mount the 
print in the ordinary way, avoiding lumps. 
Koll, and afterward sift on the surface finely 
ground pumice powder. With a circular mo- 
tion rub gently with the palm of the hand. 
Proceed until the surface desired is obtained. 
The use of plain paper is recommenced. 

Moonlight Effects.— The so-called moonlight 
effect is a photographic deception. To secure 
this effect select a view with the sun almost in 
front of the camera, but itself hidden or partly 
obscured by clouds, and preferably a day when 
the sky is full and well defined, and well broken 
up with cloud masses. Then expose about the 
usual time for the view in question, and devel- 
op with a developer containing only 34 grn. of 
pyro. to the oz., until the details are just out. 
AVash off the developer, and apply a fresh one, 
4grn. of pyro. and 4 grn. of bromide to the oz., 
until the high lights have attained the requisite 
density. Another method, which frequently 
gives good results, is, still with the sun in front 
and preferably shining strongly, to give a very 
short shutter exposure, and develop strongly. 
This gives brilliant lighting, and dense masses 
of shadow. 

Mounting Prints.— For a large collection of 
receipts for mounting photographs, see 
Pastes. 

Prints, to Mount on Glass.— To mount prints 
on glass, follow the directions given by J. E. 
Dumont; that is, take 4 oz. gelatine and soak 
half an hour in cold water, then place in a glass 
jar, adding 16 oz. of water; put the jar in a 
large dish of warm water and dissolve the gel- 
atine. When dissolved, pour into a shallow 
tray. Have your prints rolled on a roller, al- 
bumen side out; take the print by the corners 



and pass rapidly through the gelatine, taking 
great care to avoid air bubbles. Hang up with 
clips to dry; when dry, squeeze carefully on 
to the glass. The better the quality of glass 
the finer the effect. 

Gelatine Mountant.— . 

Gelatine 4 oz. 

Water 16 oz. 

Glycerine 1 oz. 

Alcohol, 90% 5oz. 

Negatives.— Method for Quickly Drying Gela- 
tine Negatives. — After the final washing, place 
the plate in a bath of methylated spirit for 
four or five minutes. On taking it out flow 
two or three times with common methylated 
sulphuric ether. After this the negative will 
dry in a current of air in two or three min- 
utes. 

To Take Gelatine off Disused Negatives.— 
Place in a hot bath, in which previously a good 
dose of washing soda and soap has been dis- 
solved. 

To Remove Varnish from a Negative.— Warm 
(cautiously) the negative before a fire or over 
a spirit lamp; then pour a little methylated 
spirit npon it, and with a tuft of cotton wool 
gently rub the face of the negative; drain and 
repeat. Then cover with the spirits, drain and 
let dry. 

To Prevent Negatives from Frilling.— Soak 
the plates before development in a saturated 
solution of Epsom salts. Then wash, and de- 
velop as usual; or use water containing a little 
Epsom salts, )4 oz. or more to a pail of water. 

To Fill Cracks in a Varnished Negative.— Pro- 
cure some finely powdered lampblack and 
gently rub with a circular motion all over the 
negative, using the finger or a soft piece of 
wash leather for the purpose. This will cause 
all the cracks to disappear. 

To Print from Cracked Negative.— Place the 
printing frame at the bottom of a narrow box, 
at least 2 ft. deep, and with blackened sides; 
over the negative in the frame put a sheet of 
thin tissue paper. Another way : Suspend from 
a roasting jack a board upon which a printing 
frame can rest, the roasting jack being in mo- 
tion all the time of printing. Or, in the case 
of a slight crack, move the frame about in the 
hands briskly during the process of printing. 

Paper. — Preparation of paper with arrow- 
root (Monkhoven). —Water, 150 parts; chloride 
sodium, 3 parts; citrate sodium, 3 parts; arrow- 
root, 3 parts. Stir the airowroot flour and 
thoroughly mix in some cold water; then pour 
while constantly stirring into the boiling- 
water. Coat the paper with the starch mix- 
ture by means of a brush. It should not be 
floated on the silver bath longer than one-half 
to one minute. Fuming in the ammonia box 
eight minutes makes the prints more intense 
and brilliant. 

Ashman's Durable Paper.— After the paper is 
sensitized, float it back downward for five 
minutes on the following solution : Water, 50 
parts; gum arabic, 1)4 parts: hydrochloric 
acid, 1 part ; citric acid, 1 part ; tartaric acid, 1 
part. Dry as quickly as possible after re- 
moval. 

Preparation of Paper with Gelatine (Abney). 
—Water, 240 parts ; chloride of ammonium, 3 to 
4 parts ; gelatine, )4 part ; citrate of sodium, 5 
parts ; chloride of sodium, 1 .to 1)4 parts. 

Albumenized Paper, to Give a Matt Surface 
to Prints on.— Mount the print in the ordinary 
way, but be careful to avoid any lumps. Well 
roll, and then sift on finely-ground pumice 
powder. Rub gently with palm of the hand, 
using circular motion. Examine f rom time to 
time. Continue operation until the proper sur- 
face is obtained. 

Albumen Paper, Sensitizing Bath for Albu- 
menized Paper.— 35 to 60 grn. of silver nitrate 
to the oz. of water : add enough carbonate of 
soda to cause slight turbidity, and filter. 

Durable Sensitized Paper.^Float the albu- 



Photography. 



419 



Photography. 



menized paper on a 10 per cent, solution of ni- 
trate of silver for four minutes, draw it over 
the glass rod to drain, and then float the back 
■of the sheet for a like period upon a bath com- 
posed of— 

Citrate of potash 1 part. 

Water 30 parts. 

Finally wash in rain water. 

Debenham's Method.— Sensitize by the usual 
nitrate solution, with the addition of 10 drops 
of perchloric acid to each oz. of the sensitizing 
bath. 

Albumen Paper, Preservative Book for Sen- 
sitized Paper.— Soak thick blotting paper in a 
saturated solution of bicarbonate of soda, and 
when this is dry make a book of it. Keep the 
sensitive paper between the leaves of this book, 
the sheets being kept in pairs, face to face. 

Fuming.— This is the process of subjecting 
ready sensitized paper to the fumes of ammo- 
nia. Hang the sheets separated in a box and 
place a saucer of ammonia in the bottom and 
allow the vapor to act for fifteen minutes. 
Ready sensitized paper, is giving way to the 
Omega, Aristotype and other papers. 

Paper Negatives.— At a regular meeting of the 
London and Provincial Photographic Associa- 
tion Mr. W. Turner gave the following as his 
method of making paper negatives : The pic- 
ture or drawing to be copied is made translu- 
cent by means of lard diluted with turpentine 
—one part of lard to three parts of turpentine. 

The mixture was then boiled for three min- 
utes, which he claimed killed the grease, and it 
was then rubbed over the drawing. When sur- 
face dry the drawing was placed in a printing 
frame with sensitized silver paper, and a nega- 
tive made, which was fixed in an old hypo, bath 
rich in silver, and washed in the usual way. 

The plain paper was prepared by floating 
.Saxe paper on the following : 

Sodium chloride 200 grn. 

Gelatine 30 grn. 

Water 20 oz. 

Dissolve the gelatine and chloride separately 
and mix; float three minutes. When dry, sen- 
sitize by floating one or two minutes on the 
following : 

Silver nitrate 1 oz. 

Citric acid 1 drm. 

Water 14 oz. 

He stated that the paper would keep good 
for six weeks. 

Pastes for Mounting. See Pastes. 

Photo-Chromos.— Allow the photograph to re- 
main in water until thoroughly soaked; then 
place it between blotting paper, and let it re- 
main until just damp enough to be pliable. 
Then coat the face of the picture with good 
starch paste and lay face down on the glass. 
Commence in the center of the picture and rub 
outward toward the edges, to dispel all air and 
excess of paste, care being observed not to get 
paste on the back of the print. While rub- 
bing, keep the paper damp with a sponge. 
When dry, lay on a heavy coat of castor oil, and 
after a time, rub off the excess of oil with a 
-cloth. After standing a day or two, it may be 
colored. Cover the back with a thin plate of 
glass and bind the edges. 

Photographing. See Clouds, Frost, Lightning, 
Moonlight, Snow, Sun, etc. 

Pinholes, to Prevent.— Pinholes, or minute 
transparent spots on the negative, are most 
frequently caused by the presence of minute 
particles of dust on the film, which, during ex- 
posure, prevent the light getting to the film at 
those particular spots. To prevent pinholes, 
therefore, steps must be taken to guard against 
dust. The plates should be wiped over before 
being -placed in the slide with a camel hair 
brush, or, better still, with a piece of velvet 
stretched on a stick. The slide itself should 
also be dusted out first, while both it and the 
interior of the camera bellows should be i-ubbed 



lightly over with glycerine, to which any dust 
which may be flying about will stick in prefer- 
ence to the plate. The slides, too, should be 
carried in a case which is fairly dust proof. 

Primuline Process.— Primuline, a product of 
the action of sulphur on paratoluidine, disco ve- 
ered by A. G. Green, dyes cotton, linen, and 
similar fabrics without a mordant even better 
than it does wool or silk. The color fades 
somewhat rapidly when exposed to light, but 
the primuline itself is not sufficiently sensitive 
to be available for photographic purposes. If 
the primuline is treated with dilute nitrous 
acid, it forms diazoprimuline, which has the 
power of forming a variety of coloring matters 
by combination with various phenols and 
amines. Diazoprimuline in contact with vege- 
table and animal fibers is very sensitive to 
light, and upon exposure is decomposed, and 
loses its power of forming coloring matters. 
If, therefore, a fabric or surface dyed with 
primuline and converted into diazoprimuline 
is exposed to light behind a transparency or 
anything similar, and is afterward treated with 
a phenol or amine, an image is obtained, the 
color of which depends upon the nature of the 
developer, but which is positive from a positive, 
negative from a negative. 

The material (cotton, linen, silk, wool, paper, 
wood, gelatine, celluloid, xyloidine, etc.) is 
dyed in a hot solution of primuline, washed, 
and diazotized by immersion in dilute solution 
(0*25 per cent.) of sodium nitrite acidified with 
hydrochloric or some other acid. It is again 
washed and allowed to dry spontaneously in 
the dark. The sensitized material, which will 
keep for some time, is exposed to daylight or 
the electric light, the time of exposure being 
determined by means of some unprotected 
strips of the same material, which are exposed 
alongside the printing frame. As soon as these 
strips cease to give any color when touched 
with a drop of the particular developer that is 
going to be used, decomposition is complete in 
v the high lights of the object that is being cop- 
Cied. The sensitive material is removed from 
( the frame, and at once, or after some time, is 
> developed by immersion in a dilute (about 0*25 
per cent.) solution of a phenol or amine; e g., 
for red, an alkaline solution of fi napththol; 
for maroon, an alkaline solution of (5 napth- 
thol disulphonic acid; for yellow, an alkaline 
solution of phenol; for orange, an alkaline so- 
lution of resorcinol; for brown, a slightly alka- 
line solution of pyrogallol, or a solution of 
phenylene diamine hydrochloride; for purple, 
a solution of a napththylamine hydrochloride; 
for blue, a slightly acid solution of eikonogen. 
If a design in different colors is desired, the dif- 
ferent developers may be applied with a brush. 
After development, which requires two or 
three minutes, the prints are washed in water 
for a short time; in the case of the blue and 
purple developers the final washing must be 
done in a very weak solution of tartaric acid. 
Wool and silk require a longer time in exposure 
and development than does cotton or linen, 
and the maroon and blue developers are 
not suitable for wool or silk. In all the 
applications primuline may be replaced by 
its homologues; for silk debydrothiotolui- 
dine sulphonic acid may be used. Among the 
possible uses of the process may be mentioned 
the reproduction on linen of architects 1 draw- 
ings, etc. A. G. Green, C. F. Cross, and E. J. 
Bevan, Eng. Pat. No. 7,453, May 13, 1890, J. C. 
S. 1., ix., 1001-1004. Phot N„ xxxiv., 701, 702, 707, 
708. 

The Brit. Jour. Phot., xxxvii., 657, 658, recom- 
mends the following proportions for primuline 
developers: Red, /3 naphthol, 40 grn.; caus- 
tic soda or potash, 60 grn.; water, 10 oz. Orange, 
resorcinoi, 30 grn.; watei*, 10 oz.; caustic pot- 
ash or soda, 50 grn. Purple, ne.phthylamine, 
60 grn.; hydrochloric acid, 60 minims; water, 10 
oz. The following developers are also recom- 



Photography. 



420 



Photography. 



mended : Ink, black, eikonogen, 60 grn.; water, 
10 oz. Brown tones, pyro., 50 grn.; water, 10 oz. 

After washing- in plain water the ground is 
cleared by washing in soap and water. If the 
transparency printed from is not dense enough 
to allow complete decomposition in the high 
lights, the results are improved by exposing the 
whole of the back of the print to light for a 
short time. 

Printing Processes.— The blue process has been 
treated under blue paper, but an additional 
formula is given here as well as formulas, for 
blue, violet, red, and green prints. 

Blue Prints.— Float the paper until it lies 
quite flat upon a solution prepared as follows : 

1. Water 2 fl. oz. 

Red prussiate of potash 120 gr. 

2. Water.... 2 oz. 

Ammonia citrate of iron 140 gr. 

When these two are dissolved, mix them to- 
gether and filter into a clean bottle. 

The solution should not" be exposed to a 
strong light, and the paper must be floated on 
it in a very subdued light, and in the same 
manner as paper is floated on a silver solution. 
When it no longer curls, but lies flat on the 
solution, take it by the corners and raise it 
slowly from contact, and hang it up to dry 
in a dark place. When dry, it can be used at 
once, or may be kept for future use by rolling 
it, prepared surface in, and placing it in a tin 
box or other receptacle, free from light and 
dampness. 

To make a print on this paper, place the pre- 
pared surface in contact with the negative in a 
printing frame and expose to sunlight. 

The time of exposure will vary according to 
the density of the negative and the intensity of 
the light. The rule is to allow the light to act 
long enough for the portions which first turn 
blue to become gray, with a slight metallic 
luster. At this point remove the paper from 
the frame and place it in a dish of clean water. 

It now gradually becomes a rich blue 
throughout, except the parts which should re- 
main white. Change the water from time to 
time, until there remains no discoloration in 
the whites; dry, and the picture requires no 
further treatment. 

The blue color may be totally removed at 
any time by placing the print in ammonia 
water. 

This is the standard formula. 

Another Process for Blue Prints.— Float the 
paper for a minute in a solution of — 

Ferri cyanide of potash 1 oz. 

Water 5 oz. 

Dry it in a dark room, and then expose be- 
neath a negative until the dark shades have 
assumed a deep blue color, then immerse the 
print in a solution of — 

Water 2 oz. 

Bichloride mercury 1 grn. 

Wash the print, and then immerse it in a hot 
solution of— 

Oxalic acid 4 drm. 

Water 4 oz. 

Wash again and dry. 

Another Process— the Cyanotype.— Float the 
paper on a solution of the sesquichloride of 
iron. Dry and expose, afterward wash the 
prints, and then immerse them in a bath of 
ferricyanide of potash. The picture will ap- 
pear of a blue color in all those places where 
the sun has acted. 

Process with Salts of Uranium.— The paper, 
without having undergone any preceding 
preparation, except that of having been ex- 
cluded from the light for several days, is float- 
ed on a bath of the nitrate of uranium as fol- 
lows: 

Nitrate of uranium 2 drm. 

Distilled water 10 drm. 

The paper is left on the bath for four or five 



minutes, it is then removed, hung up, and dried 
in the dark room. So prepared, it can be kept 
for a considerable time. 

The exposure beneath a negative varies from 
one minute to several minutes in the rays of 
the sun, and from a quarter of an hour to an 
hour in diffused light. The image which is thus 
produced is not very distinct, but comes out in 
strong contrast when developed as follows : 

Nitrate of Silver Developer.— 

Distilled or rain water 2 drm. 

Nitrate of silver 7 grn. 

Acetic acid a mere trace. 

The development is very rapid in this solu- 
tion. In about half a minute it is complete. 
As soon as the picture appears in perfect con- 
trast, the print is taken out and fixed by im- 
mersion in Avater, in which it is thoroughly 
washed. 

Chloride of Gold Developer.— This is a more 
rapid developer than the preceding. The print 
is fixed in like manner by water, in which it 
must be well washed, and afterward dried. 
When dried by artificial heat, the vigor of the 
print is increased. Prints that have been de- 
veloped by the solution of nitrate of silver 
may be immersed in the gold bath, which im- 
proves their tone. 

The picture may be developed, also, by im- 
mersing the prints in a saturated solution of 
bichloride of mercury and afterward in one of 
nitrate of silver. In this case, however, the- 
times of exposure must be increased. 

Pictures may be obtained, also, by floating 
the papers on a mixture of equal quantities of 
nitrate of silver and nitrate of uranium in 
about six times their weight of water. 

When dry, they are exposed beneath a nega- 
tive. In this case the image appears, as in the 
positive printing process, with chloride of sil- 
ver, being effected by the decomposition of the 
nitrate of uranium, which, reacting on the ni- 
trate of silver, decomposes this salt and re- 
duces the silver. These prints require fixing 
in the ordinary bath of hyposulphite of soda, 
and then washing, as usual. 

Process for Red Pictures.— Float the papers 
for four minutes in the preceding bath of ni- 
trate of uranium, drain, and dry. Next ex- 
pose beneath a negative for eight or ten min- 
utes, then wash, and immerse in a bath of— 

Ferricyanide of potash 30 grn. 

Water 3 oz. 

In a few minutes the picture will appear of a. 
red color, which is fixed by washing thor- 
oughly in water. 

Process for Green Pictures.— Immerse the* 
red picture, before >t is dry, in a solution of— 

Sesquichloride of iron 30 grn. 

Distilled water 3 oz. 

The tone will soon change to green; fix in 
water, wash, and drs^ before the fire. 

Process for Violet Pictures.— Float the paper 
for three or four minutes on a bath of— 

Water 2 oz. 

Nitrate of uranium 2 drm. 

Chloride of gold » 2 grn. 

Afterward take them out and dry. An ex- 
posure of ten or fifteen minutes will cause the 
necessary reduction; the picture has a beauti- 
ful violet color consisting of metallic gold. 
Wash and dry. — Estabrooke. 

Prints.— Trimming Prints.— There is more art 
in print trimming than at first meets the eye. 
It is not sufficient merely to cut off the edges 
evenly, so as to include everything there was 
on the plate, or to place a cutting shape upon 
it and trim it round. There are two main con- 
siderations in print trimming. First, that the 
sides of the print are cut true with the hori- 
zontal or vertical lines of the picture. If your 
picture is a sea view, cut the top and bottom of 
the print parallel with the horizon line. If you 



Photography. 



421 



Photography. 



have no horizon line to go by, take the side of 
a house, or anything else in the picture, which 
must of necessity be vertical. Use this as your 
guide, and cut the sides of your picture paral- 
lel with it. Of course in both cases the other 
two sides will be square with the first two 
treated. Secondly, trim your print down, if it 
can be improved thereby. In the majority of 
cases the appearance of a picture will be im- 
proved by cutting off a little of the fore- 
ground, reducing the amount of sky by half 
an inch or more, or cutting off more or less of 
either or both ends. Get four pieces of white 
cardboard and cover up different portions of 
your print and see whether you cannot im- 
prove its appearance by excision of superfluous 
parts. 

Washing Prints.— No care can be too great to 
insure the thorough washing of photographic 
prints, especially silver nrints. If it is possible 
they should be washed in running water, in 
such, a washer as Wood's or Jetfery's patent. 
In these washers a steady current of water is 
caused, which has the effect of constantly turn- 
ing the prints over and over, and exposing 
them at all points to its washing action, while 
the surplus is removed by means of a siphon, 
or other arrangement from the bottom. Hypo, 
which has to be removed from the prints en- 
tirely, or fading will result, is heavier than 
water, and consequently sinks to the bottom, 
being taken off with the outflow of the surplus 
water. Mere soaking is not sufficient, but if a • 
constant flow of water, such as that suggested, 
or a proper apparatus cannot be obtained, one 
of the best methods of removing the fixing 
agent will be to soak the prints alternately in 
hot and cold baths, allowing them to remain, 
say, five minutes in each and giving them at 
least half a dozen changes from one to the 
other. This method of washing, however, is 
not suitable for bromide prints, the gelatine 
surface of which would be destroyed by hot 
water. 

Titles on Prints.— To print the name on the 
photograph, several methods may be adopted. 
The simplest is to write the title of the subject 
on a slip of paper with aniline copying ink, or 
with ordinary copying ink mixed with gam- 
boge or vermilion. Then slightty dampen the 
surface of the negative near the bottom right 
or left hand corner in as unobtrusive and unim- 
portant a portion of the picture as possible. 
Press down the paper with the writing upon it. 
Leave for a few minutes and then remove the 
paper, when the writing will be found to have 
adhered to the negative. When printed, the 
name will print out white. Another way is to 
write backward on the negative, while another 
and better plan is to write the name in Indian 
ink on the surface of the paper before it is 
printed on. The ink will wash off in the after 
operations and leave the name in white where 
the surface of the paper has been protected by 
the ink. 

Proofs, to Preserve.— Dip the proof in a solu- 
tion of hyposulphite of soda, 20 gr., dissolved 
in 5 oz. of water for ten minutes, then wash in 
changing water for two hours. 

Bed Pictures. See Photo Printing Processes. 

Retouching Powder.— This powder is prepared 
by mixing together- 
Dextrine 2 parts. 

Resin (very finely powdered) 1 part. 

It may be employed both for application to 
negatives and to albumenized prints. A leather 
stump is the best means of application. 

Semitizing Paper.— For Blue Prints. 1. Red 
prussiate of potash, 5 parts; water, 50 parts. 

2. Ferric oxalate of potassium, 5 parts; water, 
50 parts. Mix the two solutions in the dark, 
and coat the paper with the mixture by means 
of a sponge. See also Blue Prints. 

Monkhoveii's Sensitizing Solution.— Nitrate of 
silver, 6 parts; nitrate of magnesia, 6 parts; 
distilled water, 50 parts. Each time, after 



sensitizing a sheet in this solution, 1 drm. 
of a one-to-eight solution of nitrate of 
silver should be added to the bath for every 
100 square inches of paper sensitized. 

Sensitizing Solution for Paper.— 

Nitrate of silver 5 drm. 

Distilled water ' 5 oz. 

Nitric acid 2 drops. 

Kaolin 1 oz. 

Silk, Photo. Printing on.—l. In the Photograph- 
ische Mitarbeiter the following recipe for pre- 
paring silk for printing from is given : 

No. 1. 

Tannin 40 grm. 

Water 1,000 c. c. 

No. 2. 

Salt 40 grm. 

Arrowroot 40 grm. 

Acetic acid 150 c. c. 

Water 1,000 c. c. 

No. 1 is mixed with No. 2, well shaken, and 
filtered. The older the mixture, the better it 
is for use. In this bath the silk is thoroughly 
immersed, and allowed to remain for three 
minutes, when it is taken out and hung up to 
dry. 

Sensitizing solution is composed of a silver 
one to ten, acidified with nitric acid. 
Toning Bath.— 

No. 1. 

Chloride of gold 1 grm. 

Water 200 c. c. 

No. 2. 

Sulphocyanide of ammonium 20 grm. 

Water 500 c. c. 

No. 1, after shaking, is mixed with No. 2. In a 
few days the mixture will become clear, when 
it is ready for use. It is preferable to dilute 
with from two to four times the quantity of 
water. Fixing and washing as usual. 

2. To print on silk prepare the folio wing solu- 
tion: 

Boiling water.... 20 oz. 

Chloride of ammonium 100 grs. 

Iceland moss — 60 grs. 

When nearly cold, filter and immerse the silk 
for fifteen minutes. Sensitize for fifteen min- 
utes in an acid 20 grn. to oz. silver bath, and 
when dry stretch the fabric over cardboard. 
Print deeper than usual and tone in— 

Water 20 oz. 

Acetate of soda 2 drm. 

Chloride of gold 3 grn. 

Common whiting, a few grn. Fix in hypo. 1 to 
20. 

To Photograph on Silk.— Immerse the silk 
in— 

Water 1 oz. 

Gelatine 5 grn. 

Chloride of sodium , . 5 grn. 

Hang it up to dry; then float for half a minute 
on a 50-grain solution of nitrate of silver ; dry, 
print, tone and fix, as usual. 

Silver Baths, to Renovate. See Baths, Silver. 

Silver Nitrate, to Make.— To make nitrate of 
silver out of pure silver, place the silver in a 
beaker and pour into it three quarters of a fluid 
oz. of strong nitric acid sp. gr. 1*4 for every oz. 
of metal. The beaker is heated till the whole 
of the silver dissolves. The solution is then 
poured into an evaporating basin, and the ex- 
cess of acid driven off by boiling. The opera- 
tions should be conducted in the open air. The 
salts left may be recrystallized by dissolving in 
the smallest possible quantity of boiling water 
and allowing it to cool. The crystals of pure 
nitrate of silver will gradually form. The salt 
remaining in the mother liquor can be recov- 
ered by evaporation. To prepare chloride of 



Photograph y . 



422 



gold the copper in the coin must first be elimi- 
nated. The gold coin is put into a beaker, and 
a mixture of three parts of hydrochloric acid 
and one of nitric acid is poured into it and heat 
applied until the metal is dissolved. The excess 
or acid is then expelled by evaporation. The 
impure gold chloride, when free from acid, is 
dissolved in boiling water, and a cold saturated 
solution of protosulphate of iron added, till a 
dark precipitate of pure gold is no longer pro- 
duced. The precipitate of gold must be poured 
on a filter and washed by pouring boiling water 
constantly over it, till the wash water no 
longer produces a precipitate with a solution 
of barium chloride, proving that the gold is 
free from the excess of sulphate of iron. The 
gold is again dissolved in nitro-hydrochloric 
acid, the solution evaporated to dryness, the 
latter part of the operation being carried on 
slowly to prevent spurting. The yellow crys- 
talline chloride of gold thus prepared should 
be preserved in a well stoppered bottle or a 
sealed tube, as the salt is very deliquescent. 

Snow Scenes, Exposure for.— After the pho- 
tographer has been working during the bright 
days of summer, and has probably put away 
his camera for a month or two, he naturally 
goes for it when the snow comes down, but the 
exposure will be found to be very puzzling. 
He knows that the light in winter— perhaps he 
has made a few experiments— is very dead, and 
that four or five times the exposure of his 
summer pictures is the rule. So he startsaway 
and gets poor results. The rough and ready 
rule for photographing snow scenes is to give 
them the same exposure as would be given to 
the same view in summer. Really, what one 
has to do to get the finest effect is to photograph 
the snow, and leave the uncovered patches to 
take care of themselves. b»now being white, 
reflects a great deal of light, and therefore the 
exposure must be very short. 

Sun, the Position of.— Do not expose when the 
sun is either directly in front of the camera or 
directly behind it. If directly in front, if the 
whole plate escapes being fogged by the sun 
shining into the lens, the result will be an al- 
most entire absence of detail in the shadows, and 
a flat and uninteresting picture. On the other 
hand, if the sun is right behind the camera, no 
shadows will be seen, or rather only the bright- 
ly lighted sides of every object will be seen by 
the lens, and a flat picture, lacking in contrast, 
will result. If these two extremes are avoided, 
pictures may be taken in almost any other di- 
rection with advantage, the shadows serving 
to create contrast, and give rotundity and life 
to the picture. 

Beware of the Sun.— When the sun is bril- 
liantly shining, be careful to keep your slides 
from its direct rays. A capital plan is to have 
what is known as a poacher's pocket made in 
the inside of your coat, large enough to carry 
a couple of dark slides. They can be carried 
here right up to the moment of placing them 
in the camera, and should be slipped from the 
pocket into a fold of the focusing cloth. This 
should also be spread right over the camera, 
dark slide and all, while exposure is being 
made. If these precautions are taken, there 
will be very little to fear from the light getting 
through the slides, unless they leak very badly. 
If there are any cracks or crannies whatever in 
the dark slide, the direct rays of a powerful 
sun will find them out. 

Tin Types, Formulas for Making.— The plate is 
coated with a collodion made as follows, but 
it can be bought at photo, dealers ready made : 

1. Collodion.— Alcohol and ether, equal parts; 
gun cotton sufficient to make moderately thick 
film, say 5 or 6 grn. to the oz.; put the cotton 
in the ether first, when it is well saturated 
pour in the alcohol, to which add : 

Iodide of ammonium. . .4 grn. to the oz. 

Iodide of cadmium 2 grn. to the oz. 

Bromide of cadmium. . .1 grn. to the oz. 
Bromide of copper 1 grn. to the oz. 



Photography. 

There are 8 grn. of salt to the oz. "When the 
collodion has set, the plate is immersed in a 
silver bath, made by dissolving 50 grn. of 
nitrate of silver in 1 oz. of distilled water, and 
kept there from two to five minutes. It is 
then put into a plate holder, exposed for 
twenty-nine seconds in the camera, and de- 
veloped with the following : 

2. Developer.— 

Water 64 oz. 

Protosulphate of iron 4 oz. 

Acetic acid 4 oz. 

Alcoholic solution of tannin, 10 

grn. to the oz 4 oz. 

The acid and tannin solutions should be ad- 
ded after iron has been dissolved. The devel- 
oper has to be flowed over the plate with one 
sweep. The picture is fixed by putting the 
plate into— 

Cyanide of potassium 2 oz. 

Water 64 oz. 

Then washed and dried. 

Toning Baths.— The treatment of the prints is 
sometimes followed by passing them into a di- 
lute solution of sodium acetate or ordinary com- 
mon salt, about 1 percent., such as here shown, 
and stirring them about for five minutes, when 
it will be seen they have assumed a brick red 
color, the object of which is threefold: First,, 
the fibers become charged with a substance 
which acts as a chlorine absorbent, a necessary 
property to be mentioned further on. Second- 
ly, a definite color is insured to start with,, 
thus obviating the possibility of mistaking 
fresh prints in the toning bath for those which 
have become parple by reason of the deposited 
gold, an important consideration when dealing 
with fumed paper. Thirdly, tne last trace of 
free nitrate of silver is removed, thereby pre- 
venting a too rapid decomposition of the ton- 
ing bath. This applies to all toning baths. 

Theoretically considered, it is proper that 
the last trace of silver nitrate should be re- 
moved, but those who are engaged in the 
daily practice of commercial work do not in- 
sist upon the strict observance of such a rule 
in all cases. An especial exception is permit- 
ted and advocated when dealing with prints 
from a weak or under exposed negative, this 
class being found to yield richer tones by not 
washing any of the free silver out. 

The plan of soaking prints in a solution of 
sodium acetate was originally recommended, in 
lieu of a washing, by Mr. A. L. Henderson, as long 
ago as 1861, the following being an outline of 
the method suggested by him : Slightly over- 
printed proofs are soaked in a bath composed 
of— 

Sodium acetate 240 grn. 

Water 10 oz. 

The unwashed proofs are moved about in 
this solution at least ten minutes, in order to 
convert all the free silver nitrate into acetate 
of silver. After slight rinsing in clean water» 
the proofs are toned with — 

Gold terchloride 4 grn. 

Sodium acetate 240 grn. 

Water 10 oz. 

1. Chloride of gold 1 grn. 

Acetate of soda 30 grn. 

Water 8 oz. 

This must not be used till one day after pre- 
paration. It keeps well, »and gives warm, rich 
tones. 

2. Chloride of gold 1 grn. 

Bicarbonate of soda 4 grn. 

Water 8 oz. 

This is ready for immediate use after prepar- 
ation, but it will not keep. 

3. Chloride of gold 1 grn. 

Phosphate of soda 20 grn. 

Water 8 oz. 






Photography. 



423 



Photography. 



This gives rich tones of a deep purple nature, 
but must be used soon after preparation. 

4. Gold solution 10 drm. 

Acetate of lime 20 grn. 

Chloride of lime : 1 grn. 

Tepid water 20 oz. 

The gold solution before mentioned is pre- 
pared by neutralizing- as much as is required of 
a 1 gr. solution of chloride of gold by shaking- 
it up with a little prepared chalk, then allow- 
ing it to settle, and filtering off the clear liquid. 
This toning bath improves by keeping. To 
use, add 2 oz. of it to 8 oz. of tepid water, 
which will prove sufficient to tone a full-sized 
sheet of paper. 

5. Chloride of gold . . . 15 grn. 

Water ' 5 oz. 

Neutralize with lime water; make up to 15 oz. 
with water, and add 2 drm. chloride of calcium. 
This stock solution will keep for a longtime. 
For use, dilute 1 oz. with 10 oz. of water. 

6. Platinum tetrachloride, sirupy 
solution, color of old East India 

sherry 5 min. 

Hydrochloric acid 150 min. 

Water 20 oz. 

Wash away the free silver thoroughly, warm 
the toning solution to 70° F., and fix in a 20^ 
hypo. bath. 

7. Mr. A. Watt, in the second volume of the 
News, gives a formula which runs as follows. 

Solution of platinum 30 min. 

Hypo 3 gr. 

Hydrochloric acid 5 min. 

Water 5 oz. 

This bath is said to act instantly. Thestrength 
of the platinum solution here given is indefin- 
ite, but any of our experimental members can 
soon ascertain the amount of dilution necessary 
to obtain the most favorable results. 

Alkaline Toning.— Owing to the bleaching ac- 
tion which occurs in toning silver prints with 
gold, which is slightly . acid, certain experi- 
ments were made, and it was found that 
bleaching increased in proportion to the quan- 
tity of hydrochloric acid added. Now, in the 
action of toning chlorine is disengaged, and in 
order to render this powerful bleaching agent 
inert it has been proposed to introduce a sub- 
stance capable of combining with it, and thus, 
in absorbing it, prevent undue loss of vigor. 
To obtain this a slightly alkaline toning bath 
became a necessity. 

8. Sodium carbonate (Na 2 H Co 3 ).. . 5 gr. 

Auric terchloride (AuCl 3 ) 1 gr. 

Water 10 oz. 

Instead of the dry bicarbonate we will use a 
saturated solution. In this, as well as the fol- 
lowing formulas, 3 prints of the same subject 
should be toned, viz., ordinary, fumed and 
preserved. 

9. Sesquichloride of gold 15 gr. 

Phosphate of soda 300 gr. 

Distilled water 1M pt. 

And in the same communication it is men- 
tioned that 180 grn. of borax may be substitu- 
ted for the phosphate with a like result. There- 
fore it will be seen that a borax toning bath is 
not of recent discovery, although it does not 
appear to have been quoted in many formu- 
lae for at least a dozen years after its publica- 
tion. 

10. Gold terchloride 1 grn. 

Sodium acetate 10 grn. 

Sedium chloride 10 grn. 

Hot water 20 oz. 

Mix twenty-four hours before use. Neutral- 
ize with chalk or whitening (carbonate of lime). 

11. Ready Sensitized Paper, Bath for.— 

1. Water 1 liter. 

Chloride of gold 1 grm. 



2. Water ...1 liter. 

Borax 10 grm. 

Tungstate of soda 40 grm. 

12 Schwier's Borax Toning Bath.— 

Chloride of gold solution, 1:50... 3 c. c. 

Borax solution, 1 to 10 100 c. c. 

Water, distilled 100 c. c. 

Ready at once. 

13. E. L. Wilson's Toning Bath.— 

Water 16 fl. oz. 

Acetate sodium 30 grn. 

Chloride sodium 30 grn. 

Chloride gold 2 grn. 

Nitrate uranium 2 grn. 

The gold and uranium, previously dissolved in 
a little water, must be neutralized with suffi- 
cient bicarbonate soda. Add gold to renew as 
required. 

14. Terchloride of gold, 1% solution. 1 part. 
Hyperchloride of lime (white 

powder) 3 parts. 

Distilled water 1,000 parts. 

The action is complete in ten to fifteen 
minutes, when the prints require washing in 
two changes of water to free them from the 
chloride of lime remaining in the fibers previ- 
ous to fixing in 1 to 6 of hypo. If the tone 
is satisfactory at the expiration of fifteen 
minutes, the ordinary washing could be pro- 
ceeded with. 

15. If not, the proofs are submitted to a 
final bath composed of — 

Gold terchloride 2 parts. 

Hypo 200 parts. 

Distilled water. 1,200 parts. 

The proof ought not to be left in this bath less 
than 15 minutes, as that is the minimum time 
necessary to insure the permanency of the pic- 
ture; but it may be allowed to remain in it for 
as much longer as is requisite for obtainiug 
the desired tone. 

16. The uranium and gold toning bath has 
many friends. The tones are said to be richer, 
and to economize gold, while it is very easy to 
work. The originator of the formula is un- 
known, but the following formula is recom- 
mended. After washing away the free silver 
tone in the following mixture: 

No. 1. 
One grn. acid solution o£ go! A 

terchloride 1 oz. 

Water 7 oz. 

Neutralize with sufficient of a 20$ solution or" 
sodium carb. (Na 2 HCo 3 ). 

No. 2. 
Three grn. solution of uranium 

nitrate 1 oz. 

Water 7 oz. 

Neutralize as in No. 1. Warm each to 70° F., 
and mix. The bath is then ready for use. It 
can be used repeatedly if desired, by acidifying 
with citric acid and neutralizing before use; 
but nothing is gained by using it a second 
time. 

Miscellaneous Toning Baths.— 1. To Obtain 
Black Tones on Silver Prints.— Scholzig prints 
on sensitized albumenized paper under green or 
dark yellow glass, and tones with borax, 00 
grn.; uranium nitrate, 4 grn.; gold chloride, 3 
grn.; water, 24 oz. Teape prints under green 
glass, and tones with gold chloride, 1 grn ; satu- 
rated solution of borax, 1 oz.; water, 6 oz. 
(Phot. N., xxxiv., 623). Slightly washed prints 
absorb more gold in toning and give more per- 
manent images than well washed prints, (ibid., 
639). The effects observed when silver printing 
is carried on under green glass are due to the 
specific action of the rays transmitted by the 
glass. Signal green absorbs the greater part 
of the rays that act on silver chloride, but 
transmits rays that act upon silver albuminate 
or silver citrate. When albumenized paper is 
printed under green glass the image con- 



Photography. 



424 



Photography. 



sists almost entirely of altered silver albu- 
minate, while with gelatino-citrochloride 
under similar conditions the image consists of 
altered silver citrate.— (Abney, Phot, ii., 702- 
704). 

2. Platinum or palladium toning- can be ef- 
fected by means of a slightly acidulated solu- 
tion of platinic or paliadic chloride mixed with 
sodium sulphite. 

The gradual decomposition of toning baths 
containing platinum and silver metals can be 
'prevented by the addition of one of the highest 
'salts of the particular metal. For example- 
Platinum Toning Bath : Potassium chloropla- 
tinite, 1*5 part; platinum tetrachloride, 0'05 
part ; acetic acid, 15 parts ; water, 1,000 parts. 

3. Osmium Toning Bath.— Ammonium osmi- 
ochloride, 1'50 part; potassium osmate, O'l 
part ; acetic acid, 15 parts ; water, 1,000 parts. 
Similar baths are used in the case of iridium 
toning or palladium toning. The quantity of 
the higher salt present in each case is not suffi- 
cient to injure the prints.— (P. Mercier, B. <S. 
F., Phot. [2], vi., 194, 195). 

4.— Acetate and Bicarbonate Bath.— 

Acetate of soda 120 grn. 

Bicarbonate of soda 10 grn. 

Chloride of gold 4 grn. 

Water 20 oz. 

Make up fully twenty-four hours previously 
to its being required. The bath keeps indefi- 
nitely, and gives rich, warm brown tones. The 
prints for this bath should be printed deep. 
The toning will be complete when all the red 
has disappeared from the prints, except in the 
shadows, when examined by reflected light. 

5.— Borax Bath.— For Warm Brown Tones. 

Borax 100 grn. 

Water 10 oz. 

Chloride of gold 1 grn. 

Water 10 oz. 

Mix. This bath will not keep, and should only 
be prepared as required, and then ' thrown 
away. One grn. of gold is sufficient to tone 1 
sheet of paper. The borax bath will suit all the 
ready-sensitized papers in the market. Use 
powdered borax, and dissolve it in hot water. 
Afterward make up to 10 oz. Next add 1 grn. 
of chloride of gold, or 1 drm. of gold solution, 
to 10 oz. of water, and then mix the two solu- 
tions. 

6. Gastine's Platinum Toning Bath. — 

Chloride of platinum. . 15 grn. 

Chloride of sodium 60 grn. 

Bitartrate of soda 18 grn. 

Water 33^ oz. 

Fir^t dissolve the platinum and chloride of 
sodium, and bring the solution to the boiling 
point. Add the bitartrate slowly with con- 
stant stirring. This bath will keep, but is to 
be diluted ten to twelve times with water for 
use. Purple black tones are obtained by along 
immersion; for sepia, tone less. 

7. Platinum Toning Bath.— To make a plati- 
num toning bath substitute platinum chloride 
for gold chloride in the acetate of soda bath; 
thus : 

Platinum chloride 1 gr. 

Acetate of soda 30 gr. 

Water 8 oz. 

Dip a piece of blue litmus paper into the bath; 
if it turns red it is acid, and a solution of car- 
bonate of soda must be added, drop by drop, 
until the blue color returns. 

8. Spaulding's Stock Solution.— 

Water 5 oz. 

Gold chloride . . 5 grn. 

For use take- 
Water 4 oz. 

Soda bicarbonate 1 grn. 

Common salt 2 grn. 

Stock solution of gold 1 oz. 



oz. 

grn. 
grn. 

oz. 
grn. 



gr. 
gr. 
gr. 
gr. 
oz. 



9. Tungstate of Soda Toning Bath— 

1. Water 16 

Borax 20 

Tungstate of soda 75 

2. Water * 4 

Chloride of gold 4 

Mix 8 oz. of No. 1 with 1 oz. of No. 2, and al- 
low the mixture to stand half an hour before 
using. 

10. Toning and Fixing in One Bath.— The ope- 
ration of toning and fixing is much simplified 
by using the combined bath. The print coming- 
out of the printing frame is left in the bath till 
the color is arrived at, then washed and dried. 
The bath is composed of two solutions, and 
will keep for a long time. Dissolve water, 24 
oz.; hyposulphite of soda, 6 oz.; sulphocyanide 
of ammonia, 1 oz.; acetate of soda, V/z oz.; satu- 
rated solution of alum, 2 oz. Fill the bottle 
containing the solution with scraps of sensitized 
paper, bad prints that are not fixed, and leave 
it for a day. Then filter, and add the following- 
solution; Water, 6 oz.; chloride of gold, 15 gr.; 
chloride of ammonium, 30 gr. It is necessary 
to print deep enough, and to leave the prints 
in the bath till, in looking through them, the 
desired color, brown dark or bluish, is observed. 
Used for Omega and other paper. 

11. Toning and Fixing in One Bath.— 

Chloride of gold 1 

Phosphate of soda . . .15 

Sulphocyanide of ammonium. ..25 

Hyposulphite of soda 240 

Water 2 

Dissolve the gold separately in a small quan- 
tity of water and add it to the other solution. 

12. Combined Toning and Fixing Bath.— 

IWater 32 oz. 

Hypo 8 oz. 

Chloride of gold 15 gr. 

Nitrate of lead (c. p.) 75 gr. 

13. Bromide Prints, Toning with Platinum.— 
Potassium plan tino-chloride. . .. 7 gr., 

Distilled water 16 oz. 

Hydrochloric acid 1J4 dr.\ 

For twenty minutes, wash and soak to a 15$ 
solution of copper chloride.— E. Vogel. 

14. Brown Tones on Bromide Paper.— Dr. 
Miethe states that good brown ton„s may be 
given to bromide prints by a short treatment 
of the fixed and well washed prints in— 

Bichloride of mercury 10 parts. 

Common salt 10 parts. 

jWater 500 parts. 

15. Black Tones on Gelatino-Chloride Paper. 
—The following bath gives very rich dark 
tones : 

"Chloride of gold 5 

Nitrate of uranium 5 

Bicarbonate of soda 75 

Distilled water 4 

16. Black Tones on Matt Surface Prints.— A 
very good toning bath for prints on matt sur- 
face paper is : 

Borax 90 

Nitrate of uranium . 4 

Gold 3 

Water 24 

The above quantity of gold is sufficient to 
tone at least three dozen whole plate prints. If 
more are to be toned the proportions of gold 
and uranium should be increased. The bath 
remains in good condition for a long time, but 
fresh gold must be added occasionally to keep 
the bath up to strength. 

17. Gelatino-Chloride Paper, Toning and Fix- 
ing.— 

Solution No. 1. 

Hyposulphite of soda 200 grm. 

Alum 80 grm. 

Nitrate of lead (pulverized) 2 grm. 

Boiling water 400 c. c. 



grn. 
grn. 
grn. 
oz. 



grn. 
grn. 
grn. 
oz. 



Photography. 



425 



Photography. 



The solution is allowed to stand for two days; 
then once more 400 c. c. of boiling water are 
added, and the solution is filtered. Meantime, 
the following solution is prepared in a bottle: 

Solution No.*2. 
Sulphocyanide of ammonia. . . . 160 grm. 
Water 1,200 c. c. 

Solution No. 1 is mixed with solution No. 2, 
and then added: 

Solution of gold chloride (1%).. . . .10 to 20 c.c. 

With this bath the prints take any desired 
tone within three to five minutes. 

18. Toning Bromide Prints.— By M. V. Port- 
man.— The following toning bath answers well, 
alter fixing, if the print is at all green : 

Sulphocyanide of ammonium . . .30 grn. 

Chloride of gold 1 grn. 

Water 4 oz. 

Half a minute in this bath will give the print 
a rich black tone ; a longer time will turn the 
print blue, which answers very well for moon- 
light effects. 

19. Experiments in Toning Gelatin o- Chloride 
Paper.— From the Photographic News we take 
the following : The use of paper coated with a 
gelatino-citro-chloride emulsion in place of al- 
bumenized paper appears to be becoming daily 
more common. Successful toning has gener- 
ally been the difficulty with such paper, the al- 
kaline baths commonly in use with albumen- 
ized having proved unsuitable for toning this 
paper. On the whole the bath that has given 
the best results is one containing, in addition 
to gold, a small quantity of hypo, and a consid- 
erable quantity of sulphocyanide of ammo- 
nium. Such a bath tones very rapidly, and 
gives most pleasing colors. It appears, more- 
over, to be impossible to over tone the citro- 
chloro-emulsion paper with it in the sense that 
it is possible to over tone prints on albumenized 
paper with the ordinary alkaline bath. That is 
to say, it is impossible to produce a slaty gray 
image. The result of prolonged toning is 
merely an image of an engraving black color. 
Of this, however, we shall say more hereafter. 
We wish first of all to refer to an elaborate 
series of experiments by Lionel Clark on the 
effects of various toning baths used with the 
gelatino-citrochloride paper. 

The results of these experiments we have be- 
fore us at the time of writing, and we may at 
once say that, from the manner in which the 
experiments have been carried out and in 
which the results have been tabulated, Lionel 
Clark's work forms a very useful contribution 
to our photographic knowledge, and a contri- 
bution that will become more and more useful, 
the longer the results of the experiments are 
kept. A number of small prints have been pre- 

Eared. Of these several- in most cases, three— 
avebeen toned by a certain bath, and each 
print has been torn in two. One-half has been 
treated with bichloride of mercury, so as to 
bleach such portion of the image as is of silver, 
and finally the prints— the two halves of each 
being brought close together— have been 
mounted in groups, each group containing all 
the prints toned by a certain formula, with 
full information tabulated. 

The only improvement we could suggest in 
the arrangement is that all the prints should 
have been from the same negative, or from 
on4y three negatives, so that we should have 
prints from the same negatives in every group, 
and should the better be able to compare the 
results of the toning baths. Probably, however, 
the indifferent light of the present season of 
the year made it difficult to get a sufficiency of 
prints from one negative. 

The following is a description of the toning 
baths used and of the appearance of the prints. 
We refer, in the meantime, only to those halves 
that have not been treated with bichloride of 
mercury. 



1. Gold chloride ( AuCl 3 ) 1 grn. 

Sulphocyanide of potassium 10 grn. 

Hyposulphite of soda y=>, grn. 

Water 2 oz. 

The prints are of a brilliant purple or violet 
color. 

2. G old chloride 1 grn. 

Sulphocyanide of potassium 10 grn. 

Hyposulphite of soda ^ grn. 

Water 4 oz. 

There is only one print which is of a brown 
color, and in every way inferior to those toned 
with the first bath. 

3. Gold chloride 1 grn. 

Sulphocyanide of potassium 12 grn. 

Hyposulphite of soda y% grn. 

Water 2 oz. 

The prints toned by this bath are, in our 
opinion, the finest of the whole. The tone is a 
purple of the most brilliant and pleasing shade. 

4. Gold chloride 1 gr. 

Sulphocyanide of potassium 20 gr. 

Hyposulphite of soda 5 gr. 

Vi ater 2 oz. 

There is only one print, but it is from the 
same negative as one of the No. 3 group. It is 
very inferior to that in No. 3, the color less 
pleasant, and the appearance generally as if 
the details of the lights had been bleached by 
the large quantity either of hypo, or of sulpho- 
cyanide of potassium. 

5. Gold chloride 1 gr. 

Sulphocyanide of potassium 50 gr. 

Hyposulphite of soda y% gr. 

Water 2 oz. 

Opposite to this description of formula there 
are no prints, but the following is written: 
" These prints were completely destroyed, the 
sulphocyanide of potassium (probably) dissolv- 
ing off the gelatine." 

6. Gold chloride 1 gr. 

Sulphocyanide of potassium 20 gr. 

Hypo 5 gr. 

Carbonate of soda 10 gr. 

Water ..2 oz. 

This, it will be seen, is the same as 4, but that 
the solution is rendered alkaline with carbon- 
ate of soda. The result of the alkalinity cer- 
tainly appears to be good, the color is more 
pleasing than that produced by No. 4, and there 
is less appearance of bleaching. It must be 
borne in mind in this connection that the paper 
itself is strongly acid, and that, unless special 
means be taken to prevent it, the toning bath 
is sure to be more or less acid. 

7. Gold chloride 1 gr. 

Acetate of soda 30 gr. 

Water 2 oz. 

The color of the prints toned by this bath is 
not exceedingly pleasing. It is a brown tend- 
ing to purple, but is not very pure or bright. 
The results show, however, the possibility of 
toning the gelatino-chloro-citrate paper with 
the ordinary acetate bath if it be only made 
concentrated enough. 

8. Gold chloride 1 gr. 

Carbonate of soda 3 gr. 

Water 2 oz. 

Very much the same may be said of the prints 
toned by this bath as of those toned by No. 7. 
The color is not very good, nor is the toning 
quite even. This last remark applies to No. 7 
batch as well as No. 8. 

9. Gold chloride . . 1 gr. 

Phosphate of soda 20 gr. 

Water 2 oz. 

The results of this bath can best be described 
as purplish in color. They are decidedly more 
pleasing than those of 7 or 8, but are not as 
good as the best by the sulphocyanide bath. 

10. Gold Chloride 1 grn. 

Hyposulphite of soda ^ oz. 

Water 2 oz. 



Photography. 



426 



Photography. 



The. result of this bath is a brilliant brown 
color, what might indeed, perhaps , be best de- 
scribed as a red. Two out of the three prints 
are much too dark, indicating*, perhaps, that 
this toning bath did not have any tendency to 
reduce the intensity of the image. 

The general lesson taught by Clark's experi- 
ments is that the sulphocyanide bath gives 
better results than any other. A certain pro- 
portion of the ingredients— namely, that of bath 
3— gives better results than any other propor- 
tions tried, and about as good as any that could 
be hoped for. Any of the ordinary alkaline 
toning baths may be used, but they all give re- 
sults inferior to those got by the sulphocyanide 
bath. The best of the ordinary baths is, how- 
ever, the phosphate of soda. 

And now a word as to those parts of the 
prints which have been treated with bichloride 
of mercury. The thing that strikes us as re- 
markable in connection with them is that in 
them the image has scarcely suffered any re- 
duction of intensity at all. In most cases 
there has been a disagreeable change of color, 
but it is almost entirely confined to the whites 
and lighter tints, which are turned to a more 
or less dirty yellow. Even in the case of the 
prints toned by bath No. 10, where the image is 
quite red, it has suffered no appreciable reduc- 
tion of intensity. 

This would indicate that an unusually large 
proportion of the toned image consists of gold, 
and this idea is confirmed by the fact that to 
tone a sheet of gelatino-chloro-citrate paper 
requires several times as much gold as to tone 
a sheet of albumenized paper. Indeed, we be- 
lieve that, with the emulsion paper, it is pos- 
sible to replace the Avhole of the silver of the 
image with gold, thereby producing a perma- 
nent print. We have already said that the 
print may be left for any reasonable length 
of time in the toning bath without the destruc- 
tion of its appearance, and we cannot but sup- 
pose that a very long immersion results in a 
complete substitution of gold for silver. 

11. Toning Bath for Gelatino-Chloride Emul- 
sion Paper. 

Wash the prints in clean water and then tone 
in the following : 

A. Distilled water 25 oz. 

Acetate of soda (recrystillized). 1 oz. 
Into which pour a solution of 

1% of chloride of gold 2 oz. 

B. In 10 oz. of distilled water dissolve 2 

drm. of sulpho-cyanide of ammonia, and 
add 1 oz. solution of 1% chloride of 
gold. 

For toning, mix in the proportion of 20 oz. of 
A to 6 of B, if 'possible the evening before 
using. 

12. Transparencies on Silver Paper. 

Print on the back of heavily-silvered paper 
until the picture is well printed, viewing the 
paner by transmitted light. 

Tone and fix, make the paper translucent, 
when dry, with— 

Poppy oil.... }4 oz. 

Balsam fir % oz. 

Spirits of turpentine . 34 oz. 

Trays, to Make.— Use wood, and smear over 
with 4 parts resin, 1 part gutta percha and a 
little boiled oil, melted together and applied 
hot to the perfectly dry wood. Do not use zinc. 

Trays and Graduates, to Clean.— Wash with 
nitric acid and use a rag. 

Silver Wastes, to Recover. — 1. From Nitrate 
Bath. — 1. Add solution of caustic potash or 
lime, as long as there is a brown precipitate. 
Allow it to settle, pour off the liquid and col- 
lect silver oxide for reduction; vide III. beloAv. 

2. For 1 lb. of silver add 1 oz. sulphuric acid 
and }4 lb. zinc and allow it to stand two days. 
Precipitate as a chloride, wash 8 or 10 times by 
decantation, and dissolve gradually in nitric 
acid. Test the complete washing by hydro- 



chloric acid. Wash with water till zinc nitrate 
is removed. If zinc clings to silver, wash with 
hydrochloric acid. 

3. Suspend a sheet of copper in bath for two 
or three days. 

4. Acidify as nitric acid, precipitate as silver 
chloride by sodium chloride or hydrochloric 
acid and reduce as III. 

5. Immerse in bath 2 strips of copper attached 
to a Daniell's battery. Silver deposited on the 
copper as in No. 3. 

6. Add sodium bicarbonate or hydrate. Re- 
duce as in III. below, or, if pure enough, dis- 
solve precipitate at once in nitric acid. 

7. Concentrate bath made alkaline by sodium 
carbonate and add aqueous solution of oxalic 
acid neutralized with sodium carbonate. Filter, 
dry and fuse with equal weight of sodium bi- 
carbonate. 

8. Deposit either with or without a battery 
on iron. Fuse with potassium nitrate and 
sodium carbonate. 

II. Hyposulphite Bath.— 1. Precipitate as sil- 
ver sulphide by potassium sulphide. Reduce 
as III. or dissolve in nitric acid. 

2. Precipitate with hydrosulphuric acid, and 
reduce as III. 

3. Decompose hypo, by waste nitrosulphuric 
acid "from manufacture of gun cotton for col- 
lodion. Have silver sulphide and sulphur with 
sodium nitrate and sulphate in solution. Sus- 
pend zinc in the solution, then boil two or 
three hours; wash on filter, dry, fuse with 
borax and sodium, carbonate. 

4. Suspend sheet copper in the solution. 

5. Add hydrochloric acid, which sets free 
sulphur and precipitates silver chloride. Ox- 
idize the sulphur by aqua regia and reduce 
silver chloride as in III. 

6. Add sodium hypochlorite to the alkaline 
solution. Wash, precipitate and fuse with 
mixed carbonates. This gives no fumes of sul- 
phur. Sodium bisulphate and chlorides are 
by-products. 

III. Reduction of Silver Chloride, Oxide or Sul- 
phide.— 1. Mix with % its weight of colophony. 
Heat moderately in a crucible till greenish- 
blue flame ceases, then suddenly increase the 
heat, when a button of the metal is obtained. 

2. Melt with alkaline carbonates enough to 
cover surface from air; then mix with 75$ chalk 
and 4$ charcoal, and heat. 

3. Ignite with niter on red hot plate, care- 
fully, and in small quantities to avoid explo- 
sions, run down to a bead with sodium carbon- 
ate and borax. 

4. If a chloride, i-educe to an oxide by boiling 
with strong potash, then reduce by glucose; or 
boil the chloride with glucose and sodium car- 
bonate. 

5. Add silver chloride dissolved in ammonia 
to a boiling solution of 1 part glucose and 3 
parts sodium carbonate in 40$ of water, keep- 
ing up the boiling all the time. 

6. Add to silver chloride sodium trydrace in 
solution and grape sugar, and expose to sun- 
light in an open dish with occasional stirring. 
Reduce to dark brown oxide of silver soluble 
in nitric acid. 

7. Mix with five times its weight of sodium 
carbonate. Fill a Hessian crucible half full 
and sprinkle sodium chloride over the top. 
Heat slowly in anthracite fire. After half an 
hour increase the heat until the crucible is 
white hot. When complete fusion has taken 
place, allow to cool and break out the button 
of silver. 

8. Fuse with 2 parts carbonate sodium and 
potassium mixed. 

9. Add pure zinc and dilute sulphuric acid 
and let it stand two days. Wash silver off with 
water acidulated with sulphuric acid to re- 
move all zinc; finally fuse to a button. 

10. Mix one half its weight dry sodium car- 
bonate and one quarter its weight of dry clean 
sand and ignite. 

IV. a. Gold Wastes, Recovered.— 1. Make 



j 



Photography. 



427 



Pickle. 



just acid with hydrochloric acid, add solution 
containing- 2 oz. pyrogallic acid, let it stand 
twenty-four hours; filter, dissolve in aqua 
regia, and product, after evaporation, will be 
found better for toning than that precipitated 
by iron. 

2. Acidify toning bath, and add sulphate of 
iron, 2 grm., to 1 grm. chloride of gold. 

h. Separated from Silver. — 1. Treat button 
obtained by fusing Avaste from hypo, baths, 
toning and fixing, with dilute nitric acid. 
Wash insoluble part with ammonia to remove 
silver chloride, if present, and dissolve in aqua 
regia. 

2. Digest 20 grm. in flask with 1 fl. drm. 
hydrochloric acid, 15 mm. of nitric acid, and 
2 drm. of water. After fifteen minutes boil, 
add 2 oz. water; filter. Silver chloride with 
organic matter left undissolved. Reduced as 
III., above. 

VI Paper Wastes.— 1. Soak 1 * paper in strong 
solution of saltpeter and burn. 

2. Treat with nitric acid, precipitate with 
sodium chloride or potassium hydrate. Then 
put with III., above, for reduction. 

VI. Cyanide Solution.— 1. Dilute with water, 
precipitate by (2) potassium sulphide, (2) sodi- 
um chloride, and reduce as IIT. 

2. Decant bath into iron kettle, warm, add 
ferrous sulphate, slowly, till a slight precipi- 
tate of oxide is formed. Make alkaline, and 
add solution of grape sugar until of a brownish 
yellow color. Allow to settle, siphon off the 
liquid. Wash sediment on filter, and ignite to 
recover silver. 

VII. Developer.— 1. See II., 3, 4, 5, 6, with 
hypo, bath; 1 and 2 not applicable, for iron 
sulphide would be formed. 

2. Reduced by its own iron, if ferrous sul- 
phate. 

Reduction of Photographic Wastes.— The fol- 
lowing recipes are the result of the experiences 
of many. Some of the notes are very import- 
ant. If followed closely you may, as other 
people have done, reduce photographic wastes 
to fg& fine. 

Paper Clippings.— Burn the papers to a fine 
ash; then mix with V/% its weight of the follow- 
ing flux : 

Bicarbonate of soda. 1 lb. 

Pearlash .1 lb. 

Common salt 4 oz. 

Silver Paper, to Reduce. — Burn all your 
papers and preserve the ashes thereof , then add 
nitric acid until all the silver is extracted, and 
filter through muslin cloth. Now add common 
salt to form silver chloride, and evaporate to 
dryness, and reduce to metallic silver in cruci- 
ble by adding 2 parts of sodium carbonate and 
a modicum of borax to one of silver chloride. 
Mix well and heat gradually at first, and finish 
with white heat, then wash well until nothing 
but silver remains. Treat washings with salt, 
evaporate to dryness, and reduce as above in 
crucible. 

Recovery of Silver from Hypo Bath.— The 
Photographische Wochenblatt recommends the 
precipitation of silver from the fixing bath 
with an old oxalate developer that still con- 
tains enough protoxide for this purpose. The 
precipitate is in a very fine state of division 
and difficult to filter. 

Silver from Waste Solutions.— One of the 
simplest methods of recovering silver from 
waste solutions is the following: First di- 
lute the liquid about one-third with water 
(double this quantity if much gum is pres- 
ent), heat the solution to about 180° Fah., 
and gradually add solution of pure sulphate of 
iron (iron sulphate 5 oz., water 1 pt.) until no 
further precipitate forms. Decant the liquid 
portion, throw the precipitate on a filter and 
wash it thoroughly with hot water. To the 
washed precipitate— consisting of finely divided 
metallic silver— add strong pure nitric acid and 
heat over a water bath until the silver has all 
been dissolved. Evaporate to dryness over 



the water bath (in a porcelain dish, capsule) 
and dissolve the residue in hot water (distilled 
or rain). Filter this solution and concentrate 
it over a water bath, then set it aside to crys- 
tallize. Remove the crystals, concentrate in a 
similar manner the mother liquid and obtain 
another crop of crystals. These crystals (of 
nitrate of silver) are pure enough for ordin- 
ary purposes, but if required to be used for 
photographic purposes they should b^ redis- 
solved in water and recrystallized. Where the 
liquid containing the silver contains also much 
insoluble organic matter, it is sometimes pref- 
erable to separate the silver by evaporating the 
liquid to dryness and fusing the residue with 
an equal quantity of borax glass in a blacklead 
crucible. 

Waxing Solution.— For carbon prints, or for 
removing collodion films.— Beeswax, 40 grn.; 
benzole (rectified), 8oz. 

Phylloxera, to Destroy. —Numberless- 
remedies have been suggested and tried : 
sulphur, carbon bisulphide, coal-tar, lime, soap, 
caustic soda, and many others. The following- 
are among the best receipts : See the Scientific 
American Supplement, Nos. 167, 205, 464, 471, 478. 

1. Try sulpho-carbonate of potassium and 
sand. 

2. London purple, a by-product in the manu- 
facture of rosaniline, mixed with water. 

3. Forty-five lb. sodium phosphate; 15 lb. 
ammonium phosphate ; 60 lb. ammonium 
chloride; 45 lb. potassium sulphate; 75 lb. of 
soda ; 2,800 lbs. iron sulphate ; 90 lb. flowers of 
sulphur. Mix with the soil. 

4. Mix 45 parts nitrobenzol ; 75 parts sulphur- 
ic acid ; 1,400 parts water. To kill the eggs, 
make a paste of 4 oz. benzol, 8 lb. lime, and 
360 lb. of earth. See Insecticides. 

Pianos, Finishing the Case of.— The 
polish finishing of piano cases requires experi- 
ence to assure success. The cases are first 
smoothed with a planing- machine or hand 
planes, and then are scraped and smoothly sand- 
papered. They are then stained, and a filler— a 
rosewood paste for instance—is carefully rubbed 
in, to completely fill the pores of the wood. A 
rubbing coat of varnish is then applied, this coat 
really being four or five coats applied four or 
five days apart. When thoroughly dry this rub- 
bing- coat is rubbed down perfectly smooth 
with ground pumice, felt rubbers and water. 
Then a flowing or finishing coat of varnish is 
skilfully applied, and when dry it is fine rubbed 
and rottenstoned, using water and the palms of 
the hands in this operation, which removes all 
scratches and leaves a blight polish, which is 
completely finished by rubbing off with oil. In 
finer classes of work a scraping- coat is applied 
after the filler is rubbed into the pores, and 
when dry this scraping coat (which is really 
four or five coats of varnish applied four or 
five days apart) is carefully scraped off by steel 
plate scrapers, a delicate operation, then the 
rubbing coat above named is applied, and later 
the flowing coat and oil finish. The original 
smoothing is not done by emery belts, but by 
machine or hand smoothing planes, scraping 
and sandpapering. It requires about three 
months 1 time to polish a piano case, and the 
work should be intrusted to skillful, experi- 
enced hands. 

Piano Keys, to Bleach. See Bleach- 
ing. 

Pickle to Remove Scale from Iron 
Caused by Heat.— Use by volume sulphuric 
acid, 1 part; 1 part nitric acid, 2 parts water, 
applied warm. Either the acid or the iron may 
be heated. 

Pickle for Beef.— Pickle to keep beef,, 
tongues and pork. To each gallon of water add 
iy& lb. salt, y*, lb. sugar, y 2 oz. saltpeter, and y> 
oz. potash. Let these be boiled together until all 
the dirt from the sugar rises to the top and j? 
skimmed off. Then throw it into a tub to cool, 



Pick-me-Up. 



428 



Pigments. 



and when cold pour it over the beef or meat, to 
remain the usual time, say 4 or 5 weeks. The 
meat must be well covered with pickle, and 
should not be put down for at least 2 days after 
killing, during which time it should be slightly 
sprinkled with saltpeter, which removes all 
the surface blood, etc., leaving the meat fresh 
and clean. Some omit boiling the pickle and 
find it to answer well, though the operation of 
boiling purifies the pickle by throwing off the 
dirt always found in salt and sugar. 

Pick-me-Up.- There is no general form- 
ula for this. A pick-me-up is simply a tonic 
draught, somewhat like a liqueur. The follow- 
ing is good : 

Essence of ginger 10 drops. 

Aromatic spirit of ammonia — J^ drm. 

Tincture of gentian l 1 ^ drm. 

Compound tincture of carda- 
moms 3 drm. 

Sirup ^ oz. 

Chloroform water, to 2 oz. 

Mix and take as a draught. 

Pick-me-up for Dispensing.— To ^ gal. of 
sirup, add ]4 oz. soluble extract of ginger, 1 oz. 
curacoa essence, 1 drm. sulphate of quinine dis- 
solved in the essence, 3^ oz. fruit acid solution. 
Color as desired. 

Picric Acid.— Picric Acid, called also Car- 
bazotic Acid or Trinitrophenol. A bright yel- 
low crystalline body first obtained by the action 
of strong nitric acid upon indigo. It has sub- 
sequently been obtained by the action of the 
same acid upon silk waste, upon leather clip- 
pings, upon crude coal-tar and upon the resin 
of Xanthorrhea hastilis, known as yellow Aus- 
tralian gum. It is now manufactured from 
crystallized carbolic acid. 

Picture Frames, Composition for. 
See Compositions. 

Picture Frames, to Gild. See Gild- 
ing. 

Pictures, Varnisn for. See Var- 
nishes. 

Pigments. See also Paints. 

Blacks.— Aniline Black.— Nigrosin, largely 
used in the preparation of inks, etc. 

Blue black is a paste made of ivory black and 
indigo, ground together with water. 

Black, Bone.— 1. Syn. Animal Charcoal. The 
residuum of the distillation of bone spirit. 
Use. As a pigment ; for making blacking ; as 
a material for the moulds of founders ; for cla- 
rifying and bleaching liquids, and for removing 
lime from sirup in refining sugar. Sold for 
ivory black. 

2. iSyn. Paris Black.— Turners 1 bone dust, 
burnt with great care in covered iron crucibles, 
and afterward ground very fine. Use. A 
beautiful black, works well both in oil and 
water ; sold for real ivory black, and for burnt 
lampblack. 

3. Bone Black.— In the preparation of bone 
black, the bones are first boiled in water to re- 
move all the adhering grease (which is other- 
wise utilized), or, what is perhaps a better 
method, exhausting them of all grease, etc., by 
means of bisulphide of carbon. The bones are 
then thrown into a large retort and subjected 
to destructive distillation. At first there passes 
over a large quantity of a fetid gaseous matter, 
accompanied by a considerable quantity of car- 
bonate of ammonia, and other volatile alkalies, 
formed on the type of ammonia. These gases 
and sublimates are passed through a large 
washer, which retains the ammonia and other 
salts accompanying the gas; after which the 
latter is conducted into the furnace and burned 
beneath the retort. As the distillatien pro- 
ceeds, a quantity of tarry matter and oil comes 
over. After the operation is finished, the resi- 
due remaining in the retort constitutes the an- 
imal charcoal. The washing apparatus may 
consist of a large iron tank, half filled with 



water, and having a tightly fitting cup through 
which two pipes pass, one of which— the one 
leading immediately from the retort— passes 
down below the surface of the water. The 
gas, in its passage from the retort, is thus 
caused to bubble up through the water, and 
thence it is conveyed by the second pipe into 
the furnace, where it is burned. The water in 
the washer may be used several times, or until 
it becomes nearly saturated with the salts ; it 
should then be drawn off through faucets ar- 
ranged in the side of the tank, and the salts 
crystallized out by evaporation, dried, and pre- 
pared for market. The tar and oily water re- 
maining in the tank, which are used for the 
preparation of lampblack, may be drawn Off in 
like manner. 
Brunswick. See Microscopy. 

Black, Burnt Lamp.— Lampblack heated in 
a covered iron crucible until all its greasiness 
is burnt off. Use. As a water color. Paris 
black is usually sold for it. 

Cork Black.— Name given to a black prepared 
by carbonizing fragments of cork. 

Hartshorn Black.— This black has been nearly 
replaced by ivory black. It is prepared by 
carbonizing the residuum of the distillation of 
hartshorn. 

Black, Frankfort.— This is obtained by burning 
the lees of wine from which the tartar has 
been washed; its principal use is in making ink. 

Black, Ivory.— 1. Syn. Cologne Black, Cassel 
Black. Prep. Put into a crucible, surrounded 
by burning coals, fragments or turnings of 
ivory, or of the osseous parts of animals, and 
cover it closely. The ivory or bones, by ex- 
posure to the heat, will be reduced to charcoal. 
When no more smoke is seen to pass through 
the joining of the cover leave the crucible over 
the fire for half an hour longer, or until it has 
completely cooled. There will then be found 
in it a hard carbonaceous matter, which must 
be pounded and ground on porphyry with 
water, washed on a filter with warm water 
and dried. Before it is used it must be 
again subjected to grinding. Remarks.— Black 
furnished by bones is reddish. That produced 
by ivory is more beautiful. It is brighter than 
black obtained from peach stones. When mixed 
in a proper dose with white lead, it forms a 
beautiful pearl gray. Ivory black has a very 
deep and rich color. The Cologne and Cassel 
blacks are formed from ivory. 

2. Ivory Black.— Ivory black is a beautiful pig- 
ment prepared by carbonizing waste fragments 
and turnings of ivory. These are exposed to 
a red heat for some hours in crucibles, great 
care being taken to avoid overheating or burn- 
ing. When quite cold the crucibles are opened 
and the contents pulverized, the richest col- 
ored fragments being kept apart for the best 
quality. The powder is then levigated on a 
porphyry slab, washed well with hot water on 
a filter and dried in an oven. The product is of 
a very beautiful velvety black color, superior 
even to that obtained from peach kernels, and 
quite free from the reddish tinge which so 
often characterizes bone black. Ivory black 
is employed by copperplate printers in the 
preparation of their ink. Mixed with white 
lead it affords a rich pearl gray pigment. 

Black, Japan.— Syn. Bituminous Varnish. 
Prep. Fuse by a gentle heat 12 oz. of amber 
and 2 oz. of asphaltum, then add 2 oz. of black 
rosin and ^ a pt. of boiled- oil; mix well, re- 
move it from the fire, and when nearly cold, 
add M pt. spirit of turpentine; mix well to- 
gether. Use. To varnish metals. 

Black, Lamp.— Prep. I. Suspend over a lamp 
a conical funnel of tin plate, having above it 
a pipe to convey from the apartment the smoke 
which escapes from the lamp. Large mush- 
rooms, of a very black carbonaceous matter, 
and exceedingly light, will be formed at the 
summit of the cone. This carbon is reduced 
to such a state of division as cannot be given 
to any other matter, by grinding it on a piece 



Pigments , 



429 



Pigments. 



of porphyry. This black goes a great way in 
every kind of painting. It may be renderc d less 
oily and drier by calcination in close vessels. 

The funnel should be united to the pipe, 
which conveys off the smoke, by means of wire, 
because solder would be melted by the flame of 
the lamp. 

Manganese Black.— Black oxide of manga- 
nese finely powdered. 

Newcastle Black. —This is prepared from coal. 
The coal is carefully selected, then ground and 
elutriated. 

Oporto Black.— This black is prepared from 
wine lees by carbonizing. 

Paris Black.— Name given to an imitation of 
ivory black; it is made from fine bone chips. 

Peach Stone Black.— Prepared from the kern- 
els of peaches, cherries, etc. It is made like 
ivory black. 

Kice Black.— 1. This is made by carbonizing 
rice. It is very inferior. 

2. Prepared by burning rice in close vessels. 
The color is very poor. 

Sight Black.— 1. Camphor smoke makes an 
excellent black, but has the disadvantage of 
coming off with the least touch or drop of 
rain. 

2. A good and tolerably permanent black is 
made of 1 part stick lac, 1 of lampblack, and 6 
parts of methylated spirit. 

Soot Black.— This is the soot of fires ground 
and sifted. Very inferior, used extensively for 
a whitewash color. 

Black, Spanish.— Syn. Cork Black. — Cork 
burnt in close vessels, and the charcoal ground 
and washed with water. A good color, and 
works very soft. 

Sugar Black.— Sometimes called Jamaica 
black ; it is prepared by carbonizing moist 
sugar. 

Black, Wheat.— From wheat burnt in close 
vessels. Remarks.— A superior black, between 
ivory and lampblack; it has a full body and 
dries hard and quickly with oil. 

Blues.— Antimony Blue.— Kraus prepares a 
fine blue, rivaling ultramarine, and capable of 
giving beautiful green shades (equal to 
Schweinfurth green, and without its arsenical 
character) when mixed with chrome yellow or 
with zinc chromate, by adding a solution of 
yellow (ferro) cyanide of potassium to one of 
antimony in aqua regia, and filtering through 
ground glass, as long as a precipitate forms. 
This precipitate contains no antimony, the an- 
timony salt simply facilitating the formation 
of the pigment; mercury salts will also give it. 
The blue is soluble in hydrochloric acid, which 
successively renders it green and yellow; on 
standing, the blue color is restored. Alkalies 
immediately discompose it. In fact it is merely 
a variety of Prussian blue. 

Antwerp Blue.— This is a mixture of Prussian 
blue, alumina, magnesia, and zinc oxide, in 
various proportions. It is prepared like Prus- 
sian blue, except that the zinc, magnesia, and 
alum are added to the lye of crude potassium 
ferrocyanide. 

Azure, Egyptian.— Prep. Carbonate of soda, 
1 lb.; calcined flints. 1% lb.; copper filings, J4 
lb.; all in fine powder Proc. Mix and fuse 
them together in a crucible for two hours. 
"When cold, reduce to an impalpable powder. 

Remarks.— This is a most beautiful and per- 
manent sky blue color. It is used in painting, 
and as a substitute for smalts. 

Berlin Blue.— Take 3 parts alum and 1)4, 
parts sulphate of iron, water, q. s. to dissolve 
them. Make a solution of yellow prussiate of 
potassium, with a little sulphuric acid added. 
Pour this second solution drop by drop into 
the first. This will form a precipitate which 
should be washed on a filter and dried. 

Bice Blue.— This is a native carbonate of cop- 
per prepared by careful grinding and elutria- 
tion. It is largely adulterated. 

Charcoal Blue.— Vine stalks are triturated 
after being carbonized with an equal weight of 



pearlash; the mixture is then heated until it 
ceases to swell. When it is cold it is dissolved 
in water and the excess of alkali is neutralized 
with sulphuric acid. The liquid now becomes 
blue and a dark precipitate falls down, which 
when dried and heated becomes of a brilliant 
blue color, 

Blue, Chemic. — -Syn. Saxon Rlue, Liquid 
Blue, Sulphate of Indigo.— 1. Indigo, 1 lb.; oil 
of vitriol, 8 lb. Put the acid into an earthen- 
ware pan placed in a tub of water to keep it 
cool, and add the indigo, previously reduced to 
fine powder, in small successive portions, care- 
fully stirring to prevent it heating. When all 
the indigo has been added cover up the vessel 
and let it stand for four hours, occasionally 
stirring it during the time; lastly dilute it with 
an equal weight of water. 

2. Indigo, 1 oz.; oil of vitriol, 4 oz.; dissolve as 
before; the next day add 1 oz. of dry potash, 
let it stand a day longer, then dilute it with 12 
oz. of water. 

Use, in dying greens and blues either without 
preparation or with a mordant of alum and 
tartar. 

Blue, China.— Sy n. Royal Smalts.— Grind to- 
gether oxide of cobalt or zaffre with an equal 
weight of potash and 8 times its weight of feld- 
spar. Then submit the mixture to fusion in a 
crucible. Use, to paint pottery and as a pig- 
ment. 

Cobalt or Thenard Blue.— This might replace 
ultramarine but for its defect of having a 
violet hue by artificial light. Its full intensity 
of color is only developed after long exposure 
to the air, when it acquires a slightly green 
tint. The mode of preparing it is as follows: 
Roasted cobalt ore is heated with excess of 
dilute nitric acid, and the solution is evapor- 
ated nearly to dryness in a porcelain vessel. 
The residue is boiled with water and filtered, in 
order to remove the precipitated arseniate. 
Into the filtrate is poured a solution of basic 
phosphate of soda, which produces a precipitate 
of basic phosphate of cobalt. This is washed 
and collected on a filter. While still gelatinous 
1 part of it is thoroughly mixed with 8 parts 
hydrated alumina, recently precipitated from 
a solution of potash alum by ammonia. The 
mixture is dried to brittleness and calcined at 
a cherry red heat for half an hour in a covered 
clay crucible. The resulting pigment is kept 
in glass jars. It is essential that the alumina 
be prepared with sufficient excess of ammonia, 
and washed several times with very clear water. 
Arseniate of cobalt may replace the phosphate, 
in which case only half the quantity of the 
cobalt salt is needed. It is asserted by Boullai- 
Marillac that by substituting lime for the 
alumina a richer and more velvety blue is pro- 
duced. 

Cobalt Blue or Regulus of Cobalt.— Sixty parts 
cobalt ore; 50 parts potash; 25 parts sand; 10 
parts charcoal. Work the same way as for 
regulus of zaffre. ' 

To Refine Regulus of Cobalt.— Fifty parts 
regulus of cobalt; 6 parts potash. Refine as 
for regulus of zaffre; the operation of refining 
must be repeated until the scoria is of a bright 
color and of a slight bluish hue; then spread 
the purified metal, finely pulverized, half an 
inch thick, on flat pieces of earthenware cov- 
ered with Hint; place in a reverberatory fur- 
nace and apply a moderate degree of heat for a 
few hours. 

Blue, cobalt.— Prep. 1. Dissolve zaffre, 1 lb. 
in % lb. of nitric acid, diluted with an equal 
weight of water, by digestion for some hours ; 
evaporate nearly to dryness, then dissolve in 
warm water, filter and add a solution of phos- 
phate of soda as long as any precipitate falls 
down ; collect this on a filter and wash it with 
cold water, then mix it while still moist with 8 
times its weight of freshly precipitate hydrate 
of alumina, also Avell washed and still moist. 
Stir them together until dry ; lastly, expose the 
mixture to a cherry red heat in a crucible, after 



Pigments. 



430 



Pigments. 



which cool the mass, and reduce it to a fine 
powder. 

2. Precipitate a solution of nitrate of cobalt 
as above, and proceed as before. 

3. Make a strong- solution of neutral nitrate 
of cobalt, and mix it with pure moist alumina, 
then dry it and proceed as before. 

4. Precipitate a solution of nitrate of cobalt 
with ammonia alum, collect the precipitate, 
wash, dry, and heat it to a cherry red as bef ore. 
A beautiful blue pigment, very permanent. 

,- Cceruleum Blue.— This blue, for oil and water 
color painting, is introduced by Rowney & 
Co. It is entirely soluble in hot hydrochloric 
acid, and the light blue tint of the solution be- 
comes violet red on diluting with water. The 
original color reappears by concentration, 
and the pigment is restored if the solution be 
evaporated to dryness. Nitric acid dissolves 
the cobalt and leaves a white residue, mostly 
composed of stannic acid. The green color 
shows the presence of small proportions of iron 
and nickel. Concentrated sulphuric acid does 
not dissolve it, but, diluted with 4 volumes of 
water, produces partial decomposition. Acetic 
acid and caustic potash do not act upon it. 
Cceruleum is principally a combination of a tin 
oxide with cobalt oxide. Berzelius mentions a 
stannate of cobalt, prepared by adding a solu- 
tion of potash stannate to one of cobalt. The 
bluish precipitate formed becomes light red 
after washing, and then brown. Calcined at 
white heat, its color changes to a light blue. 
The composition of cceruleum is— 

Oxide of tin (stannic acid) 49*66 

Oxide of cobalt 18-66 

Sulphate of lime and silica 31"68 



100-00 
—Riffault. 

Copper Blue.— A mixture of carbonate of 
copper and chalk, exposed to the air until it 
assumes the proper color. 

Egyptian Blue.— A very beautiful shade of 
blue is noticeable upon many ancient monu- 
ments found in the tombs of Egypt. Analysis 
proves the color to be formed by a combination 
of soda, sand, and lime, with certain propor- 
tions of copper, from which substances the 
Egyptians prepared 3 different products: (1) 
A peculiar red, green, and blue glass; (2) a 
brilliant enamel ; (3) the color to which refer- 
ence is made, and which was used for painting. 
Peligot has succeeded in reproducing this shade 
of blue by heating together 73 parts silica with 
16 oxide of copper, 8 lime, and 3 soda. If the 
temperature exceed 800° F. ( 426^° C.) a value- 
less black product results. 

Indigo.— A product obtained from the indigo 
plant. 

Blue, Iron. — Prep. Precipitate a filtered solu- 
tion of protosulphate of iron, with another of 
phosphate of soda. Collect the powder, wash 
and dry it. A lively sky blue. 

Blue (Laundry). See Bluing. 

Leitch's blue, or cyanine blue, is a compound 
of cobalt blue and Prussian blue, and possesses 
properties which would be expected of a mix- 
ture of these two pigments. It has been found 
very durable under fairly severe exposure to 
light. 

Lime Blue, Mountain Blue —Mix powdered 
lime with a weak solution of copper nitrate so 
that all the lime is saturated; the precipitate is 
washed, drained and ground with 10$ of lime, 
and afterward dried. 

Manganate Blue. — In preparing calcium 
chloride by calcining a mixture of chalk and 
chlorine residues, Kuhlmann found in the fur- 
naces a slag of bright blue color, consisting of 
manganate of lime. It resembles ultramarine, 
but, though not soluble in water, is not dura- 
ble Avhen in contact with it. 

Blue, Molybdenum.— Prep. Dissolve sulphur- 
ide of molybdenum in nitric acid, then add some 
tin filings and a little muriatic acid. After 
digestion for some time, pour off the clear and 



evaporate to dryness. Mix the powder thus 
obtained with moist hydrate of alumina, as in 
making cobalt blue, and heat it to nearly a dull 
red. 

Blue, Mountain.— Carbonate of copper mixed 
with earthy matter. 

Mountain Blue.— In 9 to 12 parts of boiling 
water dissolve equal parts of sulphate of cop- 
per and common salt. Dilute this with 45 
parts cold water; filter, and precipitate the 
oxide of copper with milk of lime. After 
twenty-four hours remove the oxide of copper 
which has been precipitated, wash thoroughly, 
cut in small cakes, and dry. Put the dry cakes 
in lime paste, let them remain three weeks, 
turning them often with great care. Dilute 
the lime with water, take out the cakes which 
have turned blue, wash, dry and grind. 

Paris or Turnbull's Blue.— 1. A thorough 
mixture of 2 parts sulphur and 1 part dry soda 
carbonate is gradually heated in a covered 
crucible to redness or till fused; a mixture of 
soda silicate and aluminate is sprinkled in, and 
the heat is continued for an hour; the ljttle 
free sulphur present may be washed out by 
water. 

2. An intimate mixture of 37 parts China 
clay, 15 parts soda sulphate, 22 parts soda car- 
bonate, 18 parts Sulphur and 8 parts charcoal, 
is heated in large crucibles for twenty-four 
to thirty hours; the mass is reheated in cast 
iron boxes at a moderate temperature till the 
desired tint appears, and is finally pulverized, 
washed and dried. 

Prussian Blue.~S.yn. Berlin Blue, Prussiate 
of Iron, Ferroprussiate of do., Cyanuret of 
do., Ferrocyanide of do., Percyanide of do., 
Sesquiferrocyanide of do., Cyanure ferroso- 
ferrique (Berzelius); EisenblausSures eisen- 
oxyd, Berlinerblau (Ger.); Bleu de Prusse, 
Prussiate de Fer (Fr.); Ferri Percyanidum 
(P. L.); do. Cyanur-etum (P. D.); do. ferro- 
sesquicyanidum. — Prep. I. Precipitate the 
crude but clear solution of prussiate of 
potash, blood lye, by a mixed solution of 2 parts 
of alum, and 1 part of green sulphate of iron. 
The dingy green precipitate that falls gradu- 
ally becomes blue by absorption of atmospheric 
oxygen, which is promoted by exposure and 
agitation of the liquor. As soon as it has ac- 
quired its full color, the whole must be allowed 
to repose, the clear portion decanted, and the 
sediment repeatedly washed with water, 
drained, and dried, at first in a stove, but after- 
ward on chalk stones. 

II. Partly saturate the free alkali in the 
crude lye, with dilute sulphuric acid, before 
precipitation. Very superior. 

III. Repeatedly digest and wash the pre- 
cipitate obtained by either of the above pro- 
cesses, in very dilute muriatic acid, and then in 
pure water; drain and dry. Superior. 

IV. Paris Blue.— Neutralize the solution of 
prussiate of potash above, with dilute sulphuric 
acid, and precipitate with a solution of any per- 
salt of iron (as the persulphate, nitrate, sesqui- 
chloride, or peracetate); well wash and dry the 
precipitate. A very rich and intense color. 

V. (Hochstatter.)— Crystallized prussiate of 
potash and green vitriol, of each 6 parts; dis- 
solve each separately in water,' 15 parts; then 
add oil of vitriol, 1 part; fuming muriatic acid, 
24 parts; agitate well. After some hours, treat 
the whole with chloride of lime,l part, dissolved 
in water, 80 parts, and strained, observing to 
stop the addition of the latter solution as soon 
as an effervescence from the escape of chlorine 
gas is observed; after standing some hours, 
thoroughly wash the precipitate, and dry it; or, 
instead of the above, at once wash the precipi- 
tate in dilute nitric acid, till it acquires a deep 
blue color. 

Smalt Blue.— A glass colored with oxide of 
cobalt, and pulverized. 

Smalts.— 32 parts, sand; 32, potash; 10, borax; 
1, blue calx. These smalts, the materials of 
which are calcined in the usual manner, when 



PiffinentSc 



431 



Pigments. 



finely pulverized will produce a fine, rich-look- 
ing blue powder. 

Smalts.— Syn. Powder Blue, Smalta, Azu- 
rum.— Prep. I. Roast cobalt ore to drive off the 
arsenic, make the residium into a paste with 
oil of vitriol, and heat it to redness for an hour; 
powder, dissolve in water, and precipitate the 
oxide of iron by carbonate of potash, gradually 
added, until a rose colored powder begins to fall, 
then decant the clear, and precipitate by a solu- 
tion of silicate of potash prepared by fusing 
together for 5 hours a mixture of 10 parts of 
potash, 15 parts of finely ground flints, and 1 
part of charcoal. The precipitate, after being 
dried, may be fused and powdered. Very fine. 

II. Roasted cobalt ore and potash, of each 1 
part; silicious sand 3 parts; fuse together, cool, 
and powder. Used in painting, to color glass, 
and to get up linen. 

Blue, Soluble.— 7 parts oil of vitriol, place in 
a glass vessel, and set this in cold water; add 
gradually 1 part indigo in powder, stirring the 
mixture at each addition with a glass rod. 
Cover the vessel for twenty-four hours, then 
dilute with an equal quantity of water. 

Stone Blue. — Finely powdered indigo mixed 
with starch paste and made into lumps. 

Blue, Stone. — Syn. Fig Blue, Thumb Blue, 
Knob Blue, Crown Blue, Mecklenburg Blue, 
Queen's Blue.— Prep. I. Mix finely powdered in- 
digo with starch paste until a proper color be 
produced, then make' it into small lumps. II. 
Instead of starch uss whiting and a little weak 
size. Use. Employed by laundresses to give a 
faint blue tint to linen. 

Ultramarine.— A pigment composed chiefly 
of a costly mineral called lapis lazuli, brought 
from China and Persia. 

Artificial Ultramarine.— A pigment contain- 
ing sulphide of sodium, obtained by fusing to- 
gether, in a crucible, porcelain clay, sulphur, 
and carbonate of soda. French photographic 
papers are tinted with this villainous alkaline 
sulphide, which is enough of itself to cause the 
fading of any photograph. 

Blue Verditer.— Nitrate of copper mixed with 
chalk. 

Asphaltum.— A fine rich brown pigment. 
See Asphaltum 

Bistre. — This water color is prepared from 
wood soot as follows : The brightest and dark- 
est soot, from the combustion of beech wood, 
powdered and passed through a silken 
sieve. The powder is stirred in hot water for 
24 hours, and again in another water. The 
liquors are collected and settled. The precipi- 
tate is mixed with gum water, and evaporated 
in a stove room to the consistency of a solid 
extract. 

Sepia.— The black liquid contained in the cut- 
tle fish. It consists of carbon, along with 
albumen, gelatine, and phosphate of lime. 

Sienna.— An argillaceous mineral found in 
Italy. By calcination it becomes burnt sienna. 

Umber. — A brown mineral found in the is- 
land of Cyprus; it is composed of silica, alum- 
ina, and oxide of iron and manganese. When 
calcined for half an hour at a red heat, the 
pigment called burnt umber is produced. 

Umber appears to be a hydrated silicate of 
iron and manganese, found native in brown 
lumps, adhesive to the tongue, staining the 
flesh, and falling to powder in water. The im- 
purities are removed by washing, and the 
floated article, after settling, forms a light 
brown powder, which is used raw or burnt. 
Powdered umber, or that which has been cal- 
cined too much, reddens or blackens by the 
dehydi-ation of the iron, or the superoxidation 
of the manganese. It is rarely employed alone, 
but mingles well with other colors and with 
slaked lime. 

Vandyke brown is derived from iron, and is 
very durable. It is prepared by the calcination 
of yellow ochers. The resulting frit is sold in 
lumps, grains, or impalpable powder. A Van- 
dyke brown is also manufactured by calcining 



sulphate of iron several times. The proper 
color is arrived at by practice. This latter 
brown, which is entirely an iron oxide, and of 
purer color than the preceding, is more expen- 
sive. It is often adulterated with the brown 
frit, a fraud detected by concentrated hot 
acids, which easily dissolve the pure . oxide of 
iron, and with difficulty the ocher brown. By 
mixing Vandyke brown with red ocher and 
manganese binoxide, very durable browns are 
obtained, which do not require driers when 
used hot. Other durable browns may be pre- 
pared by mixing this pigment with lamp or 
ivory black. 

Gray Pigments.— Ultramarine Ash.— Prepared 
from the lapis lazuli after the richer blue has 
been extracted. It is a valuable pale azure 
gray color, varying somewhat in intensity, but 
always unvarying in permanence. 

Ultramarine ash washes much better than 
genuine ultramarine, and is very useful in ob- 
taining delicate atmospheric effects. 

Green Pigments.— Bar yt a Green.— Mix 2 parts 
caustic soda and 1 of potash chlorate; gradually 
add 2 parts very finely powdered manganese; 
heat gradually up to dull redness, allow to cool, 
and powder and exhaust with water; filter, cool 
add a solution of baryta nitrate to the filtrate. A 
violet colored baryta precipitate forms; this is 
carefully washed, dried and treated with J^to 
1 part caustic baryta, hydrated and gradually 
heated up to redness, with constant stirring. 
The cooled mass is powdered and finally washed 
to remove excess of baryta. 

Brighton Green.— Separately dissolve 7 lb. 
copper sulphate and 3 lb. sugar of lead, each 
in 5 pt. water; mix the solution, stir in 24 lb. 
whiting and* when the mass is dry grind to 
powder. 

Brunswick Green.— 1. Pour 3 parts saturated 
solution sal ammoniac over 2 parts of copper fil- 
ings,contained in a vessel capable of being closed 
and keep the mixture in a warm place for some 
weeks, when the newly formed is separated 
from the inoxidized copper by washing on a 
sieve; it is then washed with water and slowly 
dried in the shade. 

2. A solution of crude carbonate of ammonia 
is added to a mixed solution of alum and blue 
vitriol as long as it affects it; in a short time the 
precipitate is collected, washed and dried. 

3. Lighter shades are produced by the addi- 
tion of baryta sulphate or alum. 

Bremen Green.— This is properly green ver- 
diter, but other preparations are frequently 
sold under the name. 

Casselman's Green.— A fine copper pigment 
free from arsenic. It consists of basic acetates, 
combined with more or less water. 

Chinese Green (Lo-kao- Vert- Venus.)— A sim- 
ple green color used by the Chinese. It is ca- 
pable of being prepared from the buckthorn, 
and dyes shades which retain their green tone 
by artificial light and are not very fast. The 
color is superseded by the aniline dyes. 

Chrome, or Guignet's Green. — Fuse together 
3 parts boracic acid and 1 part potash bichro- 
mate at a dull red heat on the hearth of 
a flame furnace. This forms a borate of chro- 
mium and potash with evolution of oxygen. 
The mass is repeatedly washed with boiling 
water, which causes decomposition and conse- 
quent separation of hydrated chromium oxide 
and a soluble potash borate. The oxide is 
washed and ground very fine. 

Cobalt green is obtained by calcination of a 
mixture of oxides of zinc and cobalt. The first 
step is to prepare cobalt protoxide free from 
foreign metals. It is dissolved in 3 parts hydro- 
chloric acid, and the solution is evaporated to 
dryness. The residue is dissolved again in 6 
parts water and a stream of sulphureted hy- 
drogen is passed through the liquor as long as 
precipitation takes place. The clear liquor, de- 
canted from the sulphides of the foreign metals, 
is again evaporated to dryness and the residue 
is dissolved in enough water to make 10 parts. 



Pigments. 



432 



Pigments. 



This liquor is precipitated with soda carbonate, 
and if, after washing, the still wet precipitate 
of carbonate of protoxide of cobalt be mixed 
with zinc white, there is produced a reddish vio- 
let magma, which, diied and calcined, consti- 
tutes a green mass, the color of which is more 
intense in proportion as the cobalt solution 
has been greater. 

Copper Green.— Native sub-carbonate of cop- 
per. 

Douglas' Green.— Barium chromate is pre- 
cipitated by adding to a solution of barium 
chloride a sufficiency of a soluble chromate to 
effect complete separation ; to the lemon yel- 
low chromate is added 20$ of strong sulphuric 
acid, which produces a deep red by the libera- 
tion of chromic acid ; the mass is then ground, 
and heated to redness, when it becomes green. 

Emerald Green.— Form a paste with 1 part 
verdigris in sufficient boiling water, pass it 
through a sieve to remove lumps, and gradu- 
ally add it to a boiling solution of 1 part arse- 
nious acid in 10 parts water, the mixture being 
constantly stirred until the precipitate becomes 
a heavy granular powder, when it is filtered 
through calico, and dried. Emerald green con- 
sists of aceto-arsenite of copper prepared by 
precipitation, and is the most durable of all the 
greens with a copper base. It is an extremely 
vivid color, which is durable under exposure to 
light, but has a tendency to darken in an im- 
pure atmosphere. 

Where emerald green is required no mix- 
ture of blue and yellow will serve as a substi- 
tute. It works rather badly, and must not 
be mixed with any of the yellows of cadmium. 

Gellart's Green.— A mixture of cobalt blue 
and flowers of zinc with some yellow pigment. 

Iris Green.— A pigment prepared by grind- 
ing the juice of the petals of the blue flag with 
quicklime. It is very fugitive. 

Manganese Green. — Intimately mix 3 to 4 
parts caustic baryta moistened with water, 2 
parts baryta nitrate, and 2 parts manganese 
oxide ; place in a crucible heated to dull red- 
ness, fuse, pour out, pulverize, digest in boil- 
ing water, wash in cold water, and dry in an 
atmosphere free from carbonic acid. 

Mitis green is an arseniate of copper, pre- 
pared by dissolving 20 parts potassium arseni- 
ate in 100 parts hot water, and mixing this solu- 
tion with another of 20 parts copper sulphate. 
During the whole operation the mixture is 
stirred. A pulverulent precipitate of light 
green or grass green color is formed, and is 
washed and dried. By varying the proportions 
several tones and hues are produced ; in the 
commercial article, these are generally due to 
introduction of foreign substances. The potas- 
sium arseniate is prepared by boiling arsenious 
acid in concentrated nitric acid, filtering, 
saturating with potassium carbonate^ and crys- 
tallizing the arseniate. 

Mountain Green.— 1. Native green carbonate 
or copper bicarbonate is around to powder, 
either with or without addition of a little or- 
piment or chrome yellow. 

2. Add a solution of carbonate of soda or 
potash to a hot mixed solution of alum and 
copper sulphate. 

Prussian Green.— A mixture of Prussian blue 
and gamboge. 

Sap Green. — The juice of buckthorn berries 
is extracted by allowing them to ferment in 
wooden tubs for seven or eight days, and press- 
ing and straining ; a little alum is added to the 
juice, which is evaporated down to a suitable 
consistence, and run into bladders to dry and 
harden. 

Scheele's Green. — Dissolve 1 part powdered 
white arsenic and 2 parts commercial potash 
in 35 parts boiling water ; filter, and add the 
solution gradually, while still warm, to a filtered 
solution of 2 parts copper sulphate as long as a 
preciptate falls; wash with warm water, and dry. 

Schweinfurth Green.— 1. Dissolve 8 lb. arseni- 
ous acid in the least possible quantity of boil- 



ing water, and add it to 9 to 10 lb. verdigris 
in water at 120° F. (48^° C), passed through a 
sieve ; set aside the mixed ingredients till the 
mutual reaction produces the desired shade. 

2. Dissolve 50 lb. copper sulphate and 10 lb. 
lime in 20 gal. good vinegar, and add a boiling 
hot solution of 50 lb. white arsenic as quickly as 
possible ; stir several times, allow to subside, 
collect on filter; dry and powder. The super- 
natant liquid is employed to dissolve the arse- 
nic for the next lot. 

Terra Verte.— Silicate and phosphate of pro- 
toxide of iron. 

Verdigris is a basic hydrated copper acetate, 
composed of variable proportions of bi basic 
and tri basic copper acetates. It is manufac- 
tured in France by oxidizing very thin pieces 
of old sheet copper, heated to 176° F. (80° C.)» 
with a solution of copper acetate, and then im- 
mersing them in the skins of pressed grapes, 
which are in a state of acetic fermentation. 
After a time, the copper plates are removed 
from the skins, dried in the air, dipped into- 
water, and again laid in layers of grape skins. 
When this has been repeated five to seven times r 
the verdigris is scraped off, kneaded in 
wooden troughs, and packed in leather bags. 
Its desiccation is completed in the air. It is 
also prepared by covering copper plates with 
vinegar. It is a pm*e green or bluish green, ac- 
cording to the proportion of sesquibasic acetate 
it contains. It is highly poisonous, and not 
durable. 

Green Verditer. — An accidental variety of" 
blue verditer. 

Vienna Green.— A mixture of arsenious acid 
and verdigris. 

Viridian, or French Veronese Green, differs 
from the above pigment in being a hydrated 
instead of an anhydrous sesquioxide of chro- 
mium, and in being transparent instead of 
opaque. It is extremely permanent. 

Zinc Green.— Zinc oxide, 51b.; cobalt sulphate, 
1 lb. Mix with sufficient water to form a paste, 
and heat to redness, a deep green pigment re- 
sults. With 10 parts zinc oxide, and 1 part co- 
balt sulphate, a grass green powder is obtained; 
and with 20 parts zinc oxide a light grass green 
pigment is produced, capable of being used in- 
stead of arsenic green. This green is perma- 
nent in contact with lime (as in mortar, etc.), 
and has thus an advantage over green made 
from. mixtures of chrome yellow and Prussian 
blue.— Eisner. 

Orange Pigments.— Cadmium orange, a vari- 
ety of sulphide of cadmium introduced in 1862. 
It is a very brilliant and lustrous pigment, and 
is much used to replace the Old chrome orange, 
ats being not only more permanent, but much 
more mellow and beautiful in color. It pos- 
sesses a fair amount of transparency, and is 
simply invaluable for gorgeous sunsets. 

Chrome orange consists of basic chromate of 
lead. Like all the chromates of lead, it is marked 
by great power and brilliancy; but also by 
harshness of color, want of permanence, and a 
tendency to oxidize delicate organic pigments.. 
It may for most purposes be effectually super- 
seded by cadimum orange. Chrome orange, by 
reason of its lead base, is discolored by an im- 
pure atmosphere. 

Orange Lake.— Take of the best Spanish an- 
natto, 4 oz.; pearlash, % lb.; water, 1 gal.; boil it 
for one-half hour, strain, precipitate with alum, 
1 lb.; dissolved in 1 gal. water, observing not to 
add the latter solution when it ceases to pi'O- 
duce an effervescence or a precipitate. The 
addition of some solution of tin turns this lake 
a lemon yellow; acids redden it. 

Purple.— Purple madder, a lake prepared 
from the madder plant, is the only durable 
purple pigment. It is of a maroon purple 
color, marked by subdued richness rather 
than by brilliancy, and possessing great trans- 
parency. It is extremely useful to the water 
color painter, as it affords the greatest depth 
of shadow without coldness of hue. 



Pigments. 



433 



Pigments. 



Cassius Purple.— This is the precipitate which 
takes place when solutions of gold and tin 
chloride are mixed under proper conditions. 
The preparation of the purple of a constant 
composition is effected by the following pro- 
cess: Gold bichloride is prepared by dissolving 
20 grn. gold in 100 of aqua regia, made with 4 
hydrochloric acid and 1 of nitric acid. The 
solution is evaporated to dryness in a water 
bath, in order to expel the excess of acid, and 
the remaining gold chloride is dissolved in 75 
grn. water. Pure granulated tin is then intro- 
duced into the filtered liquor, which after some 
time becomes brown and turbid. After stand- 
ing several days, all the gold is in the state of 
stannate of protoxide, which is separated 
from the remainder of the metallic tin. The 
product is collected upon a paper filter, care- 
fully washed and dried at a gentle heat. 

Beds.— Brazil Wood Lake.— (a) Digest 1 lb. 
ground Brazil wood in 4 gal. water for twenty- 
four hours, boil one half hour, and add 114 lb. 
alum dissolved in a little water ; mix, decant, 
strain ; add H lb- tin solution, again mix well 
and filter ; to the clear liquid cautiously add a 
solution of soda carbonate while a precipitate 
forms, avoiding excess ; collect, wash and dry. 
The shade will vary according as the precipi- 
tate is collected, (b) Add washed and recently 
precipitated alumina to a strong filtered decoc- 
tion of Brazil wood. 

German Carmine.— Cochineal, V4 lb.; water, 
10>6 gal. After boiling five minutes add V/% oz. 
alum. Let the mixture boil five minutes 
longer, filter and set away in glass vessels for 
three or four days. Decant, and dry the car- 
mine in a shady place. The remaining liquid 
will deposit an inferior quality of carmine by 
standing. 

Carminated Lake.— (a) The cochineal residue 
left in making carmine is boiled with repeated 
portions of water till exhausted ; the liquor is 
mixed with that decanted off the carmine, and 
at once filtered ; some recently precipitated 
alumina is added, and the whole is gently 
heated and well agitated for a short time; as 
soon as the alumina has absorbed enough color, 
the mixture is allowed to settle, the clear por- 
tion is decanted, and the lake is collected on a 
filter, washed and dried. The decanted liquor, 
if still colored, is treated with fresh alumina 
till exhausted, and thus a lake of second qual- 
ity is obtained, (b) To the colored liquor ob- 
tained from the carmine and cochineal, as just 
stated, a solution of alum is added, the filtered 
liquor is precipitated with a solution of potash 
carbonate, and the lake is collected and treated 
as before. The color is brightened by addition 
of tin solution. 

Carmine.— Boil 1 lb. cochineal and 4 drm. 
potash carbonate in 1)4 gal. water for one quar- 
ter hour. Remove from the fire, stir in 8 drm. 
powdered alum, and allow to settle for twenty 
to thirty minutes. Pour the liquid into 
another vessel, and mix in a strained solution 
of 4 drm. isinglass in 1 pint water; when a skin 
has formed upon the surface, remove from the 
fire, stir rapidly and allow to settle for one half 
hour, when the deposited carmine is carefully 
collected drained and dried. 

Carmine.— The finest portion of the coloring 
matter of cochineal freed as far from possible 
from impurities. It is sometimes used in the 
pigment style of printing. 

Bed Chalk (Clay Iron Ore).— Cobalt pink is a 
mixture of the oxide of this metal with mag- 
nesia. It is durable, and more or less pink ac- 
cording to the proportion of cobalt. It is an 
expensive pigment, used only for fine paint- 
ing. Its preparation consists in making a 
paste of carbonate of magnesia with a concen- 
trated solution of cobalt nitrate. The paste is 
dried in a stove, and then calcined in a porce- 
lain crucible 

Cochineal Lake.— 1. Digest 1 oz. coarsely pow- 
dered cochineal in 2Hj oz. each water and recti- 
fied alcohol for a week ; filter and precipitate 



by adding a few drops of tin solution every two 
hours, till the whole of the coloring matter is 
thrown down; wash the precipitate in dis- 
tilled water and dry. 

2. Digest powdered cochineal in ammonia 
water for a week; dilute with a little water 
and add the liquid to a solution of alum as 
long as any precipitate (lake) falls. 

3. Boil 1 lb. coarsely powdered cochineal in 2 
gal. water for one hour; decant, stx-ain, add so- 
lution of 1 lb. cream of tartar, and precipitate 
with solution of alum. By adding the alum 
first and precipitating the lake with the tartar, 
the color is slightly changed. 

Crimson Lake is precisely similar to carmine 
in origin, and differs from it in containing a 
larger quantity of base and a correspondingly 
smaller amount of coloring matter. It is far 
more generally useful than carmine, washes 
better, and is not so scarlet in hue. 

Indian Red.— 1. Iron sulphate is calcined until 
the water of crystallization is expelled, then 
roasted by a fierce fire until acid vapors cease to 
arise, cooled, washed with water till the latter 
has no acid reaction, and dried. 

2. Calcine, 11 parts; common salt with 25 parts 
green iron sulphate; well wash with water, dry, 
and powder. 

3. The finest Indian red, or crocus, usually 
undergoes a second calcination at a higher 
temperature. 

Madder Lake.— 1. Tie 2 oz. madder in a cloth, 
beat it well in 1 pt. water in a stone mortar, 
and repeat the process with about 5 pt fresh 
water till it ceases to yield color ; boil the 
mixed liquor in an earthen vessel, pour into a 
large basin, and add 1 oz. alum dissolved in 1 pt. 
boiling water; stir well, and gradually pour in 
1]4 oz. strong solution of potash carbonate; 
let stand until cold, pour off the yellow liquor 
from the top, drain, agitate the residue repeat- 
edly in 1 qt. boiling water, decant, drain, and 
dry. 

2. Add a little solution of lead acetate to a de- 
coction of madder, to throw down the brown 
coloring matter ; filter, add solution of tin or 
alum, precipitate with solution of soda or 
potash carbonate, and proceed as before. 

3. Macerate 2 lb. ground madder in 1 gal. 
water for 10 minutes ; strain and press quite 
dry ; repeat a second and third time, and add 
to the mtxed liquors j^ lb. alum dissolved in 3 
qt. water ; heat in water bath for three to four 
hours, adding water as it evaporates ; filter 
first through flannel, and when cold enough 
through paper ; add solution of soda carbonate 
as long as precipitate falls ; Avash the latter till 
the water comes off colorless and dry. 

Orange Red.— Sandix. White lead calcined. 

Red Lead.— Minium. Litharge (oxide of lead) 
roasted in a reverberatory furnace. 

Venetian Red.— Oxide of iron. 

Vermilion.— Cinnabar. Protosulphide of 
mercury. 

Vermilion.— Take some hot glue water and 
a few drops concentrated extract of saffron. 
Color with carmine, to any desired color. 

Stained Olass Pigments.— These colors are 
very difficult to produce in the desired shad-- 
and should not be attempted by the amateur. 
They may be purchased in ail shades, and the 
results are much more reliable. 

White Pigments. — Alum White. — Powdered 
Roman alum, 21b.; honey, 1 lb.; mix dry, pow- 
der, calcine in a shallow dish to whiteness, cool, 
wash and dry. A beautiful and permanent 
white, both in oil and water. 

Whites.— Alum White.— Dry, mix 2 lb. pow- 
dered alum, 1 lb. honey; powder, calcine to 
whiteness in a shallow dish, cool, wash and dry. 

Baryta White. — Natural baryta sulphate; 
barytes or heavy spar is emploj r ed in the man- 
ufacture of a handsome innocuous white color, 
fast and resisting most reagents, but with little 
body or covering power. This white, fixed 
with glue size, is largely employed in the man- 
ufacture of paper hangings, and for adulter- 



Pigments. 



434 



Pigments. 



ating white lead and zinc white. In preparing 
it the whitest lumps are picked out, coarsely 
broken and heated in reverberatory furnaces 
to disintegrate the substance and produce a 
finer degree of pulverization. The grinding is 
done dry, and the resulting fine powder is 
thrown into tanks of water, stirred and let 
stand a little while, when the heavier and 
coarser particles fall to the bottom. The 
milky looking supernatant water is decanted 
into settling basins where the lighter suspended 
material deposits; after another decantation 
of the clear liquor, the pasty white is collected 
and dr^ed in the air or a stove room. 

Chinese White.— 1. Mix finely ground zinc 
wh.te into a cream with mucilage of gum traga- 
canth, grinding with a glass muller. 

2. Take as much as is required of zinc white 
finely ground, put it on a marble or glass slab, 
mix i into a cream of the required consistence 
by adaing mucilage of gum tragacanth, grind- 
ing with a glass muller. For quantity required 
to fill an ordinary sized Chinese white bottle, 
add to above 10 or 12 drops of thick mucilage of 
gum arabic and 5 or 6 drops of pure glycerine; 
grind well together and fill bottle by aid of pa- 
lette knife. Make tragacanth mucilage by 
putting a small piece, size of a horse bean, into 
2 oz. of cold water, letting it remain a day or 
two until gum swells up and absorbs water, 
then beat into a pulp. It will easily regrind 
when dry with a little fresh medium. As re- 
quired consistence depends much on habit and 
practice, we do not specify any exact propor- 
tions. It is easy to add white or medium to suit 
taste. The cost when thus made is very 
trifling. 

Constant White, also called permanent white, 
ranks as a white water color pigment second to 
Chinese white. It consists of sulphate of bari- 
um prepared by a process of precipitation, and 
is one of the most absolutely unchangeable sub- 
stances with which chemists are acquainted. 
Like most pigments which are supereminent 
in respect of permanence, it possesses great 
artistic drawbacks; a fatal lack of body, a very 
unpleasant manner of working and finally a 
habit of drying several tones higher than when 
wet, and thus subjecting even an experienced 
artist to considerable uncertainty when he uses 
It in compound tints. Constant white should 
be carefully tested before use to make sure 
that the last traces of the sulphuric acid em- 
ployed in its manufacture have been washed 
away. 

Derbyshire White.— From chalk or heavy 
spar, by grinding and elutriation. 

Whiting.— Spanish white and Paris white are 
practically the same article in different degrees 
of fineness, all being simply chalk, ground, elu- 
triated, balled and dried. Grinding mills break 
up the chalk and mix it with water, which is 
constantly flowing in. On leaving the mills 
the mixture passes along a series of wooden 
troughs, where the sand, which has a greater 
specific gravity than the chalk, is deposited, 
the chalk passing on into the settling pits. On 
being taken from the pits, the whiting is par- 
tially dried on a floor under which hot flues 
run; then cut up into large rough lumps and 
placed in racks on cars which run round on 
tramways into an immense oven. The heat 
from the flues in this oven is greatly increased 
by an air blast, which also carries oix the moist 
exhalations from the drying whiting; twelve 
hours on the heated floor and twelve in the 
oven thoroughly dries the whiting and it is 
ready for packing or the putty factory. Paris 
white of fine quality is used for finishing par- 
lor walls, adulterating paints, making paper 
heavier and whiter, etc. For this purpose 
what is called cliff stone, a better and harder 
quality of chalk, is used. Paris white is made 
much on the same principle as whiting, only 
more carefully washed and more slowly dried. 

Whiting.— The same as prepared chalk, but 
prepared more carelessly, in horse mills. 



Wilkinson's White.— Litharge is ground with 
sea water till it ceases to whiten and is then 
washed and dried. 

Zinc White.— 1. Zinc chloride or sulphate is 
precipitated by means of a soluble sulphide — 
sodium, barium and calcium sulphides have 
been used— and precautions are taken that no 
iron present is precipitated. The precipitate is 
collected, dried and calcined for some time at 
cherry red heat, with careful stirring. It is 
raked out while hot into vats of cold water, 
then levigated and dried. It is zinc oxysul- 
phide.— Griffiths. 

2. A white pigment, said to possess excellent 
covering properties, is prepared by bringing 
together barium sulphide and zinc sulphate in 
solution and subjecting the precipitate which 
ensues (a mixture of zinc sulphide and baryta 
sulphate) to the action of superheated steam, 
by which, at white heat, all the zinc sulphide 
will be converted into zinc oxide.— Meissner. 

3. Crude barium sulphide is lixiviated. The 
supernatant liquid is drawn off and divided 
into equal portions. To one, an equivalent of 
zinc chloride is added, and to this again zinc 
sulphate, and afterward another portion of 
barium sulphide, the result being an intimate 
mixture of 1 equivalent of barium sulphate 
and 2 of zinc sulphide. The precipitates, 
composed of zinc and barium, are collected, 
pressed to expedite drying, placed in a re- 
tort, and brought to a red heat. While still 
hot, they are drawn into water, preferably 
cold, which, it seems, has the effect of increas- 
ing their density and imparting body to the 
paint to be made from them. They are sub- 
sequently washed and ground in water to fine 
powder, or first dried and then ground. By 
increasing the number of additions of zinc 
sulphate, the quality may be varied. The pig- 
ment thus prepared is used in the ordinary 
way.— Orr. 

4. Zinc dust, containing lead, silver, copper, 
and other impurities is allowed to digest in 
leaden vessels filled with a concentrated solu- 
tion of ammonium carbonate in ammonia 
water. 

Zinc White.— Oxide of zinc. 

Mineral White. — Precipitated carbonate of 
lead. 

Newcastle White. — White lead made with 
molasses vinegar. 

Nottingham White.— White lead made with 
alegar. Permanent white is now commonly 
sold for it. 

Pearl White.— Fard's Spanish White. Trini- 
trate of bismuth. 

Permanent White. — Artificial sulphate of 
baryta, prepared by precipitating chloride of 
barium with dilute sulphuric acid, or a solution 
of Glauber salts. A good fast white unchanged 
by sulphurous fumes. Used to mark jars and 
bottles for containing acids or alkalies, as it is 
affected by very few substances; also to adul- 
terate white lead. 

Permanent White.— Carbonate of baryta. 

Snow White.— Oxide of zine obtained by the 
combustion of the metallic vapors of zinc in 
atmospheric air. The heavy portion is 
called zinc white; the light snow white. 

White Lead.— Basic carbonate of lead. 

Dutch White Lead.— 1. From flake white, 1 
cwt.; chalk, 3 cwt. 

2. Ordinary.— Flake white, 1 cwt.; chalk, 7 
cwt. These form the best white lead in the 
shops. 

2. English White Lead.*— Flake white lowered 
with chalk; covers badly, and the color is in- 
ferior to the preceding. 

French White Lead.— From litharge dissolved 
in vinegar and the lead thrown down by a cur- 
rent of carbonic acid gas from coke. Does not 
cover so well as flake white. 

Hamburg White.— From flake white, 1 cwt.; 
chalk, 2 cwt. Also sold for best Dutch white 
lead. 

Spanish White.— After picking out the coarser 



Pigments. 



435 



Pigments. 



impurities, the chalk is ground in a mill and 
formed into rolls, in which shape it is found in 
the trade. For painting purposes, it is still 
further purified by stirring in clear water, al- 
lowing it to settle, and decanting the first 
water, which is generally yellow and dirty. 
The washing is repeated, and the chalk is floated 
out into another vessel, after passing through 
a silken sieve. After settling, the water is de- 
canted, and the pasty white residue is formed 
into cylindrical rolls, 3 to 4 in. long, and 1J^ to 
2 in. diameter. These are allowed to harden 
and dry in the air, and are then ready for paint- 
ing, whitewashing ceilings, and for distemper 
painting with size. 

Lead Sulphate.— Precipitate the pigment by 
adding diluted sulphuric acid to an acetic or 
nitric acid solution of litharge; wash and dry. 

Sulphate of Lead.— From an acetic or nitric 
solution of litharge precipitated by adding di- 
lute sulphuric acid, and the white powder 
washed and dried. The clear liquid decanted 
from the precipitate is poured on fresh litharge, 
when a second solution takes place; this may 
be repeated for any number of times. 

To find if white lead has been adultetated by 
permanent white or sulphate of baryta— the 
commonest adulterant— the admixture may be 
recognized by boiling a small quantity of it in 
a glass test tube with nitric acid diluted with 
an equal measure of water. The white lead 
dissolves, but the baryta remains as a white 
residue. This should be allowed to settle, the 
clear liquid poured off, and the deposit again 
treated with nitric acid and then boiled with 
water. 

Yellow Pigments. — Brass Color, Brass Pig- 
ment, Bronze.— Grind copper filings or the pre- 
cipitated powder of copper, with a little red 
ocher, red colored. 

2. Gold colored brass or Dutch leaf i-educed 
to a very fine powder. Yellow or gold colored. 

Before application these powders are mixed 
up with pale varnish, no more being worked up 
than is wanted for immediate use. They are 
also applied for dusting them over any surface, 
previously covered with varnish, to make them 
adhere. 

Cadmium Yellow.— Pass a stream of sul- 
phureted hydrogen through cadmium sul- 
phate. The precipitate is washed and dried. 

Pale Cadmium Yellow. — There are two varie- 
ties of pale cadmium in the market, one a full 
yellow and the other far more lemon in hue; 
and they have very different qualifications in 
respect of permanence. The first named varie- 
ty is quite as permanent as the deep cadmium 
yellow above. The latter, although varying 
considerably in durability, according to the 
method of manufacture, sooner or later fades 
away under the action of ordinary light. 

Yellow Carmine. — The first of a series of 
three lakes prepared by precipitating the col- 
oring matter of quercitron bark in combina- 
tion with alumina. It is sometimes sold under 
the name of yellow madder, and has thus ac- 
quired a kind of presumptive permanence 
which is utterly misleading. 

Cassel Yellow.— A yellow pigment, the oxy- 
chloride of lead, known also as mineral yellow, 
or Turner's patent yellow. 

Yellows.— Chrome yellow.— 1. Add a filtered 
solution of lead nitrate or acetate to a filtered 
solution of neutral potash chromate so long as 
a precipitate falls ; collect this, wash with scf t 
water and dry in security from sulphur taint- 
ed air. 

2. Dissolve lead acetate in warm water, and 
add sufficient sulphuric acid to convert it into 
sulphate ; decant the clear liquid, wash the re- 
sidue with soft water, and digest with agitation 
in a hot solution of yellow (neutral) potash 
chromate, containing 1 part of this salt for 
every 3 parts lead sulphate ; decant the liquid, 
and drain, wash and dry the precipitate. 

3. Half to 2% equivalents (according to color 
required) sulphuric or phosphoric acid is added 



to a solution of potash bichromate in water. 
This mixture is added to a milk of white lead or 
litharge (very finely divided and suspended in 
water), the addition being in the form of a thin 
stream, to prevent undue heating. The re- 
quired coloring matter falls.— Werner. 

Cologne Yellow.— Sulphate of lime, 60$ ; lead 
sulphate, lb% ; lead chromate, 25$. 

Pink, Dutch.— Prep. French berries, 1 lb.: 
turmeric, % lb.; alum, % lb.; water, l}4 gal. 
Boil J^an hour, strain, evaporate to 2 qt., adu 
whiting, 3 lb., and dry by a gentle heat. Starch 
or white lead is sometimes employed instead of 
whiting, to give it a body. Golden yellow. 
Used as a pigment. 

Indian Yellow.— A concretion formed in the 
intestines of the camel. 

King's Yellow, sometimes termed orpiment, 
is an artificially prepared sesquisuiphide of 
arsenic, and usually contains an appreciable 
quantity of free arsenious acid. It is a bright 
yellow pigment, in hue about midway between 
aureolin and lemon yellow, and with so many 
bad qualities that it is rapidl y falling into disuse. 

Y r ellow Lakes.— 1. Boil 1 lb. Persian berries, 
quercitron bark, or turmeric, and 1 oz. cream of 
tartar in 1 gal. water till reduced to half; strain 
the decoction, and precipitate by solution of 
alum. 

2. Boil 1 lb. of the dyestuff with i/£ lb. alum in 
1 gal. water, and precipitate by solution of 
potash carbonate. 

3. Boil 4 oz. annatto and 12 oz. pearlash in 1 
gal. wafer for half an hour; strain, precipitate 
by adding 1 lb. alum dissolved in 1 gal. water 
till it ceases to produce effervescence or a pre- 
cipitate; strain and dry. 

Lemon Yellow.— The genuine and only per- 
manent lemon yellow is a peculiar preparation 
of chromate of barium, It is a very beautiful 
semi-opaque lemon, inclining to primrose, 
and possessing great purity and clearness of 
color, although not very remarkable for in- 
tensity. 

Nankin Yellow.— Dry and calcine a mixture 
of lead nitrate, concentrated solution, and 
powdered peat. 

Naples Yellow.— 1. Mix 3 lb. powdered metal- 
lic antimony, 1 lb. oxide of zinc and 2 lb. red 
lead; calcine, grind fine and fuse in a closed 
crucible; grind the fused mass to fine powder 
and wash well. 

2. Grind 1 part washed antimony with 2 parts 
red lead to a stiff paste with water, and expose 
to red. heat for four to five hours. 

Ochers. — Native oxides of iron mixed with 
argillaceous and calcareous earths. 

Orpiment. — Orpiment (arsenic trisulphide) is 
a lemon or orange yellow colored substance, 
found native in Hungary, the Hartz, and 
other places; the finest samples used by artists 
(golden orpiment) come from Persia. The com- 
mercial article is artificially prepared for use as 
a pigment in the following way : A mixture of 
arsenious acid and sulphur is placed in an iron 
subliming pot, similar to those used in the prep- 
aration of crude white arsenic. The mixture 
is heated until the sublimate, which immediate- 
ly forms upon the rings fixed above the pot, 
begins to melt. The proportions of the two 
ingredients used vary largely, the best colors 
being probably produced when the mixture 
contains ^ to | of sulphur; for the fighter col- 
ors a smaller proportion of sulphur is em- 
ployed. Orpiment made in this manner con- 
sists of a mechanical mixture of arsenic 
sulphide and oxide. The native sulphide is 
preferred to the artificial by artists and dyers, 
by reason of its richer color. 

Patent Yellow. — Litharge, 320 lb.; common 
salt, 80 lb.; grind, with water. Keep this mix- 
ture for some time in a moderate heat. Add 
water to supply loss from evaporation. Wash 
out the carbonate of soda ; heat what remains 
until it assumes a fine yellow color. 

Queen's Yellow.— Turpith mineral, or pur'- 
sulphate of mercury. 



Pigments. 



436 



Pitch. 

think the editor is slightly mistaken, the pill 
being- really cathartic. 

Cholera Pills.— A writer in El Pabellon Me- 
dico maintains that opium is as successful in 
cholera as quinine is in ague, and that >t should 
be given in doses proportioned to the gravity 
of the case. He therefore has recourse to full 
doses of opium frequently repeated. 

The following formula for cholera pills is 
that of M. Bourgone : 

Tannate of quinia 1 grin. 

Powdered opium 5 centgr. 

Essence aniseed 2 drp. 

Simple sirup, to make 10 pills. 

which may be taken in the course of one or 
two hours. 

Pills, Diuretic —Prep. (Thomson.)— A. Pow- 
dered digitalis, 12 grn.; calomel and opium, of 
each, 4 grn.; confection of roses, q. s. for 12 pills. 
B. Mercurial pill, 1 drm.; powdered squills, 1 
scr.; confection of roses, q. s. for 20 pills. Dose, 
1 of either of the above twice a day in dropsy. 
Podophyllin Pills. (Castor Oil Pills.)— 

Resin podophy Hi 3 grn. 

Extr. hyoscyami 3 grn. 

Saponis 4V£ grn. 

Syrupi 6 drop. 

M. Make 12 pills. 

Pills, to Silver.— Pills are gilded and silvered 
by rolling them between the fingers slightly 
moistened with mucilage, and then shaking 
them up in a small gallipot covered with a 
piece of paper, along with a little gold or silver 
leaf, or a little powdered gold or silver. 
Sulphur Pills.— 

Potassii sulphureti 1 drm. 

Pulveris jalapse 1 drm. 

Saponis 1 drm. 

Extr. taraxaci q. s. 

Make 120 pills. 

Pink Pigments, See Pigments. (Bed). 

Pin Wheels. See Pyrotechny. 

Pipe Clay.— A natural deposit of an unc- 
tuous clay, which burns white. 

Pipes.— The capacity of pipes is as the 
square of their diameters. If you double the 
diameter of a pipe, you increase its capacity 
four times. 

Pipes, Cements for. See Cements. 

Pipes, New Method of Testing Large. 
— The usual practice has been to close the ends 
by caps and then force in water until the pipe 
was completed filled; but with large pipes, very 
strong caps were required, and there was a 
waste of time and of water, thus largely in- 
creasing the expense. The new plan is simply 
to place within the pipe a core, of nearly as 
great a diameter as the pipe itself, and then 
force in water enough merely to fill the space 
between the two. 

Pirsch-Baudoin's Alloy. See Alloys, 

Pistachio for Dispensing.— To }& gal- 
sirup add y% oz. extract pistachio, J4 oz. essence 
bitter almond. Condensed milk should be 
added for dispensing. 

Pitch, Brewers'.— Light Yellow.— Pine 
pitch, 150 parts; add 1}4 to 9 lb. of caustic soda 
lye of 10° B. Melt in an open iron boiler, when 
bubbles cease to form, pour the pitch into 
moulds. 

Pitch, Brewers'.-^rown.- 

1. Pine pitch 120 lb. 

Red transparent rosin 102 lb. 

Rectified heavy rosin oil. 12 lb. 

2. Pine pitch 37^ lb. 

Red transparent rosin 70 lb. 

Rectified heavy rosin 6 lb. 

3. Pine pitch 44 lb. 

Brown rosin 176 lb. 

Rectified heavy rosin 11 lb. 



Realgar.— Realgar (arsenic disulphide) is a 
deep orange red substance, soluble in water, 
and highly volatile and poisonous. It is found 
native in some volcanic districts, especially in 
the neighborhood of Naples, but the commer- 
cial article is made by distilling in earthenware 
retorts, arsenical pyrites, or a mixture of sul- 
phur and arsenic, or of orpiment and sulphur, 
or of arsenious acid, sulphur, and charcoal; it 
has not tne brilliant color of the native min- 
eral, and is much more poisonous. On a large 
scale, the manufacture is carried on in the fol- 
lowing way: The ingredients are mixed in 
such proportions that the mixture shall con- 
tain 15 per cent, arsenic and 26 to 28 per cent, 
sulphur, in order to make allowence for the 
volatilization of a portion of the latter. The 
mixture is then placed in earthenware retorts, 
which are charged every twelve hours with 
about 60 lb.; this quantity should fill them 
% full. These are gradually heated to red- 
ness for eight to twelve hours, during 
which time the realgar distills off, and 
is collected in earthen receivers, similar to 
the retorts, but perforated with small holes 
to permit the escape of these gases. After 
the operation, the receivers are emptied 
and the crude product is remelted. This is 
performed in cast iron pots, the contents being- 
well agitated, and the slag carefully removed. 
The requisite amount of sulphur or arsenic is 
added, according to the color of the mixture, 
or a proper quantity of realgar containing an 
excess of the required constituent, and the 
mass is again stirred. When, on cooling, it ex- 
hibits the correct color and compactness, it is 
run off into conical moulds of sheet iron, 
cooled, and broken up; it is sometimes refined 
by resublimation. 

Br. Pierce's Golden Medical Discov- 
ery.— A $1 bottle holds 220 grn. of a brownish 
colored clear liquid, consisting of 15 grn. pure 
honey,- 1 grn. extract of poisonous or acrid let- 
tuce (bot.herba lactucwvirosce),2gvn. laudanum, 
100 grn. dilute alcohol (64$), tasting like fusel oil 
and wood spirit, with 105 grn. of water.— Hagar. 

Pills.— The pill form has many advantages 
for the administration of medicines, and is de- 
servedly popular. There are many substances 
the taste of which can in no other way be so 
readily disguised, and, when the pill mass is 
properly prepared, there is no other manner in 
which accurcy of dose can be better secured. 
If the substance to be made into pills be a solid 
extract, add a few drops of water, and rub it 
to the proper consistence; if it be a resin, add 
alcohol; if it be a soft or liquid substance, rub 
up with some inert substance, as crumb of 
bread, or wheat flour, or starch, or pulverized 
gum arabic; if it be a powder, mix with some 
soft substance, as confection, soap, or sirup, or 
mucilage of gum arabic. The materials must 
be mixed thoroughly and rubbed into a uni- 
form mass, and then rolled with a spatula or 
case knife, into a cylinder of equal size 
throughout. This is then to be divided equally 
into the number of pills required, each of 
which is rolled into spherical form between the 
thumb and finger. If the number of pills is 
large, a mortar or slab should be used for mix- 
ing the ingredients, and a pill machine for 
making the pills. 

The most popular form of pill is the sugar 
or gelatine coated. In this manner all taste 
of the ingredients which are used can be en- 
tirely disguised. 

BrandreWs Pills, says Dr. Hagar, consist of 
gamboge (gummi resince guttce), podophyllin, 
inspissated juice of Phytolacca, saffron adulter- 
ated with yellqw root, pulverized cloves and 
oil of peppermint. The editor states in a foot 
note that, according to the assertion of two 
American druggists and one merchant, gam- 
boge is present in Brandreth's pills, but that 
the action of the pills does not correspond to 
this constituent, in which latter assertion we 



Pitch. 



437 



Plaster. 



Pitch, Burgundy.— 1. Impure resin pre- 
pared from the turpentine of the Norway 
spruce fir. 

2. Imitation of .—Melt common resin with lin- 
seed oil and color the mass with annatto or palm 
oil. . 

3. Melt 100 lb. good yellow resin with linseed 
oii. 1 gal.; palm oil, bright, q. s. to color. The 
mixture is allowed to partially cool, when it is 
pulled with the hands. It is usually sold in 
bladders. 

Pitch, Canada.— Pitch from the hemlock 
spruce fir. 

Pitch.— A dry bitumen distilled; prepared 
from liquid pitch. 

Chasing; Pitch.— Use a mixture of 1 part 
beeswax with two parts rosin, with sufficient 
sweet oil to soften the composition to fancy. 

Pitchers.— Term used in keramics, applied 
to baked ware finely pulverized. 

Plants, Alimentary Solution for. — 

Potassium nitrate 10 g*rm. 

Calcium carbonate 5 grm. 

Sodium chlorate 5 grm. 

Calcium phosphate 5 grm. 

Sodium silicate 5 grm. 

Ferrous sulphate 1*5 grm. 

Water 100 lit. 

Plants, to Preserve the Natural Col- 
ors of.— A recent improved receipt for pre- 
serving plants with their natural colors is to 
dissolve 1 pt. salicylic acid in 600 parts alcohol, 
heat the solution up to boiling point in an 
evaporating vessel and draw the plants slowly 
through it. Shake them to get rid of any 
superfluous moisture and then dry between 
sheets of blotting paper under pr-essure in the 
ordinary manner. Too prolonged immersion 
discolors violet flowers, and in all cases the 
blotting paper must be frequently renewed. 
The novelty appears to be the salicylic acid.— 
Art Amateur. 

Plaster of Paris.— This very useful mate- 
rial is made by calcining calcium, sulphate 
(gypsum) at a temperature of 500° F., by which 
all the water of crystallization is expelled. It is 
of the greatest use, especially in the formation 
of casts or moulds. 

Plaster, to Bronze. See Bronzing. 

Plaster Casting. — The polish on plaster fig- 
ures is said to be produced by immersion in 
melted paraffine or wax, and rubbing smooth. 
A prize for such a process was offered by some 
society in Berlin. 

Plaster Casts, to Harden. —A few coats of a 
hot and saturated solution of borax, alum, or 
similar substances are applied wiih a brush 
until the surface has the desired hardness. Two 
coats will generally answer, but occasionally as 
many as five or six may be necessary. A few 
(generally two) coats of a hot saturated solu- 
tion of chloride of barium and a few coats of 
soap water are then applied with a brush, and 
the surplus soap is washed off until the clear 
water forms beads on the surface of the cast. 

These operations can be performed in a few 
hours and produce a hard surface consisting of 
substances insoluble in water and which will 
prevent the appearance of yellow spots, for the 
neutral salts that have been employed will 
prevent any action of the gypsum on the 
iron contained in the same. Different neu- 
tral salts may be used, and the operations may 
be performed in the reverse order. Instead of 
chloride of barium, other barium, strontium, 
or calcium salts, that will produce an insoluble 
precipitate and will not produce oxide of iron, 
maybe used.— Dr. Von Decheudin, Bonn. 

The following process is noted from France 
for hardening plaster, so that it may be used for 
flooring, as woofl and tile are at present. About 
6 parts of good quality plaster are intimately 
mixed with 1 part of freshly slaked white lime 
finely sifted. This mixture is then laid down 



as quickly as possible, care being taken that 
the trowel is not used on it for too long a 
time. The floor should then be allowed to be- 
come very dry, and afterward be thoroughly 
saturated with sulphate of iron or zinc— the 
iron giving the strongest surface, the resist- 
ance to breaking being twenty times the 
strength of ordinary plaster. With sulphate 
of zinc the floor remains white, but when iron is 
used it becomes the color of rusted iron ; but 
if linseed oil, boiled with litharge, be applied 
to the surface, it becomes of a beautiful ma- 
hogany color. Especially is this the case if a 
coat of copal varnish be added. 

To Make Plaster Casts Hard.— To a thin milk 
of lime, or lime water add 10 or 15 drops of 
liquid silicate of soda for every pint of fluid 
used ; this is then thickened with plaster to a 
thick cream. Plaster thus prepared will set in 
five minutes or thereabout, according to the 
thickness of the cream. If too much silicate is 
used, the soda will effervesce on the surface, and 
spoil the sharpnesss of the impression. 

Plaster Casting from Life.— Casting from life 
is very unpleasant for the person operated 
upon, and especially when the face is moulded, 
the pain is considerable. The face is first 
greased well with vaseline, the eyelashes and 
eyebrows being well buried in pomade or clay 
and the small hairs well smoothed down. Whis- 
kers, etc., should be well coated with clay. 
Quills are inserted in the nostrils for respira- 
tion. Then when the patient is lying in a re- 
cumbent position, the plaster is laid on. The 
patient must not move or laugh or speak until 
the plaster is set. The plaster is mixed with 
warm water, as the plaster sets better than 
with cold water. When the cast is sufficiently 
set, it is removed. This is the painful part of 
the operation. A hand can be done by thrust- 
ing it in a basin of plaster, then placing it on a 
towel in desired position. As the plaster sets, 
lay a strong thread on the wet plaster along the 
hand down the middle finger. A second thread 
may be laid from the wrist to the thumb. The 
object of these threads is to make divisions in 
the mould, and thus enable the hand to be with- 
drawn. Now lay on the plaster over the whole 
to a sufficient thickness. When it is nearly set 
(still soft and wet), take the ends of the threads, 
and by jerking them sharply through the plas- 
ter, sections are made in the mould. In a few 
minutes the plaster is hard and the mould may 
be burst asunder at the divisions cut by the 
thread and the hand released. Fractures which 
will probably occur in thin parts of the mould 
must be cemented carefully in their places after 
they are dry by a solution of shellac in alcohol. 
Limbs and even the entire figure can be 
moulded in this manner. Professional mould- 
ers should be employed in taking casts of de- 
ceased persons. 

Plaster of Paris, to Cast.— In the first place 
use the finest and purest plaster of Paris ob- 
tainable. When filling a mould, learn to beat 
up the requisite quantity of cream quickly, and 
with care to avoid making it too thick. In 
pouring this in, use a good camel's hair brush 
to displace air bubbles ; a mere surface cover of 
this thin cream is all that is requisite. While 
doing this have ready the thicker plaster, of 
the consistence of light sirup, and fill up the 
mould at once. In about twenty minutes you 
can open the mould, if your plaster is pure and 
lias been properly mixed. If you do not put 
too much oil on the object to be moulded, and 
have used your brush properly, you will find 
clear, sharp moulds. 

Substitute for Plaster of Paris. — Best whit- 
ing, 5 lb.; glue, 2}4 lb.; linseed oil, 2)4 lb. Heat 
these materials, and mix them thoroughly. 
After this compound has cooled, lay on a stone 
which is covered with powdered whitening, 
heat until the mass is tough and firm. Cover 
with wet cloths to keep moist. Ornaments 
may be made of this material by pressing it 



Plastering. 



438 



Poisons. 



into a mould, with a screw press. It becomes 
very hard after a time. 

To Bender Plaster Figures Durable.— Thor- 
oughly dry the plaster figure; cover with the 
best linseed oil, just warm; take out in twelve 
hours and dry in a place free from dust. The 
figure looks like wax when dry, and can be 
washed without injury. 

To Harden Plaster.— Mix the plaster of Paris 
with a weak solution of gumarabic ()4 oz. to y% 
pt. of water) or for common uses with a weak 
solution of size. This not only makes the 
plaster hard but gives smoothness to the sur- 
face. 

Plaster Work, to Harden.— Glycerine is said to 
be a good coating for the interior, but lard and 
oil is most commonly used. Plaster casts im- 
mersed in a hot solution of glue long enough 
to be well saturated, will bear a nail driven in 
without cracking. 

Plaster Models, to Mend.— Sandarac varnish is 
the best material for mending plaster models. 
Saturate the broken surfaces thoroughly, press 
them well together and allow them to dry. 

Plaster of Paris, to Silver. See Silvering. 

Plastering, Interior. — Substance. Mor- 
tars which are used for interior work are 
called fine, coarse, gauge and stucco. 

Fine Stuff.— Lump lime is to be slaked with 
water to a paste and afterward to a cream, 
alter which it hardens by the water evapor- 
ating and is ready for working. It is now used 
for what is termed slipped coat, but is ready 
for finishing coat when prepared with plaster of 
Paris or sand. 

Coarse Stuff. — Lime paste, 2 parts; sand, 4*4 
prrts; hair, y& part. There may be less hair 
used for the second coat. 

Gauge Stuff or Hard Finish. — This is com- 
posed of from V/% to 2 parts fine stuff and ^ 
plaster of Paris. Begulation must be consid- 
ered as to the rapidity of hardening. For cor- 
nices, etc., there will be equal parts fine stuff 
and plaster. 

Plasters. — Plasters are external applications 
that possess sufficient consistence not to ad- 
here to the fingers when cold, but which be- 
come soft and adhesive at the temperature of 
the human body. They are chiefly composed 
of unctuous substances united to metallic ox- 
ides, or powders, or to wax or rosin. Plasters 
are usually formed while warm into ¥% lb. rolls 
about 8 or 9 in. long and wrapped in paper. 

Plasters, Composition for. — Ninety parts 
Burgundy or Canada pitch are mixed with 
10 parts yellow wax and melted together. 
Glue mixed with glycerine equal to one-tenth 
the weight of the dry glue may be used. 

Plaster, Court.— 1. Soak isinglass in a little 
warm water for seventy-four hours, then 
evaporate nearly all the water by gentle heat, 
dissolve the residue in a little proof alcohol, 
and strain the whole through a piece of 
open linen. The strained mass should be a stiff 
jelly when cool. Now stretch a piece of silk 
or sarsanet on a wooden frame, and fix it tight 
with tacks or packthread. Melt the jelly, and 
apply it to the silk thinly and evenly, with a 
badger hair brush. A second coating must be 
applied when the first has dried. When both 
me dry, apply over the whole surface two or 
three coatings of balsam of Peru. Plaster thus 
made is said to be very pliable and never breaks. 

2. Court plaster should be thoroughly soaked 
on both sides before it is applied, and should 
be pressed on with a soft, dry cloth. Then it 
will adhere so firmly that washing with soap 
and water will hardly remove it. 

3. a. Black silk or sarsenet is strained and 
brushed over ten or twelve times with the fol- 
lowing composition : Balsam (gum) of benzoin, 
Y» oz.; 90$ alcohol, 6 oz. ; dissolve. In a sepa- 
rate vessel dissolve 1 oz. isinglass in as little 
water as possible; strain each solution, mix, 
end decant the clear. It is applied warm. 



When the last coat is quite dry, a finishing coat 
must be given with a solution of 4 oz. Chio 
turpentine in 6 oz. tincture of benzoin, b. Is- 
inglass, 1 oz.; dissolve in proof spirit, 12 oz.; add 
tincture of benzoin, 2 oz.; give 5 or (j coats, and 
finish off as last. c. Isinglass, loz.; water, 3 oz.; 
dissolve, add tincture oi benzoin, 1 oz.; apply 
as above, and finish off with a coat of tincture 
of benzoin or tincture of balsam of Peru. 
Goldbeater's skin is now frequently substituted 
for sarsenet. 

Plaster, Sticking.— Adhesive plaster. — 

Litharge 5 oz. 

Olive oil 12 oz. 

Water 8 oz. 

Put the water and litharge into a copper pan. 
Mix together with a spatula; add the oil, and 
boil, stirring constantly. This process takes 
from 4 to 5 hours, but it can be hastened to 20 
or 30 minutes by adding 1 oz. of colorless vine- 
gar. To make resin or strapping plaster, used 
in retaining the lips of recent cuts and wounds 
in contact: Mix by a moderate heat 1 oz. of 
resin to 5 oz. of litharge plaster (as given above) 
and spread upon muslin. 

Plate Powders. See Polishing. 
Plating. See Electro-Metallurgy. 

Platinizing Metals, Cheap Method 

of.— In this new process, the metallic object is 
covered with a mixture of borate of lead, ox 
ide of copper, and spirits of turpentine, and 
submitted to a temperature of from 250° to 
330°. This deposit, upon melting, spreads in a 
uniform layer over the object. Then a second 
coat is laid on, consisting of borate of lead, ox- 
ide of copper, and oil of lavender. Next, by 
means of a brush, the object is covered with a 
solution of chloride of platinum, which is fin- 
ally evaporated at a temperature of not more 
than 20U°. 

The platinum adheres firmly to the surface, 
and exhibits a brilliant aspect. If the deposit 
be made upon the first coat, the platinum will 
have a dead appearance. Platinizing in this 
way costs, it is said, about one-tenth the price 
of nickel plating — Le Genie Civil. 

Platinizing Copper.— The appearance of pla- 
tinum may be given to copper by immersion in 
a bath composed of 1-M pt. Hydrochloric acid, 
7j^j oz. arsenic acid, and 134 oz. acetate of cop- 
per. The article must be cleaned before im- 
mersion, and left in the bath till it has the 
color of platinum. 

Platinizing Silver.— Place some platinum in a 
small quantity of aqua regia or nitro-muriatic 
acid, and keep it in a warm place a few 
days; it will dissolve. As soon as it has dis- 
solved, evaporate the liquid at a gentle heat 
until it is as thick as honey, so as to get rid of 
the excess of the nitric and muriatic acids. 
Add a little water, and it is ready for use. A 
dozen drops of this solution goes a long way in 
platinizing silver. The operation is performed 
in a small glass or beaker, covered with a watch- 
glass to keep in the fumes, and placed in a little 
sand in a saucer, to equalize the heat. 

Platinum, to Solder. See Soldering. 

Plush, to Renovate. See Cleansing. 

Poisons, Antidotes for. — Many serious 
accidents, says the Moniteur des Pro&uibs Chi- 
miques, happen, or may happen, in consequence 
of a loss of time in the application of remedies in 
the case of absorption of,' or burning by, such 
poisonous chemical products .as are commonly 
employed in the industries. The following 
antidotes are recommended : 1. For phenic, sul- 
phuric, muriatic, nitric, or nitro-muriatic acids, 
creosote, tincture of iodine, or phosphorus, use 
the white of an egg well beaten up in water, 
and a teaspoonf ul of mustard in warm water. 
In case sulphuric, nitric, or muriatic acid has 
been swallowed, it is necessary to take lime 
mixed with as small a quantity of water as 
possible. 



Poisons. 



439 



Poisons. 



Table of Poisons and Antidotes— ElsderCs. 



Poisons. 



- f 



O 

-2 
«j GO 

u — « 

mo 



-as r 



CS^ 



■a ^ 



03 i 



— -* 



Oxalic Acid, including 
Potassium Oxalate. 



Ammonia, 

Potash, 

Soda. 



Mercuric Chloride. 



Acetate of Lead. 



Cyanide of Potassium. 



Remarks. 



Bichromate of Potash. 



Nitrate of Silver. 



I 

f Nitric Acid. 



^■8 



o <3 Hydrochloric Acid. 






. Sulphuric Acid. 



1 drm. is the small- 
est fatal dose 
known. 



Vapor of ammonia 
may cause inflam- 
mation of the lungs 



Three grn.thesmaU- 
est fatal dose 
known. 



The subacetate is still 
more poisonous. 



a. Taken internally, 3 
grn. fatal. 



h. Applied to wounds 
ana abrasures of 
the skin. 

a. Takfn internally. 



h. Applied to slight 
abrasions of the 
skin. 



2 drm. have been fa 
tal. Tnhalation of 
fumes has also 
been fatal. 



4 drm. have caused 
death. 

1 drm. has been fatal 



Symptoms. 



Antidotes. 



Hot burning sensa- 
tion in throat and 
stomach, vomiting, 
cramps and numb- 
ness. 



Swelling of the 
tongue, mouth and 
fauces, often fol- 
lowed by s t r i c- 
ture of the oeso- 
phagus. 

Acid metallic taste; 
con striction in 
throat and stom- 
ach, followed by 
nausea and vomit- 
ing. 

Constriction in the 
throat and stom 
ach, crampy pains 
and stiffness of ab 
domen, blue line 
round the gums. 

Insensibility ; slow, 
gasping respira- 
tion; dilated pupil 
and spasmodic clos 
ure of the jaws. 

Smarting sensation. 



Irritant pain in stom- 
ach and vomiting 

Produces trouble- 
some sores and ul- 
cers. 

Powerful irritant. 



Corrosion of wind 
pipe and violent in 
tlammation. 



Acetic acid concentrated has as powerful effects as- mineral acids. 



Iodine. 

Ether. 
Pyrogallol. 



Variable in its action; 
3 grn. have proved 
fatal. 



When inhaled. 



2 grn. sufficient 
kill a dog. 



to 



Acid taste ; tightness 
about the throat 
vomiting 



Effects similar 
chloroform. 



to 



Resembles phospho- 
rus poisoning. 



Chalk, whiting or 
magnesia suspend- 
ed in water. Plas- 
ter or mortar can 
be used in emer- 
gency. 

Vinegar and water. 



White and yelk of raw 
eggs with milk. In 
emergen cy flour 
paste may be used. 



Sulphates of soda or 
magnesia. Emetic 
of sulphate of zinc. 



No certain remedy. 
Cold affusion on 
the head and neck 
most efficacious. 



Sulphate of iron 
should be applied 
immediately. 

Emetics and magne- 
sia and chalk. 



Common salt to be 
given, immediately 
followed by emet- 
ics. 

Bicarbonate of soda 
or carbonate of 
magnesia, chalk, 
plaster of the room 
beaten up in water. 

Same as nitric acid. 



Same as nitric acid. 



Vomiting to be en- 
couraged and gru- 
el, arrowroot and 
starch given freely 



Cold affusion and ar- 
tificial respiration. 

No certain remedy; 
speedy emetic de- 
sirable. 



-American Amateur Photographer. 



poisons. 440 

2. For chromic acid, the chromates and colors 
that have chromium for a base, the compounds 
of copper, and such preparations as have an- 
timony for a base (such as tartar emetic), and 
the compounds of mercury and zinc, use the 
whites of eggs in abundance, and, as an emetic, 
mustard, which, however, is useless if the poi- 
soning has been done by tartar emetic. 

3. For ammonia, soda, potassa, the silicates, 
and the alkaline hydrosulphates, use vinegar 
and afterward oil or milk. 

4. For prussic acid and its salts, the cyanides 
of potassium and mercury, the sulphocyanides, 
oil of bitter almonds, or nitrobenzine, pour 
water on the patient's head or spinal column, 
and put mustard plasters on the sole of the 
feet and the stomach. Do not let the patient 
go to sleep. 

5. For ether, petroleum, benzole, fruit es- 
sences, ana concentrated alcohol, take strong 
mustard as an emetic, with much warm water, 
cold baths, and fresh air. Keep the patient 
awake. 

6 ' F 01 ^^ compounds of baryta or lead, use 
mustard as an emetic, with warm water, Epsom 
sa 1 l tS i? r Glauber's salts in water. 

7. For arsenic and its compounds, use mus- 
tard and dialyzed iron with magnesia, and, 
afterward, oil, milk, or mucilaginous liquids. 

8. For oxalic acid and its salts, use lime or 
lime water, and afterward castor oil. 

9. For nitrate of silver, use kite he a salt dis- 
solved in water, and mustard as an emetic. 

10. For the nitrous fumes from the manufac- 
ture of nitrate of iron, or of sulphuric acid, 
take acetic acid as strong as can be endured, in 
small quantities at a time. 



Poisons. 






Poisons and their Antidotes.— The, 
following brief summary of the most rational 
and simple antidotes to the commoner forms 
of poison has been compiled for the American 
Analyst by Dr. Francis Wyatt, and it will be 
seen that he has suggested the most appropriate 
to be applied in any emergency pending the ar- 
rival or in the total absence of a skilled medical 
practitioner. 

Domestic Treatment in Cases of Poisoning.— 
In case of poisoning a physician should be 
sent for immediately. The following is a list 
of substances recommended for domestic use 
in cases of emergency, by A. W. Blythe, M.R. 
US. 

The Multiple Antidote— 1. Saturated solution 
sulphate of iron, 100 parts; water, 800 parts; 
magnesia, 88 parts; animal charcoal (kept in 
the dry state, mixed), 44 parts. Given in wine 
glass doses, in poisoning by arsenic, zinc, 
opium, digitalis (foxglove), mercury or strych- 
nine. Useless in poisoning by phosphorus, an- 
timony or caustic alkali. 

2. Calcined magnesia, for use in poisoning by 
acids. 

3. French turpentine, for phosphorus poi- 
soning. 

4. Powdered ipecacuanha, as an emetic, dose 
30 grn., or zinc sulphute, dose 25 to 30 grn. 

5. A tin of mustard (as emetic). 
General directions: — First administer an 

emetic followed by the multiple antidote; this 
is not poisonous. For phosphorus give French 
turpentine, }/% drm. doses every half hour. For 
acids, give calcined magnesia. For alkalies, give 
vinegar. Preserve the vomit if intentional 
poisoning be suspected. 



Poisons. 


Antidotes. 


1. Acid— Carbolic, sulphuric, nitric, muri- 
atic, nitro-muriatic, creosote, iodine, phos- 
phorus. 


White of egg well beaten up with water. A 
teaspoonf ul of mustard flour in a cup of hot 
water. Very thick lime water— (in case of sul- 
phuric, nitric, muriatic or nitro-muriatic 
acids). 


2. Chromic acid, chromates, all preparations 
or compounds of chromium, antimony, copper, 
mercury, or zinc. 


Abundance of white of egg in water. A 
teaspoonful of mustard flour in water. Copi- 
ous draughts of an infusion of salt herbs. 


3. Ammonia, soda, potash, alkaline, silicates, 
and sulphates. 


Strong vinegar and water. Large doses of 
oil. Large doses of milk. 


4. Prussic acid and its salts, all cyanides, and 
sulpho-cyanides, oil of bitter almonds, and 
nitro-benzine. 


Continuous and heavy douches of ice cold 
water over the head and spinal column. Mus- 
tard plasters on the stomach and soles of the 
feet. Prevent sleep. 


5. Ether, petroleum, benzine, fruit essence, 
concentrated or absolute alcohol. 


Plenty of mustard flour in large quantity of 
hot water. Cold water douches. Fresh air. 
Prevent sleep absolutely. 


6. Compounds of baryta and lead. 


A teaspoonful of mustard flour in warm 
water. Strong solutions of Epsom salts and 
Glauber salts in cold water. 


7. Compounds of arsenic. 


A teaspoonful of mustard flour in warm 
water. A teaspoonful of dialyzed iron mixed 
with the same quantity of calcined magnesia 
every Ave minutes for one hour. Then plenty 
of oil, or milk, or some mucilaginous tea— say 
linseed. 


8. Oxalic acid and its salts. 


Very thick paste of lime* and water by large 
spoonfuls at the time. After* several of these, 
large draughts of lime water. Finally 4 oz 
castor oil. 


9. Nitrate of silver. 


Large doses of ordinary kitchen salt dissolved 
in water, after which one teaspoonf ul of mus- 
tard flour in warm water. 


10. Nitrous fumes of vapors, arising in vit- 
riol or chemical works. 


Frequent and small doses of strong acetic 
acid— the stronger, the better. 



Poison*. 



4-tl 



Poisons. 



Poison Ivy. — Symptoms :— Contact with and 
with many persons the near approach to the 
vine gives rise to violent erysipelatous inflam- 
mation, especially of the lace and hands, at- 
tended with itching-, redness, burning 1 and 
swelling, with watery blisters. Treatment: 
Give saline laxatives and apply weak lead 
water and laudanum, or lime water and sweet 
oil, or bathe the parts freely with spirits of 
niter. Anointing with oil will prevent poison- 
ing from it. 

Acetic Acid, Glacial.— Symptoms :— Corrosion, 
perforation, odor, abdominal pain, collapse. 
Treatment: Not stomach pump; soap and 
water, lime, magnesia, milk, oil, thick gruel. 
Morphia, against shock. 

Aconite, monkshood, wolfsbane, blue rocket.— 
Symptoms :— Tingling and numbness, warmth 
at pit of stomach, paralysis from below up. 
Pulse and respiration depressed; mind clear. 
Treatment : Stomach pump or emetic; stim- 
ulants; atropia, hypodermic. Keep warm and 
recumbent. Digitalis hypodermic; amyl ni- 
trite. Artificial respiration. 

Alcohol, brandy.— Symptoms :— Intoxication, 
giddiness; lips livid; convulsions; coma; stupor. 
Treatment : Stomach pump or apomorphia hy- 
poderm; battery, coffee, douche, amyl nitrite. 

Almonds, oil of bitter. See Hydrocyanic 
acid. 

Ammonia. — Symptoms : — Burning pain in 
mouth, stomach and chest. Membranes swol- 
len, red; difficult breathing, bloody vomiting; 
pulse slow; pallor, loss of voice. Treatment : 
Not stomach pump. Vinegar, lemon juice; de- 
mulcent drinks; tracheotomy; inhalation of 
steam or chloroform; morphia, hypodermic, 
for shock. 

Antimony, Tartar Emetic. — Symptoms :— 
Metallic taste, vomiting, choking sensation; 
pain in stomach, purging; thirst, cramps, 
cold sweat ; head congestion, f aintness ; pulse 
and breathing weak ; collapse. Treatment : 
Tannic or gallic acid ; tea, coffee, demulcent 
drinks ; stimulants ; morphia, hypodermic. 

Aquafortis. See Nitric Acid. 

Arsenic, Vermin Killers, etc.— Symptoms:— 
Faintness, depression, burning pain ; vomiting, 
purging; cramp, tightness in throat, thirst; 
pulse slow, breath painful, skin clammy; col- 
lapse. Treatment: Stomach pump, or apo- 
morphia, hypodermic. Empty and wash the 
stomach well. Dialys. iron; magnesia, castor oil. 
Stimulants: Mucilaginous drinks. Warmth. 
Morphia, hypodermic. 

Arum Maculatum, Cuckoo paint; lords and 
ladies, cows and calves; wake-robin.— Symp- 
toms :— Vomiting, purging, convulsions ; pupils 
dilated; coma; tongue swells. Treatment: 
Emetic, castor oil, coffee. 

Atropine, Belladonna. 'See Belladonna. 

Barium, Baryta. — Symptoms : — Vomiting, 
pain in bowels, purging; pulse and breathing- 
distorted ; cramps, paralysis, giddiness. Treat- 
ment: Stomach pump or emetic; sulphates; 
warmth. Stimulants: Morphia, hypodermic. 

Belladonna, Deadly Nightshade. — Symp- 
toms :— Mouth, throat hot ; eyes sparkling, face 
flushed, pupils dilated ; delirium, staggering ; 
rash(?). Treatment: Stomach pump or 
emetic. Stimulants Coffee; pilocarp; hy- 
podermic; artificial respiration. 

Benzol, Benzine. — Symptoms : — Narcotic ; 
twitching, difficult breathing, head noises. 
Treatment : Stomach pump or emetic. Stimu- 
lants: Atropia, hypodermic; douche; battery; 
artificial respiration. 

Brucine. See Strychnine. 

Calabar Bean. See Physostigmine. 

Camphor. — Symptoms : — Odor ; faintness, 
languor, delirium, convulsions, coldness; pulse 
quick, breathing difficult. Treatment : Stom- 
ach pump or apomorphia hypodermic. Stimu- 
lants: Warmth; douche. 

Cantharides, Spanish Fly. — Symptoms:— 
fhirning pain, throat and stomach; diarrhea 
salivation, albuminous urine; high temper- 



ature, headache, quick pulse ; insensibility, 
convulsions. Treatment: Stomach pump (?) 
or emetic ; demulcent drinks, no oii ; morphia ; 
baths; linseed poultice. 

Carbolic Acid.— Symptoms:— Burning pain in 
mouth and stomach ; mucous membrane, white, 
hardened; skin, cold; pupils, contracted; 
urine, dark; insensibility; coma; collapse. 
Treatment: Stomach pump or emetic ; soda or 
sacch. lime ; white ot egg ; castor oil ; stimu- 
lants : warmth ; battery; atropia, hypodermic; 
nitrite amyl ; bleeding. 

Carbonic Acid, Choke Damp, Same for Car- 
bonic Oxide.— Symptoms:— Pains, head and 
throat ; giddiness ; sleepiness ; insensibility ; 
heart and breath hurried ; coma. Treatment : 
Fresh air ; artificial respiration ; ammonia 
respd.; friction ; stimulants ; oxygen douche ; 
transfusion or bleeding (?). 

Caustic Potash or Soda. See Potash. 

Chloral.— Symptoms :— Sleep ; loss of muscular- 
power; reflex action; sensibility diminished; 
stertorous breathing. Treatment : Stomach 
pump or emetic; warmth; rousing; coffee; 
strychnine, hypodermic; nitrite amyl; artifi- 
cial respiration. 

Chlorine.— Symptoms :— Tightness ; irritation, 
chest; cough; difficult breathing, swallowing. 
Treatment: Fresh air; inhale steam; dilute 
ammonia ; sulphur ; hydrogen ; chloroform ; 
ether. 

Chloroform.— If swallowed : Stomach pump or 
emetic; carbonate soda solution; rousing; 
mustard to the heart; nitrite amyl. If In- 
haled : Fresh air ; douche ; artificial respira- 
tion ; nitrite amyl ; battery. 

Choke Damp. See Carbonic Acid. 

Chromium, Chromates. — Symptoms :— Vom- 
iting ; purging ; cramps ; depression ; suppres- 
sion urine; pupils dilated.. Treatment: Stomach 
pump or emetic ; magnesia carbonate; chalk; 
gruel. 

Coal Gas.— Symptoms:— Giddiness; insensibil- 
ity; difficult breathing; asphyxia; coma. 
Treatment : Mustard to the heart. Also as f or- 
carbonic acid. 

Cocculus Indicus. See Picrotoxine. 

Colchicum, Meadow Saffron.— Symptoms:— 
Vomiting; purging; throat irritation; thirst;, 
sweat; twitchings; delirium. Treatment: 
Stomach pump or emetic; tannic; gallic acid; 
demulcent drink ; stimulants ; morphia. 

Colocynth.— Symptoms :— Vomiting ; purging; 
cold; weak pulse; collapse. Treatment: Stom- 
ach pump or emetic ; camphor, and similar to 
colchicum. 

Conine, Hemlock.— Symptoms :— Stagger- 
ing; loss of muscular power; sight; difficult 
breathing, swallowing ; asphyxia. Treatment : 
Stomach pump or emetic ; tannic, gallic acid ; 
warmth; artificial respiration ; stimulants; 
atropia, hypodermic. 

Copper.— Symptoms:— Colic, griping; metallic 
taste; vomiting, purging; thirst, sweating,, 
coldness, giddiness, coma. Treatment: Stom- 
ach pump or emetic; demulcent drink; mor- 
phia, hypodermic; linseed poultice. 

Croton Oii.— Symptoms :— Abdominal pain, 
purging, vomiting; cold skin, collapse. Treat- 
ment : Stomach pump or emetic; camphor, 
stimulants, morphia; gruel; linseed poultice. 

Curari ne. —Symptoms: —Paralysis of motors 
and respiration. Treatment : Artificial respi- 
ration; stimulants; ligature and wash wound. 

Cyanides. See Hydrocyanic Acid. 

Daturine. See Atropine. 

Digitalis (Foxglove).— Symptoms:— Abdominal 
pain, purging, vomiting; headache, small pulse, 
delirium, convulsions; cold skin, sweat; pupils 
dilated. Treatment: Stomach pump or emetic; 
stimulants; tannic acid; keep patient lying. 

Ergot.— Symptoms :— Tingling, cramps, vom- 
iting, diarrhea. Treatment: Stomach pump 
or emetic; tannic, gallic acid; nitrate arayl; 
stimulants; keep warm, lying down. 

Ether. — Symptoms : — Anaesthetic action. 
Treatment : Artificial respiration; fresh air:, 



Poisons. 



442 



Polishing. 



douche, stimulants; blows on chest it' heart 
stops. 

Fly Powders.— Generally treatment for ar- 
senic. 

Gas. See Coal Gas. 

Gelsemium. — Symptoms : — Giddiness; pain 
eyes and brows, double sight, weakness, suffo- 
cation, coma. Treatment : Stomach pump 
or emetic; douche; stimulants; artificial respi- 
x-ation. 

Hydrochloric Acid, Muriatic acid ; spirits; 
salts.— Symptoms:— Burning- pains, vomiting, 
thirst. Treatment : Not stomach pump (?) ; bi- 
carbonate soda; magnesia, lime water, soap 
water, demulcent drinks; morphia, hypoder- 
mic. 

Hydrocyanic Acid, Prussic acid.— Symptoms:— 
Insensibility; pupil dilated, skin cold, sweating, 
difficult breathing. Treatment : Stomach 
pump or emetic; ammonia inhaled; stimulants; 
atropia, hypodermic; artificial respiration; bat- 
tery. 

Hyoscyamine. See Belladonna. 

Iodine.— Symptoms :— Stomach, throat pain, 
vomiting, purging, giddi ness, f aintness (starch 
test). Treatment: Stomach pump or emetic; 
starch; nitrite amyl; morphia. 

Jaborandi.— Same treatment as pilocarpine; 
stomach pump or emetic. 

Laburnum. — Symptoms: —Purging, vomit- 
ing, drowsiness, convulsions. Treatment: 
Douche; stimulants; coffee. 

Lead. — Symptoms :— Metallic taste, thirst, 
colic, cramps, cold sweat, paralysis. Treatment : 
Stomach pump or emetic; sulphates; iodide 
potassium; morphia. 

Lemons, Salt of. See Oxalic Acid. 

Lobelia.— Symptoms :— Vomiting, giddiness, 
tremors, convulsions, depression, collapse. 
Treatment : Stomach pump or emetic, tannic 
acid; warmth; stimulants; keep lying down. 

Morphia.— Symptoms :— Intoxication ; sleep ; 
pupils contract; respiration and pulse slow, de- 
pressed. Treatment: Stomach pump or emetic; 
rouse; inhale ammonia; douche; battery; atro- 
pia, hypodermic; nitrite amyl; artificial res- 
piration. 

Muscarine, Fly fungus, mushrooms.— Symp- 
toms:— Colic, purging, vomiting, excitement, 
coma. Treatment: Stomach pump or emetic ; 
stimulants, castor oil, warmth; atropia, hypo- 
dermic. 

Nicotine. See Tobacco. 

Nitrate of Potassium, Saltpeter.— Symptoms : 
—Nausea, purging, vomiting, coldness, tremors, 
convulsions, paralysis, collapse. Treatment: 
Stomach pump or emetic; demulcent drinks, 
stimulants, warmth, nitrite amyl; atropia, 
hypodermic. 

Nitric Acid.— Symptoms:— Corrosion, vomit- 
ing, abdominal pain; difficult breathing. Treat- 
ment : Not stomach pump; magnesia, lime 
water, gruel, oil; morphia, hypodermic; trache- 
otomy. 

Nitro-benzol, Artificial Essence Almonds- 
Symptoms:— Nausea, difficult breathing, drow- 
siness, stupidity; coma. Treatment : Stomach 
pump or emetic; stimulants; douche; artificial 
respiration; battery; atropia, hypodermic. 

Nitrous Oxide. — Symptoms :— Anasthaesia. 
Treatment: Fresh air, oxygen; artificial res- 
piration. 

Opium. See Morphine. 

Oxalic Acid.— Symptoms:— Vomiting, purg- 
ing, cramps. Treatment: Chalk, sacch. lime; 
purgatives; no potash, soda or ammonia. 

Phosphorus (matches). — Symptoms :— Odor; 
vomiting; purple spots; delirium. Treatment: 
Emetic; French oil of turpentine; copper sul- 
phate; purgative. 

Physostigmine, Calabar bean.— Symptoms : — 
Faintness, prostration, twitching, giddiness; 
no delirium. Treatment: Stomach pump or 
emetic, stimulants; artificial respiration; atro- 
pia, hypodermic; chloral; strychnia, hypoder- 
jnic. 

. 'icrotoxine.— Symptoms : — Vomiting, weak- 



ness, sleep, eruption. Treatment: Stomach 
pump, chloral, potassium bromide. 

Pilocarpine.— Symptoms -.—Sweating, saliva- 
tion, headache, quick pulse. Treatment: At- 
ropia hypodermic, or belladonna by mouth. 

Potash.— Symptoms:— Caustic taste,corrosion, 
painful purging, skin cold. Treatment : Not 
stomach pump; vinegar, lemon juice, oil, de- 
mulcent drink. 

Prussic Acid. See Hydrocyanic Acid.— Stom- 
ach pump or emetic. 

Resorcin.— Symptoms :— Prickling of the skin, 
giddiness, sweating, insensibility, white lips, 
dry tongue. Treatment : Albumen, soda, sacch. 
lime; stimulants; warmth, battery, nitrate 
amyl; atropia, hypodermic. 

Savin.— Symptoms :— Vomiting, painful purg- 
ing, coma, convulsions. Treatment: Emetic, 
linseed poultice, purgative, morphia, hypo- 
dermic. 

Sewer Gas.— Symptoms : -Livid lips, conjunc- 
tivae injected, pupils dilated, insensible, tonic 
convulsions, high temperature. Treatment: 
Fresh air, artificial respiration, ammonia. 
Stimulants: Coffee. Hot and cold douche. 

Snake Bite. —Treatment :— Cauterization and 
ligature. Stimulants: Permanganate, liquor 
potassae; artificial respiration; ammonia in- 
jection. 

Soda. See Potash. 

Soothing Sirup. See Opium. 

Stramonium, Thorn apple.— Symptoms:— Pu- 
pils dilated, delirium, rash on skin, paralysis, 
coma. Treatment: Stomach pump or emetic; 
coffee, stimulants; pilocarp, hypodermic; arti- 
ficial respiration; mustard douche to limbs. 

Strychnine. — Symptoms : — Convulsions. 
Treatment: Stomach pump or emetic; potas- 
sium bromide; animi; charchi; nitrite amyl; 
curare; artificial respiration. 

Tartaric Acid. See Acwfe.— Symptoms:— Con- 
vulsions. Treatment: Alkalies (potash and 
soda) and ammonia, not suitable. Use lime, 
castor oil. 

Tobacco.— Symptoms:— Vomiting, dim vision, 
weak pulse, and cold skin. Treatment: Stom- 
ach pump or emetic; stimulant, strychnia, hy- 
podermic; tannic acid; hot application to skin; 
keep patient lying down. 

Turpentine.— Symptoms:— Intoxication, coma, 
collapse, pupils contracted. Treatment: Stom- 
ach pump or emetic; apomorphia if necessary; 
magnesia, sulphur; demulcent drink. 

Veratrine.— Symptoms : — Thirst, vomiting, 
painful diarrhea, headache, weak pulse. Treat- 
ment: Stomach pump or emetic; coffee, stimu- 
lants; warm application; keep patient lying 
down. 

Zinc— Symptoms:— Painful vomiting, quick 
pulse and breathing, paralysis, coma. Treat- 
ment: Potassium or sodium carbonate; tannic 
or gallic acid; milk; eggs; morphia, hypoder- 
mic. 

Pole, Warped.— Wet the concave side, and 
then hold the convex side to the fire. 

Polio.— Poho, a Chinese essence for head- 
ache, etc., consists, according to Hagar, of good 
and pure peppermint oil, rather good and 
resinous. According to others it is a mixture 
of Epsom salts and peppermint oil, or of the 
latter with oil of almonds. 

Polishing.— Agate, to Polish.— Quartz and 
agate are slit with a thin iron disk supplied 
with diamond dust moistened with brick oil. 
The rough grinding is done on a lead wheel 
supplied with coarse emery and water. The 
smoothing is done with a lead lap and fine 
emery, and the polishing may be accomplished 
by means of a lead lap, whose surface is hacked 
and supplied with rottenstone and water. 

Alabaster, to Polish.— First use pumice stone, 
then apply a paste made of whiting, soap and 
water, and lastly rub with Canton flannel. 

Polisliesfor Boots and Shoes, and Stoves, Black- 
ing for. See Blacking. 

Book: Edges, to Pol ish. — This is done with a 



Polishing. 



413 




Polishing. 



^volt's or dog's tooth, or a steel burnisher; for 
this purpose place the books in a screw press, 
with boards on each side of them, and other 
boards distributed between each volume; first 
rub the edges well with the tooth to give them 
a luster. After sprinkling or staining and 
when the edges are dry, burnish the front; 
then turning the press, burnish the edges at 
the top and bottom of the volume. Burnish 
the gilt edges in the same manner, after hav- 
ing applied the gold; but observe, in gilding, to 
lay the gold first upon the front, and allow it 
to dry; and on no account to commence bur- 
nishing till it is quite dry. 

Brass, to Polish.— Brass, Polishing Paste f or.— 1. 
Three parts of oxalic acid are dissolved in 40 
parts of hot water, and add 100 parts of pow- 
dered pumice stone, 2 parts of oil of turpen- 
tine, 12 parts of soft soap and 12 parts of a fat 
oil. 

2. For Brass and Copper.— Rottenstone, 3 oz.; 
powdered soap, 1 oz. 

3. Rottenstone, 7 oz.; powdered oxalic acid, 
1 oz. Both are used with a little water. 

4. Soft soap, 2 oz.; rottenstone, 4 oz.; beaten 
to a paste. 

5. Rottenstone made into a paste with sweet 
oil. 

6.tRottenstone, 4 oz.; oxalic acid, in fine pow- 
der, 1 oz.; sweet oil, 1>£ oz.; turpentine, q. s., to 
make a paste. 

The above are used to clean brass work, 
when neither varnished nor lacquered. The 
first and last are best applied with a little 
water, the second with a little spirit of turpen- 
tine or sweet oil. Both require friction with 
soft leather. 

Brass, Copper, German Silver, etc., to Polish. 
— Use Vienna lime with oil. 

Brass, to Polish. — Rub the metal with 
rottenstone and sweet oil. then rub off with a 
piece of cotton flannel, and polish with soft 
leather. A solution of oxalic acid rubbed over 
tarnished brass soon removes the tarnish, ren- 
dering the metal bright. The acid must be 
washed off with water, and the brass rubbed 
with whiting and soft leather. A mixture of 
muriatic acid and alum dissolved in water 
imparts a golden color to brass articles that 
are steeped in it for a few seconds. 

Brass Polishes.— 1. Make a pasteof equal parts 
of sulphur and chalk, with sufficient vinegar to 
reduce it to the proper consistency; apply it to 
the metal while moist, allow it to dry on, and 
rub with a chamois skin. For ornaments or en- 
graved work, clean with a brush. 

2. Another process, and one that gives 
to the brass a very brilliant color, is to make a 
wash of alum boiled in strong lye, in the pro- 
portion of 1 oz. alum to 1 pt. lye. Wash the 
brass with this mixture, and afterward rub 
with chamois and tripoli. 

3. A weak solution of ammonia in water 
makes an excellent wash. Apply it with a rag, 
dry with a piece of shammy, and afterward 
rub with a piece of shammy and a very small 
quantity of jewelers' rouge. 

4. Place 2 oz. sulphuric acid in an earthen 
vessel and add 1 qt. cold soft water; after the 
heat that is generated has passed off, add 1 oz. 
each tripoli and jewelers' rouge. When well 
mixed, put in a bottle for use. 

5. Brass may be polished without a burnisher, 
by using an exceedingly fine cut file, and fine 
emery cloth. 

6. Small articles to be polished should be 
shaken by themselves for a short time; then 
some greasy parings of leather should be put 
in the barrel with them. After they have 
been shaken smooth, the greasy leather par- 
ings are replaced by clean ones and the shaking 
is continued as long as necessary. 

7. When the brass is made smooth by turn- 
ing, or filing with a very fine file, it may be 
rubbed with a smooth fine grained stone, or 
with charcoal and water. When it is made 
quite smooth and free from scratches, it may 



be polished with rottenstone and oil, alcohol, 
or spirits of turpentine. 

8. Brass work can be polished by rubbing the 
metal with finely powdered tripoli mixed with 
sweet oil and applied with a rubber made from 
a piece of an old hat or felt. Or else a mixture 
of glycerine, stearine, naphthaline, or creo- 
sote mixed with dilute sulphuric acid can be 
used. 

9. Magic Polish for Brass.— Sulphuric acid, 
20 parts; pulverized bichromate of potash, 10 
parts; dilute with an equal weight of water; ap- 
ply well to the brass. Wash well in water, im- 
mediately wipe dry, and polish with rotten- 
stone. 

Celluloid, to Polish.— Make a kind of putty of 
hot soap, free from rosin, in which equal 
parts of fine pumice stone and flour emery 
have been mixed. 

Polishing Cloth.— 1. In 20 oz. water dissolve 4 oz. 
soap, and gradually add 2 oz. pumice stone or 
finely powdered emery. 

2. Infusorial earth may be used with advan- 
tage. Sat urate the best unbleached muslin with 
this paste. Color with a little aniline red, if 
desired. 

Polishing Compound.— Emerson's compound 
for polishing and cleaning glass, silver plate, 
tinware, and surfaces that permit only slight 
friction and but little action, consists of water, 
4 oz.; carbonate of ammonia, 1 oz. When dis- 
solved add 16 oz. Paris white, with aniline for 
coloring". This forms a solid. As the Paris 
white consists of white lead, all who purchase 
this compound should beware of using it upon 
the inside of culinary vessels. 

Putty Powder.— Put tin, as pure as possible, 
into a glass vessel— a wineglass does very well 
when making small quantities— and pour in 
sufficient nitric acid to cover it. Great heat is 
evolved, and care must be taken not to inhale 
the fumes, as they are poisonous. When there 
is nothing left but a white powder, it is heated 
in a Hessian crucible, to drive off the nitric 
acid. For Crocus see Crocus. 

Cutlery.— The burnishing of cutlery is execut- 
ed by hand or vise burnishers ; they are all 
made of fine steel, hardened, and well polished. 
The first kind have nothing particular in their 
construction ; but vise burnishers are formed 
and mounted in a very different manner. On a 
long piece of wood, placed horizontally in the 
vise, is fixed another piece, as long, but bent in 
the form of a bow, the concavity of which is 
turned downward. These two pieces are united 
at one of their extremities oy a pin and a hook, 
which allows the upper piece to move freely 
around this point as a center. The burnisher 
is fixed in the middle of this bent piece, and it 
is made more or less projecting, by the greater 
or lesser length which is given to its base. The 
movable piece of wood, at the extremity oppo- 
site to the hook, is furnished with a handle, 
which serves the workman as a lever. This 
position allows the burnisher to rest with 
greater force against the article to be burn- 
ished, which is placed en the fixed piece of 
wood. The burnisher has either the form of 
the face of a round headed hammer, well pol- 
ished to burnish those pieces which are plain or 
convex ; or the form of two cones opposed at 
their summits, with their bases rounded, to 
burnish those pieces which are concave or ring 
shaped. 

Emery Paper.— Emery paper is extensively 
employed for cleaning and polishing metals, 
but all the kinds in use hitherto have the great 
disadvantage of not retaining an equal effi- 
ciency. The fresh parts bite too much, and the 
paper itself soon gets worn through in places. 
Emery on linen has been tried, with good suc- 
cess. The emery paper recommended by the 
Manufacturer and Builder is not a pasteboard 
with emery on both sides, but a board in which 
emery enters as a constituent part. Fine and 
uniform cardboard pulp must be procured, and 
VitoYz its weight of emery powder thoroughly 



Polishing. 



444 



Polishing-. 






mixed with it, so that the emery may be equally 
distributed. The mass is then poured out iu 
cakes of 1 in. to 10 in. in thickness. They must 
not be pressed hard, however, but allowed to 
retain a medium pliability. This paper will 
adapt itself to the forms of the articles, and 
will serve until completely worn out. 

Emery Wheels.— I. Can be made with shellac 
powdered fine, and a small portion of rosin, a 
piece about the size of a walnut, to 1 oz. shellac, 
and a piece of old vulcanized India rubber about 
the same size, which gives it toughness. Shel- 
lac about 1 oz. to 1 lb. of emery, well melt, and 
stir about in a small frying pan ; well mix the 
powders before applying heat. Be careful not 
to burn it, or get grease in it ; have a ring of 
iron and a piece of plate iron prepared with 
black lead and beer pretty thick ; place the 
ring upon the plate and make a mould, turn 
the stuff into it, and well ram down evenly ; 
put on one side to cool ; when cold, turn out 
and chuck in lathe, and with a piece of red hot 
iron bore a hole for spindle ; after spindled put 
between centers, and trice up with hot iron. 
Very good grindstones maybe made with silver 
sand mixed with powdered glass, and it is ne- 
cessary to have some body besides shellac for 
coarse emery to form a body to bed the grains 
in. Emery dust from grinding glass, and Tur- 
key stone slips, and slate, may be used as a sub- 
stitute for the flour. 

2. Good emery wheels are formed of clean 
emery compounded with just enough boiled 
linseed oil, the mixture being agitated for a 
sufficient period under exposure to a consider- 
able heat and free acceas of atmospheric air, or 
some still more powerful oxidizing agent; it 
assumes the necessary degree of tenacity, and 
while warm, being exposed to hydraulic pres- 
sure in a suitable mould, and subsequent dry- 
ing in a stove, the emery wheel is complete. 

Friction Polish.— A good polish for iron or 
steel rotating in the lathe is made by using fine 
emery and oil ; which is applied by lead or wood 
clamps, screwed together. Three very good 
oils for lubrication are olive oil, sperm, and 
neats'foot. 

Furniture, to Polish. See Wood Polishing, 
below. 

Gas Fixtures, to Polish.— Pickle, and while in 
the lathe dip the burnisher in the following 
liquid : Turmeric root, 60 parts ; orange shellac, 
60 parts ; dissolved in alcohol tartar, 120 parts ; 
ox-gall, 3 parts ; alcohol, 6 parts ; water, 180 
parts ; dry with a soft cloth. 

German Silver, to Polish.— Take 1 lb. peroxide 
of iron, pure, and put half of it into a wash 
basin, pouring on water, and keeping it stirred 
until the basin is nearly full. While the water 
and crocus are in slow motion, pour off, leav- 
ing grit at the bottom. Repeat this a second 
time, pouring off into another basin. Cleanse 
out grit, and do the same with the other half. 
When the second lot is poured off. the crocus 
in the first will have settled to the bottom; 
pour off the water gently, take out the pow- 
der, dry it, and put both when washed clear of 
grit, and dried, into a box into which dust can- 
not get. If the silver work is very dirty, rub 
the mixture of powder and oil on with the 
fingers, and then it will be known if any grit is 
on the work. If the work is not very black, 
take a piece of soft chamois leather, and rub ♦ 
some dry crocus on, and when well rubbed, 
shake out the leather, and let the powder fall 
off that is not used, or rub it off with a brush. 
Do not put down the leather in the dust. 

Gold, to Polish.— 1. Use rouge on a buff moist- 
ened with alcohol. 

2. Use jeweler's rouge with a brush. 

Gold Polishing Powder for.— I. Eighteen parts 
of chalk are mixed with 5 parts of talc, 2 parts 
of silica, 5 payts of alumina, 2 parts of carbon- 
ate of magnesia, and 2 parts of jeweler's red. 

2. Rock alum (burned and finely powdered), 
5 parts; levigated chalk, 1 part; mix, and apply 
with a dry brush. 



Gold and Silver Lace.— Gold lace, spangles, 
clasps, knots, etc., may be brushed over with 
the following composition : One and one-half 
oz. shellac, J^drm. dragon's blood, y% drm. tur- 
meric root; digest with strong alcohol, decant- 
ing the ruby red colored tincture thus ob- 
tained. After coating with this composition, a 
warm flat iron is gently brushed over the ob- 
jects, so as to heat them only very slightly. 
Gold embroidery can be similarly treated. Sil- 
ver lace or embroidery may be dusted over 
with the following powder and well brushed : 
Take alabaster, and strongly ignite it, and 
while still hot place it in corn brandy; a white 
powder is thus obtained, which is fit for use 
after heating over the flame of a spirit lamp. It 
should be dusted on from a linen bag. 

Gold Workers, Polishing Powder for.— Car- 
bonate of lead, 21}/£ parts; carbonate of lime 
(chalk), 87 parts; carbonate of magnesia, 8^ 
parts; alumina, 21>£ parts; silica, 13 parts; jew- 
eler's rouge, 8^j parts. Mix together. 

Grindstone, Artificial.— Washed silicious sand, 
3 parts; shellac, 1 part; melt the lac, and mould 
in the sand, while warm. Emery may be sub- 
stituted for sand. Used for razors and fine 
cutlery. 

Horn and Bone, to Polish.— 1. Use finely ground 
pumice stone and water, applied with felt pol- 
ishing wheel; finish with rottenstone applied in 
the same way. 

2. Having scraped the work perfectly smooth 
and level, rub it with very fine sand paper, re- 
peat the rubbing with a bit of felt dipped in 
finely powdered charcoal with water; and 
lastly, with rottenstone or putty powder and 
finish with a piece of soft wash leather, damped 
with a little sweet oil ; or still better, rub it with 
subnitrate of bismuth by the palm of the hand. 

3. First scrape with glass to take off any 
roughness, then grind some pumice stone to 
powder, and with a piece of cloth wetted and 
dipped in the powder, rub them until a smooth 
face is obtained. Next polish with rottenstone 
and linseed oil, and finish with dry flour and a 
piece of cleanjinen rag. The more rubbing with 
the stone and oil, the better the polish. Trent 
sand is used in the Sheffield factories. It is a 
very fine and sharp sand, and is prepared for 
use by calcining and sifting. 

Iron, to Polish.— You cannot keep the bright 
color of polished iron on the hot parts of an 
engine without constant attention and wiping 
with engine oil. Oxalic acid may help the clean- 
ing, but the acid left on the bright surface 
favors oxidation. For cleaning, use tripoli, 
rottenstone, or pulverized pumice stone, with 
engine or kerosene oil. Neglected or dirty 
spots may be removed with a scraper and fine 
emery paper, and afterward rubbed with oil. 
Every part of bright work around an engine 
should be wiped with oil. Moisture imme- 
diately discolors a clean bright surface. Polish 
the lubricator with rottenstone and oil only, 
and only when necessary. Too much polishing 
soon makes it look old from wear. 

Iron and Steel, to Polish.— I. Usually the 
article to be polished is first rubbed down with 
emery of gradually increasing fineness, after 
which the article is moistened with alcohol or 
water and polished with Vienna lime, rouge or 
tin putty. 

2. Use tin putty and hartshorn triturated in 
alcohol. Use with any soft leather ; this is an 
excellent polish. 

3. Take an ordinary bar of malleable iron in 
its usual merchantable state, remove the oxide 
from its surface by the application of diluted 
sulphuric acid, after which wash the bar in an 
alkaline solution, then cover the entire bar 
with oil or petroleum. The bar is then ready 
for the chief process. A muffle surface is so 
prepared that a uniform, or nearly uniform, 
heat can be maintained within it, and in this 
furnace the bar is placed. Care must be taken 
that too great a heat is not imparted to it, for on 
this depends the success of . the operation. 



Polishing. 



445 



Polishing. 



When the bar approaches a red heat, and when 
the redness is just preceptible, it is a certain 
indication that the proper degree has been at- 
tained. The bar is then at once removed and 
passed through the finishing - rolls five or six 
times, when it will be found to have a dark 
polished uniform surface and the appearance 
of Kussian sheet iron. 

4. Keys, Key Rings and Other Articles of 
Iron.— Finish them well with a dead smooth 
file, then mix some fine emery and oil together, 
hold the key in wood clamps, take some lom>- 
strips of wash leather, dip in the above and 
polish well every part until all scars dissappear, 
then tie two or three dozen on a piece of iron 
binding wire, put them in an iron box with 
leather scraps burnt and made into a fine pow- 
der, cover bottom of box y% in. thick, spread 
out the keys on this, cover them up with the 
powder or leather dust, put a lid on, tie down, 
put in a slow fire until the box is red hot, soak 
about twenty minutes, then open the box, take 
out the keys quick, plunge them in oil— water 
makes them too brittle; now repeat the polishing 
as before, with long leather strings dipped in the 
oil and emery, until all the black from the 
hardening is off every part, then take them to 
the brushing frame, charge your brush well 
with flour of emery, keep turning the key in 
every direction until the polish begins to ap- 
pear; after this dip them in slaked lime, and 
get off every particle of grease. Take them to 
another brushing frame, the brush charged 
with crocus and water; keep dipping the key 
in occasionally, and follow up process on the 
brush until the polish comes up well. To put 
the extra gloss or polish on, take the leather 
strings as before, this time dipped in a mixture 
of putty powder and water; work the string- 
well over every part until dark polish comes 
up. If you wish a higher polish, it is done by 
hand — that is, girls dip their hands in the putty 
powder mixture above and rub every possible 
part up with the palm of the hand, and this 
gives the beautiful polish that is upon them. — 
Axibin. 

5. Boden recommends the f ollowing method 
of brightening the surfaces of iron plates, wire, 
etc., as the result of numerous experiments 
made in the laboratory of the Industrial 
Museum at Munich: The object, whatever it 
may be, just as it comes from the forge, is laid 
for the space of one hour in dilute sulphuric 
acid (oV part acid). The action of the acid may 
be increased by the addition of a little carbolic 
acid (?). The forge scales are loosened by the 
action of the acid, and the object is then wash- 
ed clean with water and dried with sawdust. 
Next, it is held for an instant in nitrous acid, 
the operator of course being on his guard 
against the nitrous fumes, washed again care- 
fully, dried in sawdust and rubbed over clean. 
Iron goods thus treated acquire a perfectly 
bright, pure surface, having a white glance, 
without the intervention of any mechanical 
process of polishing. 

6. Steel.— Use bell metal polishers for arbors, 
having first brought up the surface with oil- 
stone dust and oil and soft steel polishers; for 
fiat pieces use a piece of glass for the oilstone 
dust, a bell metal block for the sharp red stuff, 
and a white metal block for the fine red stuff. 
The polishing stuff must be well mixed up and 
kept very clean; the polishers and blocks must 
be filed to clean off the old stuff, and then rub- 
bed over with soft bread; put only a little red 
stuff on the block and keep working it until it 
is quite dry; the piece will then leave the block 
quite clean; use bread to clean off the surplus 
red stuff before using the brush. If the piece 
is scratched, put on some more red stuff, which 
must not be too wet, and try again. 

7. The polish on flat steel pieces in fine watch- 
work is produced with oilstone dust, burnt 
Turkey stone, and a steel polisher, soft steel, 
bell metal, and sharp stuff, grain tin and 
glossing stuff. The metals are squared with a 



file and vary in shape according to the work 
in hand. 

8. Get an 18 gal. barrel and put an iron 
spindle through the two ends; mount it on 
trestles in the same way as a butter churn, 
with a winch to turn it by; cut out a hole in 
the side by which to introduce the articles to 
be polished; have a tight fitting cover to the 
hole; procure some worn out casting pots or 
crucibles, such as used by founders, and pound 
them in an iron mortar until fine enough to 
pass through a sieve which will not allow the 
steel articles to pass through. Put equal quan- 
tities of this grit and of the articles in the bar- 
rel; fasten on the cover and turn the barrel 
for about an hour at the rate of about fifty 
turns a minute; take all out of the barrel and 
sift out the grit. If a finer polish than this is 
required, put them through another turning, 
substituting for the grit small scraps of leather 
called mosings, which can be procured from 
curriers, and emery flour. Do not more than 
half fill the barrel. 

9. Iron (Wrought), to Polish. Warm goods 
till they are unbearable to the hand; then rub 
with new clean white wax. Heat the goods 
again so that the wax may spread on them; then 
rub them over with a piece of serge. 

10. To Give Iron Articles a Brilliant Luster. 
—Pulverized arseniousacid, Tj^drm.; elutriated 
bloodstone, 7^ oz.; antimony trichloride (but- 
ter of antimony), 3% oz. Pour over these ma- 
terials 5 pt. alcohol 90£. Digest at a gentle 
heat, shaking frequently. When iron is pol- 
ished with this fluid, it precipitates upon it a 
thin film of antimony and arsenic, which pro- 
tects the iron from oxidation, and also gives it 
a fine appeai-ance, 

11. To Make Iron Take a Bright Polish Like 
Steel. — Blue vitriol, 13^ oz.; borax, V/& oz.; prus- 
siate of potash, \y 2 oz.; charcoal, 1% oz.; salt, 
% pt. Pulverize, and dissolve in Ij^qt. hot 
water. Add 1}4 gal. linseed oil; mix well. Bring 
the iron or steel to the proper heat, and cool 
in this solution. 

Ivory, to Polish. — Pumice stone and putty 
powder. 

Lead, to Polish. — Use Jewelers' rouge on a 
chamois skin. 

Zinc, to Polish. — Scrape, and polish with 
Vienna lime. 

Polishing the Edges of Leather Straps. — First 
you will want an edge tool. If only a light 
single strap, a No. 1 will do, which is run down 
the edge to take it off and make it round. Next 
rub it down with fine sandpaper; then, if for 
brown leather, get some good harness black- 
ing, put as much as you want to use into 
a cup, dissolve some oxalic acid in water, and 
pour in as much as will turn it a light brown, 
apply it to the edge of the strap, and rub it 
down with a clean cloth till the edge is smooth 
and glossy. Next you will want a screw crease 
(which you can procure at the tool shops), 
which is heated in the fire or gas till it is just hot 
enough to mark the leather without burning- 
it; you can set it with the thumb screw to any 
width you like, up to Y 2 in. or % in. Lay the 
strap on a flat piece of planed boai'd; then, 
holding the crease firmly in the hand, you run 
it down the strap; alter the width for every 
mark or line. 

Marble. — 1. If the piece to be polished is a 
plane surface, it is first rubbed by means of 
another piece of marble, or hard stone, with the 
intervention of water and two sorts of sand ; 
first with the finest river or drift sand, and 
then with common house or white sand, which 
latter leaves the surface sufficiently smooth for 
the process of gritting. Three sorts of grit 
stone are employed: first, Newcastle grit; 
second, a fine grit brought from the neighbor- 
hood of Leeds; and lastly, a still finer, called 
snake grit, procured at Ayr, in Scotland. These 
are rubbed successively on the surface with 
water alone; by these means, the surface is 
gradually reduced to closeness of texture, fit- 



Polishing. 446 



Polishing. 






ting it for the process of glazing 1 , which is per- 
formed by means of a wooden block having a 
thick piece of woolen stuff wound tightly round 
it; the interstices of the fibers of this are filled 
with prepared putty powder (peroxide of tin), 
and moistened with water ; this being laid on 
the marble and loaded, it is drawn up and down 
the marble by means of a handle, being oc- 
casionally wetted, until the desired gloss is 
produced. The polishing of mouldings is done 
with the same materials, but with rubbers 
varied in shape according to that of the mould- 
ing. The block is not used in this case; in its 
stead a piece of linen cloth is folded to make a 
handful; this also contains the putty powder 
and water. Sand rubbers employed to polish a 
slab of large dimensions should never exceed § 
of its length nor J of its width; but if the piece 
of marble is small, it may be sanded itself on a 
larger piece of stone. The grit rubbers are 
never larger than that they may be easily held 
in one hand; the largest block is about 14 in. in 
lensrth and 4Yz in. in breadth. 

2. Polishing includes 5 operations. Smoothing 
the roughness left by the burin is done by rub- 
bing the marble with a piece of moist sandstone; 
for mouldings, either wooden or iron mullers 
are used, crushed and wet sandstone, or sand, 
more or less fine according to the degree of 
polish required, being thrown under them. 
The second process is continued rubbing with 
pieces of pottery without enamel, which have 
only been baked once, also wet. If a brilliant 
polish is desired, Gothland stone instead of 
pottery is used, and potter's clay or fuller's 
earth is placed beneath the muller. This op- 
eration is performed upon granites and por- 
phyry with emery and a leaden muller, the up- 
per part of which is incrusted with the mix- 
ture until reduced by friction to clay or an 
impalpable powder. As the polish depends al- 
most entirely on these two operations, care 
must be taken that they are performed with a 
regular and steady movement. When the mar- 
ble has received the first polish, the flaws, cav- 
ities, and soft spots are sought out and filled 
with mastic of a suitable color. This mastic is 
usually composed of a mixture of yellow wax, 
rosin, and Burgundy pitch, mixed with a little 
sulphur and plaster passed through a fine 
sieve, which gives it the consistency of a thick 
paste; to color this paste to a tone analogous to 
the ground tints or natural cement of the ma- 
terial upon which it is placed, lampblack and 
rouge, with a little of the prevailing color of 
the material, are added. For green or red mar- 
bles, this mastic is sometimes made of lac, 
mixed with Spanish sealing wax of the color of 
the marble; it is applied hot with pincers, and 
these parts are polished with the rest. Some- 
times crushed fragments of the marble worked 
are introduced into this cement; but for fine 
marbles, the same colors are employed which 
are used in painting, and which will produce 
the same tone as the ground; the lac is added 
to give it body and brilliancy. The third ope- 
ration of polishing consists in rubbing it again 
with hard pumice, under which water is con- 
stantly poured, unmixed with sand. For the 
fourth process, called softening the ground, lead 
filings are mixed with the emery mud produced 
by the polishing of mirrors or the working of 
precious stones, and the marble is rubbed with 
a compact linen cushion, well saturated with 
this mixture; rouge is also used for this polish. 

For some outside works, and for hearths and 
paving tiles, marble workers confine themselves 
to this polish. When the marbles have holes or 
grains, a leaden muller is substituted for the 
linen cushion. In order to give a perfect 
brilliancy to the polish, the gloss is applied. 
Well wash the prepared surfaces, and leave 
them until perfectly dry; then take a linen 
cushion, moistened only with water and a lit- 
tle powder of calcined tin of the first quality. 
After rubbing with this for some time, take 
another cushion of dry rags, rub with it lightly, 



brush away any foreign substance which 
might scratch the marble, and a perfect polish 
will be obtained. A little alum mixed with the 
water used penetrates the pores of the marble, 
and gives it a speedier polish. This polish spots 
very easily, and is soon tarnished and destroyed 
by dampness. It is necessary, when purchas- 
ing articles of polished marbles, to subject 
them to the test of water; if there is too much 
alum, the marble absorbs the water, and a 
whitish spot is left. 

3. To polish imitation marbles, when you 
have finished marbling, let the work stand for 
a day or two ; then gently rub it down with the 
back or smooth side of a sheet of sandpaper; 
this will take off the knits or bits of skin which 
maybe upon it, without scratching it; now 
give it three coats of the best pale polishing 
copal varnish, allowing an interval of two day& 
after each coat. Let this stand for three 
weeks ; then cut it down with ground pumice 
and water, using a piece of wash leather or 
rag for that purpose. When you have got it 
tolerably smooth and level, wash it well with 
plenty of clean water, taking particular care 
to clean off all the pumice ; give it five coats of 
varnish. It ought now to stand for three to 
six months before it is polished, for if it is 
done before it is almost certain to crack. 
When the varnish is sufficiently hard, cut it 
down with finely ground pumice as before; 
then use rottenstone and olive oil, Avith the ball 
of the hand; then flour and oil; finish off 
with dry flour. This takes a deal of time to do 
it properly. 

4. Mr. W. C. Durkee (Boston) gives the fol- 
lowing formula for a marble dressing or polish: 

Pure beeswax 10 parts. 

Japan gold size 2 parts. 

Spirits of turpentine 88 parts. 

The mixture is of creamy consistence, and 
should be applied in small quantities, with the 
aid of a piece of white flannel. If it is desh*ed 
for use upon white marble, white wax may be 
substituted. The same preparation can be 
used to advantage on woodwork. The Japan 
size prevents the stickiness which exists when 
wax alone is used. 

5. For polishing a Black Marble Clock try 
the following: 

Linseed oil 4= oz. 

Elemi Yz oz. 

Methylated spirit 2 oz. 

Turpentine 5 oz. 

Acetic acid Yz oz. 

Water . . . 3Yz oz. 

Dissolve the elemi in the methylated spirit 
and strain. Mix with the oils, and add the 
aqueous fluids. 

Metals, Polishing and Finishing of.— We now 
come to the means adopted for finishing and 
polishing steel and iron. Take, for instance, a 
surface of steel as an example. The square 
stem of a drilling instrument will form a very 
good subject. After it is roughed out and the 
work all done, it must be draw filed, and this 
must be done with a superfine Lancashire file, 
and the lines must be kept quite straight, 
otherwise it will require so much emery paper 
that the edges will lose the sharp angles which 
are the beauty of the work. Any ordinary 
workman can rub away with emery paper, but 
in so doing he may spoil the appearance of a 
piece of good work, and that without knowing 
it. To avoid this, the smoother and better it 
is filed the less paper will it require. To get 
the beautiful finish we see on the best work, a 
piece of flour emery paper, well worn, and a 
little oil upon it, will be found the best thing 
to use, and when this has been well worked, to 
get the high polish, a piece of wood flat upon 
the surface, with some fine crocus, will bring it 
up to this state; and if any deep scratches be 
there, you wih at once observe them, and to 
remove them, in all probability, it will have to 
be filed all over again. Now, to avoid all this 






Polishing. 



447 



Polishing. 



loss of time, great care must be taken that the 
scratches are removed before any attempt is 
made to polish. Having finished the work so 
far, many prefer to see it left straight; others, 
again, like to see it in some way- ornamented. 
N ow, there are several ways of doing this. First, 
then, to cross the surface. This is done by fold- 
ing a piece of emery paper tightly round a 
file, but the process is not the merely pushing 
it across the wOrk and making a mark, but it 
requires some practice to produce a good pat- 
tern, and the wrist must take a kind of circular 
action, and by doing this each line becomes, so 
to speak, connected, and makes a much better 
finish than a series of lines only. Another pro- 
cess of finishing steel is to curl all over the 
surface with a piece of oil stone that will cut. 
This is a most difficult thing to obtain, as very 
few stones will cut steel to leave the bright 
marks necessary to give it the appearance de- 
sired. "When a piece of this is once obtained 
it is really a prize, and if it wears away it may 
be inserted as far as possible into a wooden 
handle. To use the stone when it is once ob- 
tained is the next thing. This is done by hold- 
ing it firmly in the hand and moving it about 
in all directions, like curling brass. There is 
no stated number or size of the curl, but this 
is quite a matter of taste and must be left to 
the operator. Another way of finishing iron 
and steel is with the scraper, which is used 
with both hands, and the work must be scraped 
in various directions, but with regularity. 
Large surfaces are sometimes done in this way. 
Lathe beds are at times done so, but we think 
this is somewhat out of character, as the fact 
of continually drawing the poppit head up and 
down the bed produces a series of lines which 
looks most unsightly. Regarding all this, it is 
all a matter of taste, and the style of finish 
must be left to the operator. — Forge and Lathe. 
Polishing Agents for Metals. — Polishing (Putz) 
Soap.— 1. Stir into 37^ lb. of liquid cocoanut 
oil soap 3 lb. of tripoli and V/% lb. each alum, 
tartaric acid, and white lead. 

2. Cocoanut oil, 401b., stirred into 20 lb. of lye 
of 38° to 40°. When the mixture is bright add 
5 lb. colcothar, mixed with 5 lb. of water. Put 
in finally 2 oz. 1 drm. of spirit of sal ammoniac. 

3. Shave finely 11 lb. cocoanut soap, add some 
water and melt. Add 13 oz. 2 drms. of chalk; 6 
oz. 4 drm. each of alum, tartaric acid and white 
lead. Stir vigorously. 

Polishing Powder.— 1. Carbonate magnesia, 
5 lb.; calcium carbonate, 51b.; ferric oxide, 8% 
lb.; mix thoroughly. 

2. Carbonate magnesia, 51b.; elutriated col- 
cothar, 6 oz. 7 drm. 

3. A very useful polishing - powder for metals 
and glass is made of very fineiy ground glass 
mixed with a small proportion of dried soda 
ash. 

Metals.— 1. The method generally employed by 
machinists in grinding and polishing either new 
or old work is to mix the polishing material 
with oil, usually refuse machinery oil ; in most 
cases this is a great mistake, and has caused 
the loss of time, patience and money. Take, 
for instance, the grinding to a true bearing of 
a stopcock, a valve seat, or a slide valve. 
There are few machinists but what have had 
more or less of that class of work to do, partic- 
ularly in jobbing shops, and we seldom find one 
who uses the same method of accomplishing 
the iob that is practiced in shops where that 
class of work is made a specialty. In fitting 
and grinding the plug into the barrel of a 
cock, a little judgment and care will save a 
great deal of hard labor, and in no case should 
oil be mixed with any of the grinding mate- 
rial, for the following reasons : If fine emery, 
ground glass, or sand is used with oil, it re- 
quires but a few turns of the plug in the bar- 
rel to break up the grains of the grinding ma- 
terial into very fine particles; the metallic 
surfaces also grind off, and the fine particles of 
metal, mixing in with the grinding material | 



and oil, make a thick paste of the mass. At 
this stage it is impossible to grind or bring the 
metallic surfaces to a bearing, as the gluey 
paste keeps them apart ; if more grinding stuif 
is applied, it will prevent the operator from 
seeing what part of the barrel and plug bears 
the hardest. Again, if the grinding material 
be distributed over the whole surface, the parts 
that do not bear will grind off as fast as the 
parts that touch hard, as the particles work 
freely between the surfaces; should the bar- 
rel and plug bear equally all over when fitted, 
it requires more care than if it were a top or 
bottom bearing, as that part of the barrel and 
plug across the waterway grinds twice as fast 
as the other parts ; therefore it should be kept 
the driest. Now this objection holds good in 
the grinding of valve seats or slide valves, to 
wit : the separation of the surfaces of the 
metal by a thick, pasty, grinding material. In 
order to bring the surfaces to a perfect bear- 
ing rapidly and with little labor, the following 
directions will be found worth a trial : To grind 
a stopcock of any kind, first see that the plug 
fits the barrel before it is taken from the 
lathe. Run a half round smooth file up and 
down the barrel to break any rings that may 
be in it ; a few rubs of a smooth file back and 
forth over the plug will break any rings or 
tool marks on it. Wipe both parts clean. 
Use for grinding material fine moulders' sand 
sifted through a fine sieve. Mix with water in a 
cup, and apply a small quantity to the parts 
that bear the hardest. Turn rapidly, press- 
ing gently every few turns \ if the work is 
large and the lathe is used, run slowly; press 
and pull back rapidly to prevent sticking and 
ringing; apply grinding sand and water until 
a bearing shows on another part, then use no 
more new sand, but spread the old that has 
worked out over the whole surface. Turn rap- 
idly, pressing gently while turning; withdraw 
the plug and wipe part of the dirt off, and rub 
on the place a little brown soap; moisten with 
water and press the surfaces together with all 
the force at hand, turning at the same time. 
Remove the plug and wipe both parts clean ; 
next try the condition of the bearing by press- 
ing the dry surfaces together with great force. 
If the parts have been kept closely together 
while grinding, and the plug has not rubbed 
against the lower part of the barrel, the sur- 
faces will be found bright all over and a per- 
fect bearing obtained. If an iron barrel and a 
brass plug are used, or two kinds of brass, a 
hard and soft metal, soap should be used free- 
ly when finishing up, as the tendency to form 
rings is greater when two different metals are 
used. 

2. In grinding a slide valve which has been 
in use until hollow places have worn in the 
surface, emery mixed with water, or sand and 
water, will be found better than oil, unless a 
light body of oil, such as kerosene, is used. If 
water is used with the grinding material, soap 
should be rubbed on hollow places, and the 
grinding stuff should be applied to the high parts 
in small quantities, keeping the low parts clean 
and dry until an even surface is obtained all 
over ; then the worn out stutf should be used 
for finishing up. In polishing metal, oil that 
will gum up should not be used with the pol- 
ishing material unless for a dead fine polish. 

3. In polishing old brass work which has been 
scratched and tarnished by wear, pumice or 
bathbrick should be used with soap and water 
for scouring off with, and rottenstone with 
kerosene oil for the wet finish, and dry for 
the final polish. The same method should be 
used for new brasswork. New work should re- 
quire, after leaving the lathe and vise tools, 
but little polishing or grinding, and every good 
workman should try to avoid using an emery 
stick or emery cloth, as with proper care in the 
use of tools a great deal of grinding and pol- 
ishing can be dispensed with. The polishing of 
metals varies somewhat according to their 



Polishing. 



448 



Polishing. 



character, but the main principal underlying 
all is the substitution of progressively finer 
scratches for those left by the material last 
used, until they become so delicate as to be in- 
visible without the aid of a microscope. 

Nails, to Polish. See Nails. 

Nickel, Paste for Polishing.— Use chalk mixed 
with tallow. 

Nickel Plated Goods, to Clean.— 1. Ordinary 
rouge is used by nickel platers. The following 
is excellent: Take equal parts of precipitated 
iron carbonate and prepared chalk, or take 
quicksilver with chalk % oz., and prepared 
chalk 2 oz.; mix them. When used, add a small 
quantity of alcohol, and rub with chamois 
leather. 

2. Rouge with a little fresh lard or lard oil, 
on a wash leather or piece of buckskin. Rub 
the bright parts, using as little of the rouge and 
oil as possible ; wipe off with a clean rag slight- 
ly oiled. Repeat the wiping every day, and 
polishing as often as necessary. 

Polishing Powder, the Parisian.— Mix together 
5 parts jewelers 1 red and 30 parts carbonate of 
magnesia. Use with alcohol. 

Pearl, to Polish.— Add olive oil to finely pul- 
verized rottenstone, so as to make a thick 
paste. Then add sulphuric acid in sufficient 
quantity to make a thin paste. Apply this 
paste and rub quickly with a cork covered with 
velvet, and, as soon as the pearl takes the pol- 
ish, wash off. This is a fine polish. 

2. (Jo over it with pumice stone finely pow- 
dered, washed to separate the impurities and 
dirt, with which polish it very smooth; then 
apply putty powder and water by a rubber, 
which will produce a fine gloss and good color. 

Pewter.— The burnishing of pewter articles is 
done after the work has been turned or finished 
off with a scraper. The burnishers are of dif- 
ferent kinds, for burnishing articles either by 
hand or in the lathe; they are all of steel, and 
while in use are rubbed with putty powder on 
leather, and moistened with soapsuds. 

Piano Keys, to Polish.— The frame would not 
hold the keys sufficiently level or firm. A bet- 
ter way would be to hand screw a few at a time 
on a board, and scrape them in that position. 
They should be finished with flour paper, care 
being taken that they do not get too hot dur- 
ing the process. Unless the keys are very hol- 
low or much discolored, it would perhaps be 
better to dispense with the scraper altogether, 
using a coarser glasspaper in its stead." They 
should be polished singly, on a board covered 
with several thicknesses of cloth; this should 
be placed on a bench, and the ivories vigorously 
rubbed, lengthwise and face downward, until 
a good polish is obtained. Putty powder is the 
best polishing material, though pumice might 
first be used to take out any mar-ks left by the 
paper. A very brilliant polish may be got by 
finishing the keys with a similar board covered 
with wash leather, and sprinkled with rouge. 
A liberal supply of water is necessary during 
the process. 

Plaster of Paris Work, to Polish.— Add to the 
gypsum 1 or 2% of alum, sulphate of potash or 
borax. The gypsum will set slowly, and is 
capable of receiving a high polish. 

Plate Powders.-l. Take equal parts precipi- 
tated subcarbonate of iron and prepared chalk. 

2. An impalpable rouge may be prepared by 
calcining the oxalate of iron. 

3. Take quicksilver with chalk, H oz., and 
prepared chalk, 2 oz.; mix them. When used, 
add a small quantity of spirits of wine, and rub 
with chamois leather. Not recommended. 

4. Put sulphate of iron into a large tobacco 
pipe ; place it in a fire for a quarter of an hour; 
mix with a small quantity of powdered chalk. 
This powder should be used dry. 

5. The following makes a liquid polish for 
silver plate: Three to 4 drm. cyanide of potas- 
sium, b to 10 grn. nitrate of silver, and 4 oz. of 
water; apply with a soft brush, wash the object 
thoroughly with water, dry with a soft linen 



I cloth, and polish with cbamois skin. Neither 
whiting nor powder of any kind should be used 
for cleaning and polishing— they only waste 
and scratch the silver. 

6. Take 2 oz. hartshorn powder and boil it in 
1 pint water; soak small squares of damask 
cloth in the liquid, hang them up to dry, and 
they will be ready for use, and better than any 
powders. 

7. Add by degrees 8 oz. prepared chalk in fine 
powder to a mixture of 2 oz. spirits of turpen- 
tine, 1 oz. alcohol, ]4 oz. spirits of camphor, 
and 2 drm. aqua ammonia; apply with a sponge, 
and allow it to dry before polishing. 

8. Mix together 1 oz. fine chalk, 2 oz. cream 
of tartar, 1 oz. rottenstone, 1 oz. red lead, and 
% oz. alum; pulverize thoroughly in a mortar. 
Wet the mixture, rub it on the silver, and, 
when dry, rub off with a dry flannel, or clean 
with a small brush. 

9. An excellent preparation for polishing 
plate may be made in the following manner : 
Mix together 4 oz. spirits of turpentine, 2 oz. 
90% alcohol, 1 oz. spirits of camphor, and y% 
oz. spirits of ammonia. To this add 1 lb. whit- 
ing, finely powdered, and stir till the whole is 
of the consistency of thick cream. To use this 
preparation with a clean sponge, cover the 
silver with it, so as to give it a coat like white- 
wash. Set the silver aside till the paste has 
dried into a powder; then brush it off, and 
polish with chamois leather. A cheaper kind 
may be made by merely mixing 90$ alcohol 
and whiting together. 

French Plate Powder.— i. Mix jewelers 1 rouge 
with carbonate of magnesia, 1 to 12. 

2. Putty powder finely powdered, 2 oz.; levi- 
gated chalk, 10 oz. 

3. Equal parts common salt, alum, cream of 
tartar; dissolve in hot water and boil the plate 
in it. 

Putz Pomade.— I. In 100 lb. common yellow 
vaseline, melted, stir 20 lb. of fine colcothar. 

2. Same as above, only using lard instead of 
vaseline. 

3. 20 lb. of Am. mineral oil and 5 lb. of lard are 
melted and 251b. of fine colcothar are stirred in. 

4. The following is given as the formula for 
genuine putz pomade : 

Oxalic acict 1 part. 

Oxide of iron 25 parts. 

Rottenstone 20 parts. 

Palm oil 60 parts. 

Vaseline 4 parts. 

The oxide of iron may be Venetian red. 
Both it and the rottenstone must be absolutely 
free from grit. Oxalic acid is poisonous. 

Quartz, etc., Polishing. — To get a fine polish on 
such stones as quartz, granite, etc., grind the 
surface on a grindstone, the last grinding 
being very light, and then rub with ground 
pumice stone and water on the end of a piece 
of wood or on a piece of sole leather, finish- 
ing with a piece of sole leather with oxide 
of tin or rouge, wet. The same process will 
answer for polishing geological specimens, such 
as coral, onyx, jasper, etc. A piece of felt or 
heavy woolen cloth tacked on a board also 
makes a good polisher. An ordinary lapidary^ 
outfit consists of appliances not usually kept on 
sale, but which any machine shop can readily 
furnish. You will need a frame with wheel 
shaft and spindle, with several lead laps, one 
for coarse and one for fine emery, and one or 
more for polishing, also > a lap made with end 
wood on a chuck for polishing, and a leather 
polisher, desirable for rounded work. A thin 
disk of copper mounted on ordinary lathe spin- 
dle is used for slitting with emery. In using 
diamond dust, which is employed in working 
on diamonds, and in some other cases, a sheet 
steel disk, very thin, should be used. 

Hags, Polisliing.— Saturate woolen stuff with 
a solution composed of 3 oz. 4 drm. of Castile 
soap dissolved in 14 oz. water. To this solu- 
tion add 22 drm. tripoli. Color with coralline. 






Polishing:. 



Shells, to Polish.— 1. Boil in a strong solution of 
potash; then polish with hydrochloric acid and 
putty powder. 

2. Clean the surface with hydrochloric acid 
until the outer skin is removed . Wash in warm 
water, dry in sawdust and polish with chamois 
skin. If the shell is destitute of natural luster, 
rub with tripoli powder and turpentine applied 
with a chamois skin, and finally finish with 
olive oil. 

See also Tortoise Shell. 

Shells, to Prepare and Polish.— 1. Porcelainous 
shells are so hard as to require the apparatus 
of a lapidary to cut or polish them, but they 
are generally so smooth as to require no rough 
grinding. They may be polished by using a 
felt wheel and applying putty powder. Na- 
creous shells or those of the pearl variety may 
be filed and cut without a great deal of diffi- 
culty. Pieces to be turned are first roughly 
shaped on the grindstone, then turned and 
polished with pumice stone, putting on the final 
polish with rottenstone. Irregularly shaped 
pieces are filed and ground, then smoothed 
with pumice stone and water, and finished 
with rottenstone. The rottenstone is some- 
times mixed with sulphuric acid full strength, 
or slightly diluted, to heighten the polish. 

2. Rough shells are polished by first grinding 
them on a coarse stone, then smoothing them 
with pumice stone and water on a buffer wheel 
or with a hand polisher, and finishing with 
rottenstone. 

Show Cases, to Polish.— A good polishing pow- 
der consists of rock alum, burned and finely 
powdered, 5 parts; levigated chalk, 1 part; mix. 
Apply with a dry brush. 

Silver Plated Ware, Polish for. — 1. Dissolve 2 
drm. potassium cyanide and 5 grn. silver 
nitrate in 2 oz. water. Apply with a soft brush; 
dry with a cloth and with chamois skin. 

2. A thin coating of collodion may be used 
to prevent tarnish where silver is to be stored 
for any length of time. 

Silverware, to Clean.— Use any of the powders 
given below or the liquid polishes also given. 
It should be remembered that every polish re- 
moves a portion of silver, so that cleaning 
should be resorted to only when absolutely 
necessary. See also Soaps, Silver. 

1. Caustic ammonia, 5 parts ; water, 200 parts ; 
sodium hyposulphite, 20 parts; ammonium 
chloride, 10 parts. 

2. Sodium hyposulphite has been recommend- 
ed by Messrs. Tiffany & Co. Use with water. 

3. Have ready a basin containing equal parts 
oil of vitriol and water, make the article white in 
a gas flame (not white heat, but a snowy white, 
which it will assume after exposure to the 
flame), then plunge it into the pickle, and there 
leave it for one half hour, then dry in box 
dust. Applies to solid ware only. 

4. Heat to a dull red (if there is no lead pres- 
ent), allow to cool, and when cold boil in a 
pickle of water acidulated with sulphuric acid 
(30 water, 1 acid) until perfectly white; take 
out, swill in clean water, and burnish the prom- 
inent parts; dry in hot boxwood sawdust. 

5. Commence by cleaning off any kind of dirt 
which the surfaces of the silver articles had 
contracted while making, as that would en- 
tirely spoil the burnishing. For this purpose, 
take pumice powder, and with a brush, made 
very wet in strong soapsuds, rub the various 
parts of the work, even those parts which are 
to remain dull, which, nevertheless, receive 
thus a beautiful white appearance ; wipe with 
an old linen cloth, and proceed to the burnish- 
ing. 

6. A few drops of nitrobenzol are added to 40 
parts vaseline (common) ; 50 parts of whiting 
are now stirred in together with 10 of burnt 
hartshorn and 10 parts of very finely powdered 
cuttlebone ; mix thoroughly. 

7. Finest whiting, 15 parts; soda, 1% parts; 
citric acid, % part. Reduce to a fine powder. 
Use by moistening the powder with water. 



449 Polishing;. 

8. Use a burnisher ; wet with soap- water. Sil- 
ver can also be polished with Vienna lime. 

9. Silver Polishing (Putz) Pomade. —Mix thor- 
oughly 4^ parts vaseline with a few drops of 
essence of mirbane (nitrobenzole) . Add to this 
by stirring 7M parts elutriated chalk, 1}/% parts 
burnt hartshorn, V/% part pulverized ossa se- 
pia (cuttle bone). The mixture should be of 
the consistency of butter. 

10. Half lb. fine chalk, 3 oz. pipe clay, 2 oz. 
white lead, %. oz. magnesia (carbonate), and the 
same quantity of jeweler's rouge. 

Silver Soap.— 11. A good article may be made 
as follows : 

Hard soap 8 oz. 

Turpentine. 1^ oz. 

Water 4 oz. 

Boil until perfectly dissolved and 
add— 

Liquor of Ammonia 3 oz. 

12. Silver Soap (English).— Dissolve 10 parts 
fine Castile soap in 10 parts water. Remove 
from the fire and stir in 30 parts fine whiting. 

2. Prepare the same as the above, using in- 
stead of the whiting 10 parts tripoli, 5 parts of 
rouge, 15 parts of pulverized chalk. 

Slate Polishing.— Slate is faced first with an 
iron plate with river sand and water, smoothed 
with pumice stone; then japanned and baked 
to harden the japan, and again smoothed with 
pumice stone and polished with rottenstone. 

Soaps, Polishing.— 1. Mix 1 lb. oxalate of iron 
(calcined) with 5 lb. cocoanut oil soap. 

2. Ten lb. tripoli, 5 lb. of alum, 5 lb. white 
lead, tartaric acid, 5 lb., and 100 to 125 lb li- 
quid cocoanut oil soap. 

Specula, Polishing Powder for (Lord Ross).— 
Precipitate a dilute solution of sulphate of 
iron, by ammonia in excess; wash the precipi- 
tate, press in screw press until nearly dry, then 
expose to heat until it appears a dull red color 
in the dark. 

Steel, to Polish. See Iron and Steel above. 

Steel, to Polish.— Wet Vienna lime to a paste. 
Apply to buff, and finish dry. 

Steel, Glaze Wheels for Finishing.— For hollow 
finishing, the following wheels are required : 
A mahogany wheel for rough glazing. A ma- 
hogany wheel for smooth glazing. A lead 
wheel, or lap. For flat finishing: A buff 
wheel for rough. A buff wheel for smooth. A 
buff wheel for finishing. Lastly, a polisher. 
To make the giaze wheels : Get the spindles, 
and point them on each end ; then get a block 
of beech and wedge it on the steel at one end 
with iron wedges; and turn it for the pulley for 
the band to run on. Take two pieces of flat 
mahogany and glue and screw them together, 
so that the grain of one piece crosses the 
other, to prevent warping. Let it get 
thoroughly dry, and wedge it on the spindle 
and turn it true. The lead wheel is made the 
same way but wider, and has a groove turned 
in the edge. The wheel is put into sand, and a 
ring of lead run round the edge ; it is then 
turned true. To make the buff wheels, proceed 
as with the glaze; but to save expense, pineor 
deal wood will do as well as mahogany, only 
leave it about double the width of the glaze, 
which is about 14 in. wide by 12 or 14 in. across. 
The buff wheels are covered with glue, and 
then the leather is tacked on with tacks driven 
in about half way, so that they may be easily 
drawn out again. The leather is then turned 
true. The polisher is made the same way, but 
the size of the polisher must be a little less 
than any of the other wheels, say about 1 in. 
The buff wheels are dressed by laying on a fine 
thin coat of clear glue, and rolling them round 
—No. 1, in superfine corn emery ; No. 2, in 
smooth emery; No. 3, by making a cake of 
equal parts of mutton suet, beeswax, and 
washed emery ; then it is held on the wheel 
while it is going round. The glaze wheels are 
dressed while using, by mixing a little of the 
emery with oil, and putting it on the wheel 



Polishing. 



450 



Polishing. 



with a stick or the finger. The leather of the 
polisher is not covered with glue, but dressed 
with a mixtnre of crocus and water, not oil. 
Care must be taken to keep each wheel and 
substance to themselves ; the work must be 
carefully wiped after each operation, and 
cleanliness must be studied above all things in 
using the polisher, as the slightest grease 
getting on it stops the polishing. 

Stones, to Cut and Polish.— You will need a 
thin copper disk about 6 in. diameter, made to 
revolve rapidly on a spindle. With No. 90 to 
100 emery and water liberahy fed to the wheel, 
you will be able to slab any specimens of rocks 
or minerals of ordinary hardness. You will 
also need a grindstone to flatten the surfaces 
for polishing. A lap of lead is used with fine 
emery, and another of wood faced with leather 
or felt fed with a cream of rouge and water. 
The laps should run at a speed of 150 and may 
be 10 or 12 in. diameter, the specimens being 
held on their face with the hand. For a less 
expensive arrangement for surfacing only a 
good stone and a piece of sole leather nailed to 
a board, with the whole manipulation made 
by hand, will make satisfactory work with 
amateurs. 

Surfaces, Polishing Finished.— Oil is usually 
employed for polishing delicate instruments, 
which tends to soil those using them. Oil may 
be advantageously replaced by a mixture of 
three parts of glycerine and one of alcohol for 
large surfaces. When small ones are to be 
treated, pure glycerine can be used. — Revue 
Scientifique. 

Tin, to Polish.— 1. Vienna lime applied with a 
linen rag. 

2. Use whiting and water with a chamois 
skin. 

3. A fine finish can be given to tin by bur- 
nishing, the burnisher being wet ox-gall dilu- 
ted with water. Wash with water containing 
a trace of tartar and dry. 

Tortoise Shell. — Having scraped the work 
perfectly smooth and level, rub it with very fine 
sand paper or Dutch rushes ; repeat the rub- 
bing with a bit of felt dipped in very finely 
powdered charcoal with water, and lastly with 
rottenstone or putty powder, and finished 
with a piece of soft wash leather, damped with 
a little sweet oil ; or still better, rub it with 
subnitrate of bismuth by the palm of the hand. 

Vulcanite, Polishing. — 1. Remove scratches 
with a smooth wet water of Ayr stone, and 
then polish in the lathe with fine pumice and a 
stiff brush. After washing the pumice off, 
polish it with whiting and soft brush. 

2. The mathematical instrument makers treat 
it; as brass— that is, for flat work they first use 
water of Ayr stone, and then rottenstone and 
oil. Turned work is polished in the lathe 
with rottenstone and oil, taking care not to 
use too high a speed, which would heat the 
work. Some use lampblack and oil to finish 
with where a very high polish is wanted, or the 
bare palm of the hand, as in getting up silver 
plate. Chain and ornament makers use circu- 
lar buffs for their flat work, made of sea horse 
leather, and for work of irregular forms, buffs 
of calico. 

Water Polishing.— Whiting, 9 oz. 5 drm.; alco- 
hol, 1 lb.; ammonia, 1 oz. 3 drm. Shake well 
together. 

Wheels, Polishing.— Turn some wood wheels of 
various sizes, and cover them on the face and 
edge with leather of various qualities; wash 
leather for use with rouge and a coarser kind 
for use with emery, pumice, etc. The leather 
can be fastened with glue. The best wheels 
are made by punching disks of leather, cloth, 
etc., and then screwing these disks tightly to- 
gether on a mandril; but these take a large 
quantity of material. Some things can be 
polished very well with plain wood wheel. 
Small glass grinding jobs, for instance, can be 
easily polished with two wood wheels, one for 
pumice and water and another for rouge and 



water. Make your wheels size and shape to 
suit the work you have in hand. A few circu- 
lar brushes are very usef ui. 

Window Polishing Paste is made of 90 parts 
prepared chalk, and 5 parts each of white bole 
and Armenian bole, rubbed together into a 
smooth paste with 50 parts water and 25 parts 
alcohol. This paste is to be rubbed on the win- 
dow, allowed to dry, and then rubbed off with 
cloths.— Pharm. Era. 

Polishing Wood.—l. Polishing Black Wood- 
work.— Procure 2)4 oz. 90$ alcohol, 1 dr. oil 
of almonds, 1 dr. gum elemi, l / 2 oz. orange shel- 
lac, pounded fine and put together in a bottle 
to dissolve; when dissolved rub on with white 
wadding. 

2. Orange shellac, 2 oz.; wood naphtha, y% pt.; 
benzoin, 2 dr. Mix and put in warm place for 
a week and keep the materials from settling 
by shaking it up. To apply it, after having 
prepared your wood by rubbing some raw lin- 
seed oil into it and then wiping it well off 
again, make a rubber of cotton wool and put 
some old calico over the face, and till you have 
a good body on your wood keep the rubber 
well saturated with polish. When your rubber 
sticks, put a very little linseed oil on and rub 
your polish up. Allow it to stand a few hours 
and give it another coat, using rather more lin- 
seed oil on your rubber, so as to get a finer 
polish. Then let it stand again and finish off 
with spirits of naphtha, if you can; if not, 
add a small quantity of polish to your spirit. 

Carved Cabinet Work.— Dissolve 2 oz. seed 
lac and 2 oz. white resin in lpt. 90$ alcohol. 
This must be laid on warm, and if the work 
can be warmed also, it will be so much the bet- 
ter; at any i-ate, moisture and dampness must 
be avoided. Used with a brush for standards 
or pillars of cabinet work. The carved parts 
of cabinet work are also polished thus : Var- 
nish the parts with the common wood varnish, 
and having dressed them off where necessary 
with emery paper, apply the polish used for 
the other parts of the work. 

Polish for Fine Carved Wood.— Take 8 oz. 
linseed oil, 8 oz. old ale, the white of an egg, 
1 oz. spirit, 1 oz. hydrochloric acid. To be well 
shaken before using. A little is to be applied 
to the face of a soft linen pad and lightly 
rubbed for a minute or two over the article to 
be restored, which must afterward be polished 
off with an old silk handkerchief. This will 
keep any length of time, if well corked. 

Copal Polish.— Melt with gentle heat finely 
powdered gum copal, 4 parts, and gum cam- 
phor, 1 part, with ether to form a semi-fluid 
mass, and then digest with a sufficient quantity 
of alcohol. 

For Darkening Furniture.— 1. One pint linseed 
oil, 1 oz. rose pink, 1 oz. alkanet root, beaten 
up in a metal mortar ; let the mixture stand for 
a day or two; then pour off the oil, which will 
be found of a rich color. 

2.— Or, mix 1 oz. alkanet root with 4 oz. shel- 
lac varnish, 2 oz. turpentine, 2 oz. scraped bees- 
wax and 1 pt. linseed oil; this should stand a 
week. 

Polishing Deal.— 1. To as much yellow ocher as 
you can take in your hand add H teaspoonful 
of Venetian red. Mix to the thickness of paint 
(or rather thinner) with glue size. Let the 
mixture simmer for some time in a pan, keep- 
ing it well stirred. Apply with a brush, and 
when dry run it over with fine sandpaper 
and polish with French polish, or, if preferred, 
turpentine and beeswax. If a deeper color is 
required, add more Venetian red. 

2. Melt about ]4 lb. Russian glue in 1 qt. 
water; grind in some Venetian red until suffi- 
ciently colored; give the wood a coat with a 
brush when dry. 

Ebony, to Polish.— Give the work two coats 
of fine copal varnish and rub this down (when 
dry) quite smooth with fine pumice stone; put 
on a third coat of the same and rub down 
with rottenstone; clean and put on a flowing 



Polishing. 



451 



Polishing, 



coat of best spirit copal varnish, and when this 
has become quite dry, polish with chamois skin 
and the palm of the hand. 

Ebony.— Add J4 oz. best drop black to V6 gill 
French polish. A little of the drop black may 
be used on the inside rubber, but covered twice 
with linen rag 1 . 

To Put an Egg Shell Polish on Wood.— Three 
parts shellac, 1 part gum mastic and 1 part 
sandarac gum dissolved together in 40 parts 
alcohol form a beautiful polish; apply with 
brush or rag. 

Black and Gold Work.— 1. The work to be 
polished and gilt must be stained with black 
stain; when quite dry, give a very weak solu- 
tion of glue size, sandpaper smooth. Care must 
be used not to remove the black stain with the 
paper. The part to be gilt must not be touched 
with the size, or the gold will not adhere so 
well; polish the part not to be gilt according to 
directions given for French polishing, using 
the black polish drop black; when the work is 
polished ready for spiriting off, lay the work 
on a table in a warm room, procure a portion 
of the best oil gold size, pour in a cup; with a 
very fine stiff brush lay a thin even coat of gold 
size on the work, let the gold size dry for two 
hours till it becomes tacky; then having the 
gold leaf ready, with great care lay a leaf (or 
part of a leaf, as required) on the cushion, cut 
to size required with the tip; lay the gold leaf 
on the sized work; then with a pad made of 
white wadding press the gold leaf in the crev- 
ices, blow off surplus leaf; let it stand aside to 
dry; when quite dry, polish gently with a very 
smooth bone, pointed (or a dog's tooth is best), 
fixed in a handle. Surplus parts and the edges 
should be cleaned off evenly afterward. Finish 
the black work off with spirits. Very fine 
crevices may have gold leaf rubbed in with a 
brush, if used carefully, then blow off surplus 
parts. For commoner work, gold paint laid on 
with a brush answers very well. 

2. White and Gold.— Brackets, console tables, 
whatnots, chairs, and other furniture, are fre- 
quently done in white and gold. The grain of 
the wood should first be filled in with whiting 
and glue size, one or two coats well papered off 
and white polished, but the wood should not be 
finished off with spirits until gilt, leaving the 
last coat to be done when the gilding is finished; 
the gilding is done as in 1. 

3. A cheaper mode, and much easier for the 
amateur : First well clean the article (if not 
new) with soda and water; when dry, scrape 
and smooth all over, stop up cracks with white 
lead and driers, one of driers to two of white 
lead; mix some good white paint made of turps, 
driers, and white lead, not oil. Give the article 
three coats, rubbing down the first coat when 
■dry with pumice and water; when the third 
coat of paint is quite dry, proceed to gild as be- 
fore described, using either gold leaf or gold 
paint; when so done, give the gold a coat of 
transparent enamel varnish, after which var- 
nish the white work with clear copal varnish. 
Give the work two coats; it will set in a day. 
Small boxes and other fancy articles may be 
done by this process. 

4. One pt. linseed oil, 1 oz. alkanet root, J4 oz. 
rose pink, boil for J4 hour, strain through 
muslin so that the oil may be clear; to use 
it pour a little oil on flannel; rub briskly. 
After two or three applications, the effect will 
be apparant. 

5. One pt. best vinegar, 1 pt. linseed oil, 2 oz. 
gum arabic finely powdered; mix in a clean 
bottle for use. Requires no rubbing, merely 
laying on with a clean rubber of flannel. 

6. One-quarter lb. beeswax melted in an 
earthenware pot, add gradually ^ pt. turps, 
colored with y% oz. alkanet root, add % pt. lin- 
seed oil; well mix, and keep in wide mouth 
bottles for use. The bottles should be kept 
well corked. To use, wipe the dust from the 
furniture, apply a portion of the polish on a 
clean rubber of flannel, rub every part ac- 



cessible, briskly finish off with an old silk hand- 
kerchief. This polish should not be used on 
new articles; it merely restores a gloss on old 
polished furniture. 

7. One-half pt. rectified wood naphtha, \Yz oz. 
shellac, y± oz. benzoin; crush the gum, mix in 
a bottle; when dissolved it is ready for use. 
Keep on a shelf in a warm room until dissolved. 

8. Put 2 drm. shellac and 2 drm. gum benzoin 
into y>, pt. best rectified 90$ alcohol in a bot- 
tle closely corked; keep the bottle in a Avarm 
place and shake frequently until the gums are 
dissolved; when cold add 2 teaspoonfuls clean 
poppy oil; well shake it and it is fit for use. 
This finish can be caref uily laid with a soft rub- 
ber or hair brush. 

Dry Shining.— This is a new system of polish- 
ing or shining called the American system, and 
is used mostly for American black walnut. 
First oil, fill in then with a wet rubber passed 
smartly over the work straight from end to 
end until a shine or gloss appears. No oil to 
be used in the rubber, and no spiriting off is 
required. Be careful to dry rubber well, and 
have the work free from rubber marks. This 
system is becoming very popular in the trade. 

A Good Polish for Walking Canes and Other 
Hard Wood.— The following process gives the 
most satisfactory and hardest finished surface. 
Fill with best clear filler or with shellac; dry 
by heat ; rub down with pumice ; then put on 
three coats of clear spirit copal varnish, hard- 
ening each in an oven at a temperature as hot 
as the wood and gum will safely stand. For 
extra work, the first two coats may be rubbed 
down and the last allowed a flowing coat. For 
colored grounds, alcoholic shellac varnish with 
any suitable pigment (very finely ground in) 
can generally be used to advantage. 

French polishing is the name given to the 
art of coating wood with a fine, smooth, glossy 
surface or varnish of shellac and various other 
gums, which are easily soluble in 90$ alco- 
hol, methylated spirits, or wood naphtha. A 
varnish is thus produced, but if it is applied 
simply with a brush, as copal, mastic, and most 
other varnishes are applied, the result is a very 
broken and uneven surface instead of a smooth 
and continuous polish. To obtain a good polish 
with a lac varnish on wood it is necessary to 
apply a very small quantity at once, and to 
rub it continuously until it dries; when this 
process has been carefully and properly gone 
through, the result is a beautiful and even sur- 
face, which is not to be surpassed or even 
equaled by any other means. 

Bubbers.— The small pliable rubbers employed 
for doing carved framework, etc., are usually 
made of white wadding and the large round 
ones used for surface work are mostly formed 
of soft flannel. The latter kind must be firmly 
made; and the more they possess such qualifi- 
cations as proper size and solidity, the more 
quickly and satisfactorily will they polish ex- 
tensive suf aces. 

Bags.— Fine linen makes the best rubber cov- 
erings and spiriting cloths, but cheap cotton 
will answer nearly as well. Both stuffs are pre- 
ferred after having been used and washed 
several times. The way to wash them is 
to boil them first in a strong lye of potash, 
and then in a week one of soap powder, suffer- 
ing each boiling to be succeeded by a thorough 
rinsing in clean water. 

Wettings.— Some workmen wet the soles of 
their rubbers, by dipping into a saucer con- 
taining the preparation, and others by holding 
their bottles upside down, allowing the polish 
to shower through the drilled punctures of the 
stopples. Care should be taken not to soak the 
rubber too much by either means; and after 
wetting and covering, the sole ought always 
to be pressed forcibly upon the palm of the 
hand so as to equalize the moisture. 

Bubbings.— Invariably on beginning with a 
newly wetted rubber, gently and regularly 
sweep the suj^face from end to end in the run- 



Polishing. 



452 



Polishing. 



ning direction of the fiber three successive 
times; then rub across the grain with a semi- 
circular motion, till the polishing- tool becomes 
dry. This operation is of course repeated 
until the whole surface of the pores is no longer 
visible. The work so treated is now to be left in a 
clean apartment for a period of twelve hours, 
this being the time required for the complete 
absorption of the first body. 

The sinking period having expired, the work 
is smoothed, dusted, etc., and then the polish- 
ing of it is recommenced. The first sweepings 
are similar to those described in the preceding 
embodying, after which ply the rubber wholly 
with a rotatory movement, leaning lightly on 
it at first, and slightly increasing the necessary 
pressure toward the drying of it, which is 
finally accomplished by sweeping once or twice 
along the grain, expressly to remove any marks 
that may have been caused by the cross or 
round rubbings. 

In these manipulations it is much better to 
use freely extended motions than contracted 
ones; therefore the mechanical movements of 
the arm must on no account be confined. 

Wipe all the dust off your work at each re- 
commencement. Allow every embodying a 
proper time to absorb and harden, previous to 
the reapplication of smoothing stuffs or 
polishes. Cover your rubber with a clean part 
of the rag at each wetting. Carefully guard 
against working your implement too long in 
one direction, and leaning too heavily on it 
when it is very wet, else you will be apt to pro- 
duce coarse marks and streaky roughness. 

Rubber marks may be removed by then- 
being reversely rubbed with a heavily pressed 
half dry rubber. 

In polishing a very large surface, such as the 
top of a dining table, do only one-half at a time. 

Inspiriting, the finishing spirit should not be 
used in excess, because it dissolves a portion of 
the resinous or gummy body, and thereby 
causes dimness instead of brightness. If, how- 
ever, the spirit be slightly mixed with polish, 
and be sparingly and judiciously employed, the 
desired clearness of luster will make itself ap- 
parent. Prior to the application of the spirit 
cloth, which consists of a few soft rags loosely 
rolled up in the shape of a large finger rubber 
and slightly damped with spirit, it is most essen- 
tial to ply the rubber more quickly, and a little 
longer than ordinary, for the purpose of re- 
moving all signs of moisture and greasiness 
from the surface of the gloss. 

Most polishers seem to think that nothing 
can be more productive of transparent bril- 
liancy and durable hardness at the finish than 
the moderate use of spirit that has been some- 
what weakened by exposure to the air, and an 
allowance of two hours as a resting period 
between the final embodying and the spiriting-. 

Directions for Repolishing: In order to apply 
this process with facility, you will find it need- 
ful to disunite the various parts of each article. 
If your job be a wardrobe, take off the doors 
by unfastening their hinges; remove all the 
screw nails; take off the cornice; lift the wings 
or carcases from the base; and then separate 
the mouldings and other carved ornaments 
from the frames and panels of the doors. If it 
be a chest of drawers, pull the drawers out; un- 
screw the knobs or handles; remove the scut- 
cheons from the keyholes; free the columns 
or pilasters from their recesses, and lift the 
carcase from off the base. If your job should 
happen to be a sideboard, separate the upper 
back from the top, unscrew the under back, 
and then take the base, top and pedestals 
asunder. 

After having disjoined the different portions 
and ornaments, take a pencil and put tallying 
marks on every two meeting sides; this will 
guide you in having everything appropriately 
replaced, when the complete article is finished. 

The viscid rust must be thoroughly removed 
from the surface of the work ; this is done by 



scrubbing it with a paste made of the finest 
emery flour and spirits of turpentine. 

After cleansing and before repolishing, it is 
a good plan to merely moisten the face of the 
work with raw linseed oil, for this causes the 
old body to unite with the new one. 

Where shallow dents, scratches and broken 
parts of the polish present themselves, carefully 
coat them two or three times with a thick solu- 
tion of shellac, and when the last coatings be- 
come hard rub them with soft putty until they 
become uniformly smooth and even; then pro- 
ceed to polish the general surface. 

The following are receipts for furniture 
creams or French polishes:— 1. One pint 90% al- 
cohol, 34 oz. gum copal, yi oz. gum arabic, 1 
oz. shellac. Bruise the gums and sift them, 
through a piece of muslin. Place the spirits; 
and gums together in a vessel closely corkec", 
near a warm stove, and frequently shake 
them ; in two or three days they will be dis- 
solved. Strain through a piece of muslin, and 
keep corked tight. 

2. Shellac, 6 oz.; naphtha, 1 qt.; benzoin, % 
oz.; sandarac, 1 oz. 

3. Dissolve 1% oz. shellac, *4 oz. sandarac, in 
% pt. naphtha. To apply the polish, fold a 
piece of flannel into a sort of cushion, wet it 
well with the polish, then lay a piece of clean 
linen rag over the flannel, apply 1 drop of lin- 
seed oil ; rub your work in a circular direction* 
lightly at first. To finish off, use a little naph- 
tha, applied the same as the polish. 

4. Pale shellac, 2*4 lb.; mastic and sandarac* 
each 3 oz.; spirits, 1 gal. Dissolve, and add 
copal varnish, 1 pt.; mix well by agitation. 

5. Shellac, 12 oz.; wood naphtha, 1 qt.; dis- 
solve, and add J^ pint linseed oil. 

6. Crush 3 oz. shellac with 26 oz. gum mastic,, 
add 1 pt. methylated spirits of wine, and dis- 
solve. 

7. Shellac, 12 oz.; gum elemi,2oz.; gum copal* 
3 oz.; spirits of wine, 1 gal.; dissolve. 

8. Shellac, 1J4 oz.; gum juniper, ^ oz.; ben- 
zoin, y% oz.; methylated alcohol, J^ pt. 

9. One oz. each of gums mastic, sandarac, 
seed lac, shellac, and gum arabic; reduce to 
powder, then add J4 oz. virgin wax ; dissolve in 
a bottle with 1 qt. rectified spirits of wine. Let 
stand for twelve hours, and it is then fit for 
use. 

10. One oz. gum lac, 2 drm. mastic in drops, 4 
drm. sandarac, 3 oz . shellac, }4 oz. gum dragon. 
Reduce the whole to powder. 

11. Yellow wax, 4 oz.; yellow soap, 2 oz.; 
water, 50 oz.; boil, with constant stirring, and 
add boiled oil and oil of turpentine, each 5 oz. 

12. Soft water, 1 gal.; soap, 4 oz.; white wax, 
in shavings, 1 lb. Boil together, and add 2 oz. 
pearlash. To be diluted with water, laid on 
with a paint brush, and polished off with a hard 
brush or cloth. 

13. Wax, 3 oz.; pearlash, 2 oz.; water, 6 oz. 
Heat together, and add 4 oz. boiled oil and 5 oz. 
spirits of turpentine. 

14. Raw linseed oil, 6 oz.; white wine vinegar, 
3 oz.; methylated spirit, 3 oz.; butter of anti- 
mony, X oz.; mix the linseed oil with the vine- 
gar by degrees, and shake well so as to prevent 
separation ; add the spirit and antimony, and 
mix thoroughly. 

15. Boiled linseed oil, 1 pt.; yellow wax, 4 oz.; 
melt, and color with alkanet root. 

16. Acetic acid, 2 drm.; oil of lavender, J^ 
drm.; rectified spirit, 1 drm.; linseed oil, 4 oz. 

17. Linseed oil, 1 pt.; alkanet root, 2 oz.; heat, 
strain, and add lac varnish, 1 oz. 

18. Linseed oil, 1 pt.; rectified spirit, 2 oz.; 
butter of antimony, 4 oz. 

French Polish Reviver.— 1. Linseed oil, }4 pt.; 
spirits of camphor, 1 oz.; vinegar, 2 oz.; butter 
of antimony, y& oz.; spirt of hartshorn, J4 oz. 

2. One-half gill vinegar; 1 gill spirits of wine; 
1 drm. linseed oil. 

3. Naphtha, 1 lb.; shellac, 4 oz.; oxalic acid, J4 
oz. Let it stand till dissolved; then add 3 oz. 
linseed oil. 



Polishing. 



453 



Polishing. 



Furniture Polish.— 1. If the work is full of 
pores, you should give it a coat of clear size be- 
fore commencing with the polish, and, when 
dry, go gently over it with very fine glass 
paper. The size, by filling up the pores, will 
prevent both the waste of polish, which would 
otherwise be absorbed in the wood, and save 
considerable time in the work. You should 
place your work in such a situation that the 
light may shine on it obliquely, so that by 
looking sideways you may be able to see how 
the polishing proceeds. Make a wad with a 
piece of coarse flannel, or drugget, by rolling it 
round and round, over which, on the side you 
mean to polish with, put very fine linen rag 
doubled several times to render it as soft as pos- 
sible; put the wad, or cushion, to the mouth of 
the bottle containing the polish and shake it, 
which will damp the rag sufficiently, then pro- 
ceed to rub your work in a circular direction, 
observing not to do more than a foot square at 
a time; rub it lightly till the whole surface is 
covered, and repeat this operation three or 
four times, according to the nature of the 
wood. Be very particular in having your rags 
clean and soft, as the effect of the polish de- 
pends, in a great measure, on its being kept 
clean and free from dust. Rub each coat till 
the rag appears dry, and be careful not to put 
too much upon the rag at once, and you will 
obtain a beautiful and lasting polish. 

2. Melt three or four pieces of sandarac, 
each of the size of a walnut, add 1 pt. of boiled 
oil, and boil together for one hour. While 
cooling add 1 drm. of Venice turpentine, and 
if too thick a little oil of turpentine also. Ap- 
ply this all over the furniture, and after some 
nours rub it off; rub the furniture daily, with- 
out applying fresh varnish, except about once 
in two months. "Water does not injure this 
polish, and any stain or scratch may be again 
covered, which cannot be done with French 
polish. 

3. The subjoined simple preparation is said to 
be desirable for cleaning and polishing old fur- 
niture. Over a moderate fire put a perfectly 
clean vessel. Into this drop 2 oz. of white or 
yellow wax. When melted, add 4 oz. of pure 
turpentine, then stir until cool, when it is 
ready for use. The mixture brings out the 
original color of the wood, adding a luster 
equal to that of varnish. 

4. For delicate cabinet and papier mache 
work.— 

Linseed oil 32 oz. 

Spirit 8 oz. 

Vinegar 8 oz. 

Butter of antimony 2 oz. 

Oil of turpentine. 8 oz. 

Shake well before using, and apply with a 
woolen rubber. 

Oil of turpentine 16 oz. 

Rectified oil of amber 16 oz. 

Olive oil 16 oz. 

Oil of lavender 1 oz. 

Tincture of alkanet 4 drm. 

Mix. 

A cotton rubber is saturated with this pol- 
ish, which is thus applied to the wood. The 
latter is then well rubbed with soft, dry cot- 
ton rags and wiped dry.— Meyer Bros." 1 Druggist. 

5. Melt 3 or 4 pieces sandarac, each of the 
size of a walnut, add 1 pt. of boiled oil, and boil 
together for one hour. While cooling add 1 
drm, of Venice turpentine, and if too thick, a 
little oil of turpentine too. Apply this all over 
the furniture, and after some nours rub it off; 
rub the furniture daily, without applying fresh 
varnish, except about once in two months. 
Water does not injure this polish and any 
stain or scratch may be again covered, which 
cannot be done with French polish. This re- 
ceipt is very highly recommended for use in 
the household. 

6. Melt together 4 parts of paraffine, 1 part of 
tallow and pour the mixture into a vessel con- 



taining hot water. Add 12 parts of oil of tur- 
pentine and stir well. Allow to stand until 
cold. 

Polish for Wood, Used without Friction.— 
Dissolve 4 oz. best shellac in 2 pt. strong alco- 
hol, add 2 pt. linseed oil and 1 pt. spirit of tur- 
pentine, shake and add 4 oz. sulphuric ether 
(common ether) and 4 oz. aqua ammonia. 
Shake when used and apply with a sponge 
lightly. 

Reviver.— Pale linseed oil, raw, 10 oz.; lac var- 
nish and wood spirit, each 5 oz. Mix well be- 
fore using. 

Imitation Polish for Woodwork. — The wood 
is first varnished over with gelatine, and after 
drying and smoothing, with a mixture of 2J4 
lb. fluid copal varnish and 4 drm. pure drying 
linseed oil; after drying the wood is polished 
with an ethereal solution of wax. 

Woods, to Polish, in the Lathe.— Soft woods 
may be turned so smooth as to require no other 
polishing than that produced by holding it 
against a few fine turnings or shavings of the 
same wood while revolving. Mahogany, wal- 
nut, and some other woods may be polished by 
the use of a mixture as follows : Dissolve by 
heat so much beeswax in spirits of turpentine 
that the mixture, when cold, shall be of about 
the thickness of honey. This may be applied to 
furniture or to work running in the lathe by 
means of a piece of clean cloth, and as much as 
possible should be rubbed off by using a clean 
flannel or other cloth. Hard woods may be 
readily turned very smooth; fine glass paper 
will suffice to give them a very perfect surface; 
a little linseed oil may then be rubbed on, and 
a portion of the turnings of the wood to be pol- 
ished may then be held against the article, while 
it turns rapidly around, which will in general 
give it a fine gloss. Also try alcoholic shellac 
varnish, 2 parts; boiled linseed oil, 1 part; shake 
well before using. Apply a small quantity with 
a cloth and rub vigorously until the polish is 
secured. 

Furniture Oils.— 1. Take 1 pt. furniture oil, 
mix with it % pt. spirits of turpentine and ^ 
pt. vinegar; wet a woolen rag with the liquid 
and rub the wood the way of the grain, then 
polish with a piece of flannel and soft cloth. 

2. Melt 3 or 4 pieces of sandarac, each of the 
size of a walnut, add 1 pt. boiled oil, and boil 
together for one hour. While cooling, add 1 
drm. Venice turpentine, and if too thick a lit- 
tle oil of turpentine also. Apply this all over 
the furniture, and after some hours rub it off; 
rub the furniture daily, without applying 
fresh varnish, except about once in two 
months. Water does not injure this polish, 
and any stain or scratch may be again covered, 
which cannot be done with French polish. 

3. Beeswax, ^ lb.; alkanet root,J4oz.; melt 
until well colored. Then add linseed oil and 
spirits of turpentine, of each }/q gill, straining 
through a piece of coarse muslin. 

4. The wood having been stained, paper off 
smooth with No. glass paper enough to give 
an even surface. Add 1%, gill French polish, to 
34 oz. best dragon's blood, well mix and strain 
through muslin; polish as usual; if wanted 
very dark, apply a little dragon's blood to the 
rubber, but the rubber must be covered twice 
with linen rag. 

5. Mix one part of boiled linseed oil with two 
parts of alcoholic shellac varnish. Shake well 
before using. Apply in small quantities, with 
a cloth, and rub the work vigorously until the 
desired polish is secured. 

Pastes for Polishing or Finishing Wood.— 1. To 
keep wood light, scrape J4 lb. beeswax into )4 
pt. turpentine. By adding linseed oil the wood 
is darkened. 

2. Dissolve 6 oz. pearlash in 1 qt. hot water, 
add }4 lb. white wax, and simmer for one half 
hour in pipkin ; take off the fire ; and when 
cool the wax will float ; it should be taken off, 
and, with a little hot water, worked into a 
paste. 



Polishing. 



454 



Polishing. 



3. Beeswax, spirits of turpentine and linseed 
Oil, equal parts ; melt and cool. 

4. Beeswax, 4 oz. ; turpentine, 10 oz. ; alkanet 
root to color ; melt and strain. 

5. Digest 2 drm. alkanet root in 20 oz. turpen- 
tine till the color is imparted ; add yellow wax 
in shavings, 4 oz. ; place on a water bath and 
stir till the mixture is complete. 

6. Beeswax, 1 lb. ; linseed oil 5, oz. ; alkanet 
root, y% oz. ; melt, add 5 oz. of turpentine, 
strain and cool. 

7. Beeswax, 4 oz. ; resin, 1 oz. ; oil of turpen- 
tine, 2 oz. ; Venetan red to color. 

8. One lb. white wax ; 1 oz. black resin ; 1 oz. 
alkanet root, and 10 oz. linseed oil. 

9. One lb. yellow wax, 2 oz. yellow soap, 2 pt. 
spirits of turpentine, 2 pt. boiling water ; melt 
the wax and soap over a slow fire, add the tur- 
pentine, and lastly stir in the water gently till 
it is quite cold. 

10. One and one half lb. beeswax, 4 pt. spirits 
of turpentine; dissolve in a closed vessel by 
means of a water bath, and add J^ lb. common 
soap previously dissolved in 4 pt. water, and 
stir well together till nearly cold. 

11. Five oz. yellow wax, 1 pt. turps, 1^ oz. 
Castile soap ; cut the beeswax in small pieces, 
and dissolve in the turps by a gentle heat; 
when nearly cool, add the soap (first powdered 
and rubbed up with 2 oz. water), stirring con- 
tinually till it becomes thick. 

12. Two and one half oz. yellow wax, 1 oz. 
white wax, 1 oz. Castile soap, 10 oz. turpentine 
oil, 10 oz. boiling water, 1 drm. potash carbon- 
ate; melt the wax and turpentine together, 
dissolve the soap and potash carbonate in the 
water and mix while warm, stirring till cold. 

13. Beat 5 lb. stearine out into thin sheets with 
a wooden mallet, and mix with 7 lb. oil of tur- 
pentine, after which subject the mass to a 
water bath and heap up ; when hot, add y>, oz. 
ivory or bone black, stirring well to prevent 
crystallization. To cool it off, it should be emp- 
tied into another vessel and stirred until cold. 
To use, warm it until it is reduced to a liquid 
state, and apply in small quantities with a 
cloth ; afterward rub it well with a piece of 
silk or linen cloth to bring up the polish. 

Furniture Polishes. — The following is a 
good polish for furniture, to be used upon 
new wood for hand polishing, in place of 
French polish, but one that requires constant 
manual labor, may be made of beeswax and 
turpentine spirit melted together, with red 
sanders wood to color it. This has been tried 
for many years and well repays the trouble 
attending it. It should not be used upon work 
thajb has been French polished, but the follow- 
ing will be found better than most that can be 
bought for reviving the brilliancy of French 
polished goods. Take equal parts of turpen- 
tine, vinegar, spirits of wine (methylated), and 
raw linseed oil, and place them in a bottle in 
the order in which they are mentioned; great 
care must be taken in this last particular; if 
not, the mixture will curdle and become use- 
less.— Smither. 

2. Derby cream is made by adding 6 oz. lin- 
seed oil to 3 oz. acetic acid. This is agitated 
well, and y% oz. butter of antimony and 3 oz. 
methylated spirit are added. 

3. Soft water, 1 gal.; soap, 4 oz.; beeswax, in 
shavings, 1 lb. Boil together, and add 2 oz. 
pearlash. To be diluted with water, laid on 
with a paint brush, and polished off with a hard 
brush or cloth. 

4. Wax, 3 oz.; pearlash, 2 oz.; water, 6 oz. 
Heat together, and add 4 oz. boiled oil and 5 oz. 
spirits of turpentine. 

5. The name is sometimes given to a mixture 
of 1 oz. white or yellow wax with 4 oz. of oil ot 
turpentine. 

6. Rain water, 1 gill; spirits of wine, 1 gill; 
beeswax, 1 oz.; pale yellow soap, 1 oz. Cut the 
wax and soap into thin slices, and boil them in 
the rain water until dissolved. Take off the 
lire, and occasionally stir till cold. Afterward 



add 90$ alcohol, bottle, and it is read»y for 
use. The above compound should be applied 
with a piece of flannel, and afterward rubbed 
with a soft cotton cloth. 

Useful Furniture Polishes for Family Use.— 1. 
One oz. beeswax, J4 oz - white wax, 1 oz. Castile 
soap. The whole to be shredded very fine, and 
a pint of boiling water poured upon it; when 
cold, add ^ pt. turpentine and % pt. spiiits of 
wine; mix well together. To be rubbed well 
into the furniture with one cloth and polished 
with another. 

2. Pearlash, 1 oz.; water, 8 oz.; beeswax (gen- 
uine), 6 oz. Mix with heat, and add sufficient 
water to reduce it to the consistency of cream. 
For use, add more water, and spread it on the 
wood with a painter's brush. . Let it dry, and 
polish with a hard brush or cloth. If white 
wax is used, it may be applied to polish plaster 
casts, statues, etc. 

3. Two gal. raw linseed oil, 1^ gal. turpen- 
tine, M lb. dragon's blood, J4 lb* rosin, J4 lb. 
alum, 2 oz. iodide potassium, }4 lb. sulphuric 
acid, 8 oz. nitric acid; using avoirdupois weight 
for the dragon's blood, rosin, alum, iodide po- 
tassium, and sulphuric acid; common wine or 
liquid measure for the oil and turpentine; 
apothecaries' measure for the nitric acid. The 
directions for preparing the polish are as fol- 
lows : First put the oil and turpentine into an 
earthen vessel, then pulverize the dragon's 
blood, rosin, alum and iodide potassium to a 
fine powder. Stir this powder slowly into the 
oil and turpentine; then add the sulphuric acid 
slowly, stirring continually. Let this mixture 
stand ten hours, then add the nitric acid. 
Slowly stir the mixture while adding. Apply 
with a sponge or cloth. 

4. Messer, of Berlin, dissolves 6% lb. shellac 
in about 28 pt. alcohol, and then mixes this with 
another obtained by dissolving 25 drm. gun 
cotton in 25 drm. high grade sulphuric ether 
to which is added 12J^ drm. camphor and 
enough 96% alcohol to completely dissolve 
the mass. This polish is finally rubbed up 
with pure linseed oil. To 100 parts of it 5 parts 
of a saturated solution of camphor in oil of 
rosemary are then added. A very dilute so- 
lution of benzole in alcohol is used for polish- 
ing off. 

5. One gal. soft water, 4 oz. soap, 1 lb. white 
wax in shavings; boil these together and add 2 
oz. pearlash. This is to be diluted with water, 
laid on the furniture with a paint brush and 
polished off with a cloth or a hard brush. 

6. Dissolve 1}4 lb. potash and 1 lb. virgin wax 
in 1 gal. hot water, and boil the whole for half 
an hour; then stand to cool. Remove the wax 
from the surface, put it into a mortar and trit- 
urate it with a marble pestle, adding sufficient 
soft water to form a soft paste. This laid neatly 
on furniture or even on pictures, and carefully 
rubbed when dry with a woolen rag, gives a 
polish of great brilliancy and softness. 

7. Household furniture is readily cleaned 
by washing it with a little warm ale, the polish 
being brought up subsequently by means of a 
cloth damped with paraffine oil. The following 
has been strongly recommended for renova- 
ting old furniture and bringing up a good 
polish: Take olive oil, 1 lb.; rectified oil of 
amber, 1 lb.; spirits of turpentine, 1 lb.; oil of 
lavender, 1 oz.; tincture of alkanet root, J^oz. 
Saturate a piece of cotton batting with this 
polish, apply it to the wood, then with soft and 
dry cotton rags rub well and wipe off dry. 
Keep the polish in a stoppered bottle. 

8. Pure beeswax, 1J4 lb-; linseed oil, J4 lb. 
Melt together and remove from the fire, and 
when the mixture has cooled a little add 1 qt. 
turpentine and mix well. The way to make it 
with soda would be to dissolve the soda in hot 
water, add the wax in small pieces and mix 
well over the fire. The former method is pref- 
erable. 

9. A high polish on ebony, one that will be 
durable. Give the work two coats of fine 



Polishing. 



455 



Pomades, 



copal varnish and rub this down, when quite 
dry smooth with fine pumice, put on a third 
coat of the same and rub down with rotten- 
stone; clean and put on a flowing coat of best 
spirit copal varnish, and when this has become 
quite dry, polish with chamois skin and the 
palm of the hand. 
A Red Polish.— 

Oil of turpentine 16 oz. 

Alkanet 4 drm. 

Beeswax 4 oz. 

Digest the alkanet in the oil until sufficiently 
colored ; then scrape the beeswax fine and 
form a homogeneous mixture by digestion over 
a water bath. 

For a pale polish omit the alkanet. 

For Turner's Work.— Dissolve 1 oz. sandarac 
in y% pt. 90% alcohol ; shave 1 oz. beeswax, and 
dissolve it in sufficient spirits of turpentine to 
make it into a paste; add the former mixture 
to it by degrees; then, with a woolen cloth, 
apply it to the work while it is in motion in the 
lathe, and polish it with a soft linen rag ; it will 
appear as if highly varnished. 

Satinwood or Maple.— One quarter oz. chrome 
yellow to 1 gill light French polish ; use as be- 
fore described; a little chrome yellow on the 
rubber is desirable. In French polishing al- 
ways use a drop of linseed on the rubber. 

For Wainscot.— Take as much beeswax as re- 
quired, and, placing it in a glazed earthen pan, 
add as much 9i)% alcohol as will cover it, and let 
it dissolve without heat. Add either ingredient 
as is required, to reduce it to the consistence of 
butter. When this mixture is well rubbed into 
the grain of the wood, and cleaned off with 
clean linen, it gives a good gloss to the work. 

Walnut, to Polish.— To give black walnut a 
fine polish so as to resemble rich old wood, 
apply a coat of shellac varnish, and then rub it 
with a piece of smooth pumice stone until dry. 
Another coat may be given, and the rubbing- 
repeated. After this, a coat of polish, made of 
linseed oil, beeswax, and turpentine, may be 
well rubbed in with a dauber, made of a piece 
of sponge tightly wrapped in a piece of fine 
flannel several times folded and moistened 
with the polish. If the work is not fine enough, 
it may be smoothed with the finest sand paper 
and the rubbing repeated. In the course of 
time the walnut becomes very dark and rich in 
color, and in every way is superior to that 
which has been varnished. 

Wax Polishing.— 1. There is no particular art 
in wax polishing floors, the principal require- 
ments being plenty of elbow grease and a good 
hard brush. The floor, after being well scrubbed, 
is allowed to dry. When dry, it is painted 
over with a large, soft whitewash brush dipped 
in oak stain. This is allowed to dry for twenty- 
four hours. The floor is then gone over with thin 
size, and this is, in turn, allowed to dry for twen- 
ty-four hours. After this, the floor is painted 
over with a kind of varnish made by dissolving- 
beeswax in spirits of turpentine,the proportions 
being about 1 lb. of wax to 2 qt. of turps. The 
wax is shredded, placed along with the turps in 
a stone bottle, and the whole put on the hob 
and frequently shaken. When this varnish 
has soaked well in, the whole floor is polished 
with a. rather hard brush until a good surface 
is obtained. Special brushes, adapted to pol- 
ishing waxed floors, are sold at paint stores. 

2. Wood Finish.— Richness of effect may be 
gained in decorative woodwork by using woods 
of different tone, such as amaranth and am- 
boyna, by inlaying and veneering. The Hun- 
garian ash and French walnut afford excellent 
veneers, especially the burls or gnarls. A few 
useful notes on the subject are given by a 
recent American authority. In varnishing, 
the varnishes used can be toned down to match 
the wbdd, or be made to darken it, by the ad- 
dition of coloring matters. The patented com- 
positions known as wood fillers are made up 
in different colors for the purpose of preparing 



the surface of wood previous to the varnish- 
ing. They fill up the pores of the wood, ren- 
dering the surface hard and smooth. For pol- 
ishing mahogany, walnut, etc., the following is 
recommended: Dissolve beeswax by heat in 
spirits of turpentine until the mixture becomes 
viscid; then apply by a clean cloth, and rub 
thoroughly with a flannel or cloth. A common 
mode of polishing- mahogany is by rubbing it 
first with linseed oil and then by a cloth dipped 
in very fine brickdust; a good gloss may also 
be produced by rubbing with linseed oil, and 
then holding trimmings or shavings of the 
same material against the work in the lathe. 
Glasspaper, followed by rubbing, also gives a 
good luster. 

3. For large surfaces it is advisable to get 
the wax more deeply imbedded in the wood, 
and when a layer has been x-ubbed on, a hot 
iron passed over the surface will melt the wax 
and drive it in. This gives more body to polish 
on than by the method first described. The 
work is afterward treated with more wax on a 
rubber, and finally polished. 

Finish, Waterproof, on Veneering. — The 
polish to be applied the same as French 
polish. Use linseed oil, 1)4 lb.; amber, 1 lb.; 
litharge, 5 oz.; white lead, pulverized, 5 oz.; 
minium, 5 oz. Boil the linseed oil in an untinned 
copper vessel, and suspend in it the lithage and 
minium in a small bag, which must not touch 
the bottom of the vessel. Continue the boiling 
until the oil has acquired a deep brown color, 
then take out of the bag and put in a cljve 
of garlic ; this is to be repeated 7 or 8 times, 
the boiling being always continued. Before 
the amber is added to the oil it is to be mixed 
with 2 oz. linseed oil and melted over a fire 
that is well kept up. When the mass is fluid, 
it is to be boiled and stirred continually for 2 or 
3 minutes ; afterward filter the mixture, and 
preserve it in bottles tightly corked. When 
this varnish is used, the wood must be previ- 
ously well polished and covered with a" thin 
coat of soot and spirits of turpentine. When 
the coat is dry, some of the varnish may be 
applied, which should be equally distributed 
on every part with a small, fine sponge. This 
operation must be repeated four times, being 
always careful that each coat is well dried 
first. After the last coat of varnish, the wood 
must be dried in an oven and afterward pol- 
ished. 
A White Polish.— 

White wax 1 lb. 

Solution of potash 32 oz. 

Boil to proper consistency. 
White Polish for Light Woods. — White 
(bleached) shellac, 3 oz.; white gum benzoin, 
1 oz.; gum sandarac, }4 oz.; alcohol or wood 
naphtha, 1 pt.; dissolve. 

Polishes. French. See Polishing. 
Wood. 

Pomades, Pommades, Pomatum. — France 
is the land of pomades, and her manufacturers 
are as celebrated for the variety and excel- 
lence of these products as they are for al- 
most all other articles connected with per- 
fumery, the cosmetic arts, and the toilet. This 
arises from the care, skill, taste, and integrity 
exercised in their preparation by all the re- 
spectable houses there. The superiority of 
French pommades over the pomatums of the 
English perfumers and druggists is so generally 
known and appreciated that, of late years, 
the latter, in order to f orce the sale of their 
scented compounds of coarse, and often rancid, 
oils and fats, have adopted the practice of af- 
fixing spurious French labels to them. 

1. The first object of consideration with the 
French perfumer is to obtain the fatty basis of 
his pommades from a young and healthy ani- 
mal, and in as fresh and pure a state as possible. 
Lard, beef, suet, mutton suet, beef marrow, 
veal fat, and bear's fat, are those which, in a 
rendered state, he chiefly employs, either singly 



Pomades. 



456 



Pomades. 



or in mixtures of two or more of them. After 
selecting his fat, he carefully removes from it 
extraneous skin, fiber, and moisture, and then 
pounds it in a cold marble mortar until all the 
membranes are completely torn asunder. He 
next places it in a covered pan of porcelain or 
tinned copper, and submits it to the heat of a 
water bath until its fatty portion is lique- 
fied, and all albuminous matter, fibers, water, 
and other foreign substances have completely 
separated and subsided. Then he carefully skims 
the liquid fat, and pouring* off the clear portion 
from the sediment, passes it through a clean 
flannel filter into-a deep porcelain or stoneware 
pot furnished with a lip, or into a basin or 
other vessel of the like material, of which the 
bottom and sides are curvilinear and expand- 
ing upward. The first is employed when he 
intends to aromatize or perfume the fat, and 
pot it at once, as is the case with ordinary po- 
mades; the second, when he desires to submit 
it to further treatment. In the latter case, 
the vessel, after being covered to exclude dust 
and dirt, is set aside in a situation where its 
contents will cool slowly. The next day the 
basin or pan is placed, for a few minutes, in 
warm water to the depth of its contained fat, 
and is then inverted, so that the mass of fat 
may fall bottom upward on a sheet of white 
paper previously placed to receive it in a cool 
situation free from dust. In this way any 
water that escaped removal in the first render- 
ing drains off. When the exterior portion of 
the mass has become cold, the operator removes 
adhering moisture (if any) by dabbing it with 
a soft spongy cloth, and any particles of dirt, 
fiber, etc., that passed the flannel filter, by 
means of a bone palette knife. He next chops 
up the fat, and again liquefies it, in a suitable 
vessel, by the heat of hot water. Lastly, he 
either adds the necessary matter to prevent 
the accession of rancidity, with the aromatics 
or perfume, and at once finishes oif and pots 
the pommade, or he covers the vessel, and sets 
it aside in a cool place, to preserve its contents 
as stock fat for future use. 

2. In adding his aromatics or perfumes to the 
melted fat, the operator, as a rule, adapts its 
temperature to their relative degree of vola- 
tility. Essential oils and alcoholic essences, 
particularly the more delicate ones, he adds at 
the lowest possible temperature compatible 
with their perfect union with the fat; while 
substances, like the aromatic resins and bal- 
sams, he adds to the fat more fully liquefied by 
heat, and aids their solution and union by stir- 
ring the mass with a wooden, bone, or porce- 
lain knife or spatula. With the latter, after 
the,,union is complete, it is often necessary to 
allow the mixture to repose for a short time, 
and to pour it off from the dregs before adding 
the essential oils and essences, and concluding 
the work. 

3. In finishing off pommades, two methods 
are adopted, according to the appearance it is 
desired they should have. Those which it is 
intended should be opaque and white, the 
operator stirs or beats assiduously with the 
knife or spatula until the fat begins to con- 
crete, or has acquired considerable consistence 
before potting it; but when it is desired that 
they should be transparent or crystalline, the 
clear liquid mass is poured into the pots or bot- 
tles, previously slightly warmed, and the whole 
is allowed to cool very slowly, without being 
disturbed, in a situation free from draughts or 
cold air. 

4. For the ordinary pommades a mixture of 
lard and suet is generally employed; for the 
harder ones, suet chiefly or wholly; or a little 
pure white wax or beeswax (according to the 
intended color of the product) is melted with 
the fat, to increase its solidity. 

5. For white pommades, mutton suet is em- 
ployed ; for others, in general, beef suet. In 
those which are artificially colored, either may 
be used; but beef suet is preferable when 



either clearness or a cystalline appearance is 
desired. 

6. The colored pommades derive their res- 
pective hues from tinctorial substances dis- 
solved or steeped in the melted fat before scent- 
ing it, the process being similar to that adopted 
for the colored oils. 

7. Green is given by powdered gum guaiacum, 
or the green leaves or tops of parsley, spinach, 
lavender or walnut. 

8. Red, by alkanet root; or by carmine added 
with the perfumes. 

9. Orange, by annatto, or by annatto and palm 
oil mixed. 

10. Yellow, chiefly by palm oil. The suet and 
other fat of Guernsey oxen and cows possesses 
a rich pale yellow, sufficiently deep for many 
pommades without artificial coloring. 

The French perfumers commonly divide their 
pommades, like their oils, into four classes, ac- 
cording to the methods which they employ to 
scent them : 

11. Pommades prepared by the addition of the 
essential oils, fragrant essences, and perfumed 
huiles, to the simple pommade liquefied by a 
gentle heat ; or by dissolving the fragrant re- 
sins and balsams in it ; each in the manner pre- 
viously explained. In this way are prepared 
the pommades of ambergris, bergamot, cassia 

• (ordinary), cedrat, cinnamon (ordinary), cloves, 
lavender, lemon, lemon thyme, limettes, mare- 
chale, marjoram, millefleur, musk, neroli, nut- 
meg, orange flower (ordinary), orange, Portu- 
gal, rondeletia, rose, rosemary, thyme, ver- 
bena, and between 40 and 50 other pommades 
kept by the Parisian perfumers, and all, or 
nearly all, those of the perfumers and druggists 
in this country. 

12. Pommades by Infusion. — These are pre- 
pared by digesting the odorous substances in 
the simple pommade, at a very gentle heat, for 
two or three, to eight or ten hours, according 
to their nature, in the way already noticed 
under " Oils ;" observing to stir the mixture 
frequently, and to keep the vessel covered as 
much as possible during the whole time. One 
part of flowers, carefully picked and pulled to 
pieces, to 3 or 4 parts of pommade, are the usual 
proportions. The next day the mixture is again 
gently heated, and, after being stirred for a 
short time, is thrown into a strong canvas bag, 
which is then securely tied, and at once sub- 
mitted to the action of a powerful press. The 
whole operation is then repeated several times 
with fresh flowers, or other bulky odorous sub- 
stance, until the pommade be sufficiently fra- 
grant. This will require 3 to 6 times its weight 
in flowers. Lastly, in the case of flowers, the 
pommade is liquefied in a covered vessel, at a 
gentle heat, as before ; and after sufficient re- 
pose to allow it to deposit adhering moisture, is 
poured off for stock, or is at once potted. 
The mode of proceeding with the aromatic 
barks, seeds, resins, balsams, etc., the duration 
of the infusion, and the proportions taken, are, 
for the most part, similar to those of the cor- 
responding huiles or oils; but here the first 
two substances, and others of a like nature, are 
only bruised, ground, or sliced very small, and 
not reduced to actual powder, before digestion, 
as pommades, unlike oils, cannot be freed from 
fine powder or dust by filtration through fine 
media or by repose in the cold. 

13. In this way are prepared the pommades 
of balsam of Peru, benzoin, cassia, cinnamon, 
lavender (green), orange .blossoms, orris root 
(violet), roses (colored), stryax, vanilla, and 
several others kept by the Continental per- 
fumers, and known and spoken of in this coun- 
try by their French names, as Pommade aux 
fleurs d'oranges, d la rose, d la fanille, etc. 

14. Pommades by the Flowers or Enfleurage.— 
These are prepared by a similar process to that 
adopted for the corresponding huiles. On the 
large scale a layer of simple pommade is spread 
with a bone palette knife on panes of glass, to 
about the thickness of a finger, and the sur- 






Pomades. 



457 



Pomades. 



face is closely stuck all over with the newly 
gathered flowers. The panes are then placed in 
shallow frames of wood and these are closely 
piled one upon another in stacks, in a moder- 
ately cool situation. In some of the great per- 
fumeries of France many thousands of these 
frames are employed at once. On the small 
scale, porcelain or pewter plates are generally 
used instead of panes of glass, and are inverted 
over each other in pairs, so as to fit close at the 
edges. In each case the flowers are renewed 
daily and the fat stirred up and respread occa- 
sionally, for one, two, or even three months, 
or until the pommade has become sufficiently 
fragrant to render it of the quality intended 
by the manufacturer. It is now scraped off 
the panes or plates into the store pots and is 
ready for use or sale. 

In this way are prepared the finest qualities 
of cowslip pommade, honeysuckle pommade, 
jasmine pommade, jonquille pommade, etc. 

Bear's Grease.— The fat of the bear has long 
been highly esteemed for promoting the growth 
of human hair, but without sufficient rea- 
son, since experience shows that it possesses no 
superiority over the fats ordinarily employed 
by the perfumers. Indeed, if we may i^egard 
the somewhat rank smell of genuine bear's 
grease as an indication of its quality, it must 
be inferior to them as a hair cosmetic; besides 
which, it is much more costly. The greater 
portion of the so-called bear's grease is pre- 
pared by one or other of the following form- 
ulae : 
Bear's Grease (Factitious). — 1. Take of — 

Washed hog's lard (dry) 134 lb. 

Melt it by the heat of a water bath; add of— 

Balsam of Peru 2 drm. 

Flowers of benzoin 1 drm. 

Palm oil (bright) 1 drm. 

Stir vigorously for a few minutes, to promote 
solution. Then remove the pan from the bath, 
and after repose for a short time, pour off the 
clear portion from the sediment, and stir the 
liquid mass until it begins to cool. 
2— Take of— 

Soft veal fat 1 lb. 

Palm oil )4 drm. 

Melt, and when nearly cold, stir in of— 

Nitric ether (genuine) . , 2 fl. drm 

Essence of ambergris 7 or 8 drops. 

3.— Take of— 

Hog's lard .. 1 lb. 

Veal suet : 1 lb. 

Olive oil 3 oz. 

Melt, cool a 1 ittle, and stir in of — 

Compound tincture of benzoin 1 fl. oz. 
Pommade, far Inflammation of the Skin.— 
Pure lard, 4 lb.; calf suet, 1 lb.; juice of cucum- 
bers, 3 lb. Melt the lard and suet, mix in the 
cucumber juice and macerate for some time. 
After infusing for a day or two, decant and 
add as much of fresh juice. Repeat this opera- 
tion ten times always with new juice. When 
the fat has acquired a perceptible odor of cu- 
cumbers, melt over a water bath, and add to 
every pound 3 lb. of starch. Stir well and put 
up in jars. 

Cacao Pomade.— Equal parts cacao butter, oil 
of almonds, pure white wax. Melt over a 
water bath and stir until nearly cold. Used as 
an emollient, for chapped hands, lips, etc. It 
may be colored with a little palm oil, and may 
be scented if desired. 

Pommade de Casse, Cassia Pomatum. —Take of 

Plain pommade 1 lb. 

Annatto (finest) ] (or*™*.) 

Melt them together, and stir for some time. 
After repose, pour off the clear portion, add of 



Oil of cassia (finest) V/% drm. 

Huile au jasmine 1J^ drm. 

Neroli y% drm. 

Oil of verbena or lemon grass .... 20 drops . 

Otto of roses ] 8 or 10 

Essence royale ( dropseach. 

Stir the mixture until it begins to cool. 
Delightfully fragrant. The common practice 
is to substitute 3 to 4 drm. of bright palm oil 
for the annatto ; but the color of the product 
is then not so rich. 

Castor Oil Pomade.— Mix the following : 

Castor oil 4 oz. 

Prep, lard 2 oz. 

White wax 6 drm. 

Oil bergamot )4 drm. 

Oil lemon >t drm. 

Castor Oil Pomatum.— Tuberose pomatum, 1 
lb.; castor oil, y>, lb.; almond oil, y% lb.; otto of 
bergamot, 1 oz. 

Cazenave's Pommade.— Take of — 

Beef marrow (prepared) 4 oz. 

Tincture of canthaiides (Paris 

Codex) y 2 fL. oz. 

Cinnamon (coarsely powdered). . . V^ oz. 

Melt them together, by the heat of a water 
bath; stir until the spirit in the tincture has 
evaporated, decant the clear portion, and again 
stir until the mass concretes. It is cheaper and 
more convenient to omit the powdered cinna- 
mon, and to strongly scent it with oil of cinna- 
mon (or of cassia) after the removal of the 
vessel from the bath. 

Chafe Pomade.— Nothing is more troublesome 
to fat men and women (and to many who are 
not fat) than chafing under the arms, between 
the legs and elsewhere, to which they are sub- 
ject especially in hot weather. The following 
will relieve it like magic : 

Lanolin 85 parts. 

Albolin 10 parts. 

Campho-phenique 5 parts. 

The directions for use on the label should in- 
struct the purchaser to wash the affected parts 
with suds made of tepid water and white 
Castile soap ; to dry them softly with a very 
soft napkin or old towel, without rubbing; and 
then to apply the pomade. This should be done 
on retiring and on getting up in the morning. — 
Pharm. Era. 

The following partake more of the nature of 
fixateur and cement than of the preparations 
before noticed : 

Pommade Collante.—l. Take of— 

Oil of almonds 3 oz. 

White wax 1 oz. 

Melt, and before it cools, stir in, of— 
Tincture of mastic (strongest) ... 1 fl. oz. 
Oil of bergamot j toops? 

Used, like bandoline, to stiffen the hair, and 
to keep it in its place. 

Cosmos Pomade.— White wax, \y 2 parts ; sper- 
maceti, 3 parts; 2 parts castor oil; 8 parts 
almond oil ; glycerine, 2 parts ; 9 parts extract 
mignonette ; y% part Cologne water.— Hagar. 

Covjslip Pommade or Pomatum.— 
Plain pommade • 1 lb 

Liquefy it at a very gentle heat, and stir 
in— 

Oil of bergamot V& fl. drm. 

Oil of lemon }^fl. drm. 

Oil of orange peel V6 A- drm. 

Huile au jasmin < 15 to 20 

Essence de petit grain "I dps. each. 

Essence of ambergris -j ^ pg °e ac h. 

Crystallized Pommade or Pomatum.— 

Oil of almonds or olives 1 pt. 

Spermaceti (best, pure) J4 lb. 

Melt them together by a gentle heat, add 
scent, at will, and while sufficiently warm to 



Pomades. 



458 



Pomades. 



be clear, pour it into warm glass bottles, and 
allow it to cool very slowly, and without dis- 
turbance. Some persons add 1 drm. of cam- 
phor. It is usually preferred uncolored. If 
tinged at all, it must be only very faintly so, 
and with substances that will not cause opac- 
ity. 

Pomade of Cucumber.— Benzoinated lard, 6 
lb.; spermaceti, 2 lb.; spirit of cucumber, lib. 
Melt the spermaceti with the lard, then keep 
it constantly in motion while it coois. Beat 
the grease in a mortar, gradually adding the 
essence of cucumber, continue to beat the 
whole until the spirit is evaporated, and the 
pomade is beautifully white. Apply by rub- 
bing a little over the skin at bed time. 

Pommade Divine. — 

1. Refined beef marrow 1 lb. 

Cypress wood (rasped). 1 oz. 

Orris root (in coarse powder) 1 oz. 

Liquid sty rax 1 oz. 

Cinnamon (powdered, but not 

dusty) m oz. 

Cloves (well bruised) ^ oz. 

Nutmegs (well bruised or grated, J4 oz. 

Digest, by the heat of a water bath, in a cov- 
ered vessel, for five or six hours, and then 
strain through flannel. Very fine, and much 
esteemed for the hair, and also as an occasional 
skin cosmetic. 

2. Plain pommade (or soft beef 

fat) 1 lb. 

Melt by a very gentle heat, and stir in— 

Essence of violets 2 fl.drm. 

Huile au jasmine V/% fl.drm. 

Oil of begamot 1 fl.drm. 

Oil of lemon 1 fl.drm. 

Oil of lavender y% fl.drm. 

Oil of origanum ^fl.drm. 

Neroli f fi n 

Oil of casssia J dr " f ° 

Oil of cloves ) a ™P| ot 

Oil of verbena 



each. 



Delightfully and powerfully fragrant, but 
apparently unnecessarily complicated. The 
product of the first is, however, the geunine 
pommade divine. In second and ordinary qual- 
ities, double the above proportion of fat is 
usually employed. 

Ebony Pomatum.— White wax, 4 oz.; any po- 
made, 12 oz.; melt, add levigated ivory black, 
2oz. 

Pommade Noire en Batons (for the eyebrows 
and mustache). — Prepare this pomade in the 
usual way, using a third of wax instead of a 
fourth, in winter, and the half in summer. 
When it is cool enough, mould it in forms, en- 
velop in tin foil, and label for market. 

Hair Pommades. — 

1. Plain pomade (or fat) 1 lb. 

Melt it at the lowest degree of heat that will 
effect the object, add of— 

Oil of bergamot 1 drm. 

Oil of lemon 1 drm. 

Stir the mixture until it begins to concrete, 
and then pour it into the pots or bottles. This 
forms the ordinary pomatum or pommade of the 
shops. 

2. Plain pommade 1 lb. 

Oil of bergamot ..1 drm. 

Oil of lemon % drm. 

Oil of cassia % drm. 

Oil of cloves or nutmeg 20 drops. 

As before. More fragrant and agreeable than 
the first. 

3. Plain pommade 1 lb. 

Oil of bergamot 1 drm. 

Huile au jasmine J^ drm. 

Neroli \i drm. 

Oil of verbena 20 drops. 

Oil of cassia 10 drops. 

As before. Very fragrant and delicate. 



4. Plain pommade 1 lb. 

Melt, as before, add of — 

Balsam of Peru (or liquid styrax) 2 drm. 
Stir until dissolved, and then add of— 

Oil of cassia 20 drops. 

Oil of cloves 15 drops. 

Essence of ambergris 12 drops. 

5. Plain pommade 1 lb. 

Oil of cassia 1 drm. 

Oil of cloves ^drm. 

Essence of ambergris. ... 20 drops. 

Oil of rhodium 15 drops. 

Essence of musk 15 drops. 

As before. Possesses a very agreeable and 
durable odor. 

6. Plain pommade 1 lb. 

Otto of roses J^j drm. 

Oil of rhodium 15 drops. 

Neroli 15 drops. 

Essence royale.... 12 drops. 

As before. Much esteemed by those who ap- 
preciate the fragrance of roses. 

7. Lassar's Hair Pomade.— 

Pilocarpine . 2 parts. 

Quinine hydrochlorate 4 parts. 

Sulphur, precipitated 10 parts. 

Balsam of Peru 20 parts. 

Ox marrow, to make 100 parts. 

Hard Pomatum, Roll Pomatum, Stick Poma- 
tum.— 1. 

Prepared beef suet (hard) 1 lb. 

Beeswax (pure, bright) 2% oz. 

Gum benzoin (in coarse powder) . 1 drm. 

Melt them together, at a gentle heat, stir 
well, and, after a little repose, pour off the 
clear portion. To the latter, when it has cooled 
a little, add of — 

Oil of lavender. 1 fl.drm. 

Oil of cassia 15 drops. 

Essence of ambergris . . .15 drops. 

Just before the mass concretes, pour it into 
moulds of paper or tin foil, and when these 
have become quite cold and hard, cover them 
with ornamental wrappers. Very fine. Has a 
slight yellowish color. 

Pommade d'Hebe. — 

White wax (pure) 2 oz. 

Melt, add of— 

Juice of lily bulbs » » 4 oz. 

Narbonne honey 4 oz. 

Eau de rose ^2 oz. 

Esprit de rose \i fl. drm 

Stir until it solidifies. Applied night and 
morning to remove wrinkles, freckles, etc. 

Marrow Pomatum.— Purified lard, 4 lb.; puri- 
fied suet, 2 lb.; otto of lemon, 1 oz.; otto of ber- 
gamot, y^ oz.; otto of cloves, 3 drm. Melt the 
greases; then beat up with a whisk or flat wood- 
en spatula half an hour or more. 
Peruvian Pommade.— 

Lard (good, washed) }4 oz. 

Beef suet (clarified) ^ oz. 

Balsam of Peru M oz. 

Mix, as before, add of — 

Oil of nutmeg M fl. drm 

and pour it into pots or dumpy wide mouthed 
phials. Dr. Copland adds a little oil of laven- 
der. In high repute as a hair restorer. 

Plain Pomatum or Pommade, Pommade Sim- 
ple.— 

1. Hog's lard (carefully rendered) . . 2 parts. 
Beef suet (carefully rendered) ... 1 part. 

Melt them together by a very gentle heat. 
The product is of the proper consistence for 
temperate climates. 

2. Lard 5 parts. 

Mutten suet 2 parts. 

For white pommades, as the last. 



Pomades, 



459 



Pomades. 



3. Lard 1 part. 

Suet 1 part. 

For warm climates. For tropical climates 
even more suet may be used, and Yz to 1 oz. of 
pure wax, per pound, may be added. 

In pommades containing bear's fat, marrow, 
oil, etc., or wax or spermaceti, the proportions 
of the other ingredients are so adjusted that the 
product may be of the proper consistence. 
This chiefly occurs in hair cosmetics. 

Quinine Pommades.— Antonini.— 

Bisulphate of quinine 1 drm. 

Alcohol 2 fl. drm 

Sulphuric acid. 10 drops. 

Dissolve, and triturate the solution with — 
Lard (pure, hard) 3 oz. 

Both are used to promote the growth of hair 
in laxness of the scalp, the former being- the 
more active and scientific preparation. They 
are said to be also serviceable in nervous head- 
ache of an intermittent kind. 

Soubeiran's Pommade.— 

Oil of almonds Yz oz. 

Disulphate of quinine 1 drm. 

Triturate them together in a warm Wedg- 
wood ware mortar until thoroughly united; 
then add of— 

Prepared beef marrow lYz oz. 

and continue the trituration until the mass is 
cold. Scent may be added. Recommended for 
strengthening and restoring the hair. 

Pommade en Batons (Stick Pomatum).— The 
stick pomatum is generally composed of mut- 
ton suet, but it is also made of the hard body, 
to the pound of which, in summer time, must 
be added 1 oz. of wax. The lard body can also 
be used, but then the proportion of wax 
should be increased, for it is requisite that the 
pomade in stick should be of firm consistence. 
Always melt the least fusible body first. 

Strawberry Pomade.— 

Fresh strawberries 4 oz. 

Cocoanutoil 18 oz. 

Almond oil 9 oz. 

"White wax 3 oz. 

Melt the last three ingredients on a water-bath 
and digest the strawberries in the mixture for 
at least an hour, at a heat which just keeps the 
mixture melted. Then heat to 100° C. to drive 
off moisture ; add a sufficiency of alkanin to 
color (or the almond oil may be colored with 
alkanet root) ; strain, and perfume with 10 
drops of otto of rose. 

Pomade de Tobolksa.— Melt Yz lb. purified 
beef suet and Yz lb. purified lard ; 1 lb. mutton 
suet ; 2 lb. purified bear's grease. Add to this 
6 oz. fine white salt, and stir constantly while 
cooling, so as to incorporate it thoroughly. 
Perfume with 6 oz. parsley seed, 1 oz. anise 
seed, and 1 oz. fennel seed, all finely powdered, 
and when the whole is thoroughly mixed, put 
in 2 oz. anise. 

Tonquin Pomade and Tonquin Oil are pre- 
pared by macerating the ground Tonquin beans 
in either melted fat or warm oil from 12 to 28 
hours, in the proportion of Tonquin beans 
Yz lb., fat or oil 41b. Strain through fine mus- 
lin ; when cold the grease will have a fine odor 
of the beans. 

Transparent Pomade. — The following is a 
French recipe : 

Spermaceti 2 oz. 

Castor oil 5 oz. 

Alcohol 5 oz. 

Oil of bergamot Yz drm. 

Oil of Portugal Yz drm. 

Melt together the spermaceti and castor oil, 
pour in the alcohol gradually, stop the heat 
and add the perfume. Stir well and pour into 
glass jars. 



Vanilla Pomatum, Pommade a, la Vanille, 
Pommade Romaine. — 

1. Plain pommade 1J^ lb. 

Vanilla (in coarse po ivder) 1 to 1*4 oz. 

Cassia (in coarse powder) VYz drm. 

Cloves (in coarse powder) V/ z drm. 

Proceed by infusion for two hours. To the 
clear decanted portion add— 

Huiie a la rose 23^ oz. 

Oil of bergamot 1 fl. drm 

Otto of roses 12 drops. 

and let it cool slowly and undisturbed after it 
begins to thicken. Very fine. 

2. Plain pommade 1 lb. 

Melt, and add — 

Essence of vanilla (finest) . . .4 or 5 fl. drm 

Otto of roses 8 or 10 drops. 

As before. Very fine. The plain pommade 
may be previously slightly tinged with an- 
natto. 

Pommade Scents. — 1. Cowslip. 

Oil of bergamot 2 oz. 

Oil of lemon 1 oz. 

Essential oil of jasmine J4 oz. 

Essence de petit grain 34 oz. 

Oil of rose geranium. \Yz drm. 

Oil of cloves . 1 drm. 

Oil of rhodium Yz drm. 

Mix by agitation. 

2. Jonquille. — 

Oil of bergamot 2 oz. 

Oil of lemon 2 oz. 

Oil of orange peel 5 drm. 

Oil of cloves 3 drm. 

Oil of sassafras 2 drm. 

Liquid storax 1 drm. 

Put them into a bottle, cork it close, digest in 
the sun, or a very gentle heat, with agitation 
for two hours, and, after repose for a week* 
decant the clear portion. 

3. Marechale.— 

Oil of bergamot 1 oz. 

Oil of cloves 1 oz. 

Oil of lavender (English) 1 oz. 

Essence of ambergris lYz fl. drm 

Essence of musk lYz fl. drm 

Oil of orris root Yz drm. 

Oil of origanum Yz drm. 

Oil of sassafras Yz drm. 

Agitate them well together, and again each 
time before use. 

4. Millefleur.— 

Essence of ambergris (royale, 

finest) 1 fl. oz. 

Oil of lemon % oz. 

Oil of cloves Yz oz. 

Oil of lavender (English) Yz oz. 

Oil of bergamot 3 drm. 

Essence de petit grain 2 drm. 

Balsam of Peru 2 drm. 

Oil of cassia 2 drm. 

Mix and proceed as before. Or, instead of the 
balsam of Peru, 1 drm. oil of bitter almonds 
may be added. 

Vanilla Oil and Pomade.— Vanilla pods, 34 lb.; 
fat or oil, 4 lb. Macerate at a temperature of 
25° C. for three or four days, finally strain. 

Common Violet Pomatum.— Purified lard, lib.; 
washed acacia pomatum, 6 oz.; washed rose 
pomatum, 4 oz. 

White, Hard or Stick Pomatum.— Benzoinated 
suet, 1 lb.; white wax or paraffine, 1 lb.; jasmine 
pomatum, Yz lb.; tuberose pomatum, Yz lb.; otto 
of rose, 1 drm. 

Pommade Collante (for wigs and false curls).— 
Take \Yz lb. of best Burgundy pitch, 8 oz. virgin 
wax, melt them together in a stoneware vessel* 
and add 1 oz. of liquid pomade. Remove from 
the bath, and, while yet liquid and warm, stir 
in 7 fl. oz. of alcohol; when the spirit has been 
well inc urporated, replace the vessel upon the 



Pop. 



460 



Pot Pourri. 



sand bath, and heat up to a slight boiling; then 
strain through a linen cloth, perfume with 2 oz. 
essence bergamot, and, when cold enough, run 
into moulds. 

To move readily from the moulds, turn them 
before the fire, and the contents soon detach 
and fall out. While handling these sticks, the 
hands should be powdered. They are generally 
from 1 to 3 oz. weight. 

Pop.— Five lb. of cream of tartar ; ginger, 
S oz. ; sugar, 05 lb. ; essence of lemon, 5 drm. ; 
water, 30 gal. ; yeast, 2 qt„ 

Ginger Pop.— Take 5>£ gal. water; ginger 
root (bruised), % lb. ; tartaric acid, y% oz. ; 
white sugar, 2J4 lb.; whites of 3 eggs, well 
beaten ; 1 small teaspoonf ul lemon oil ; 1 gill 
yeast. Boil the root for 30 minutes in 1 gal. 
water; strain and put the oil in while hot; 
mix. Make overnight ; in the morning skim 
and bottle. 

Ginger Pop.— Five lb. of loaf sugar to 5 gal. of 
cold water, 4 lemons, 2 cz. white root ginger, 
4 oz. cream tartar. Boil the sugar and ginger 
(previously pound the latter); when it has boil- 
ed fifteen minutes strain it through a flannel 
cloth into a large crock, put in the cream tar- 
tar, slice also the lemon into it ; let it stand 
until milk warm, then add a teacup of yeast ; 
let it stand a little, then bottle it tightly in 
Stone bottles ; in three days it will be fit for use. 

Pop, Imperial.— Cream of tartar, 3 oz. ; gin- 
ger, 1 oz. ; white sugar, 24 oz. ; lemon juice, 1 
oz. ; boiling water, 1% gal. When cool, strain 
and ferment with 1 oz. yeast. Bottle. 

Royal Pop. — To 3 gal. of water add ^£ lb. 
cream tartar, % oz. ginger, 3V 2 lb. white 
sugar, y% drm. essence of lemon, J£ pt. yeast. 
The corks should be tied down. 

Porcelain, Cement for. See Cements. 

Porcelain, to Cut.— Place on a mandrel in 
a lathe a thin disk of copper or iron 3 in. in 
diameter. Supply it with rather fine emery 
and oil, and while revolving it at a speed of 
400 or 500 revolutions per minute, hold the vase 
against the periphery of the disk. The disk 
should be often supplied with emery and oil. 

Porcelain Enamel for Iron. See 
Enameling. 

Porcelain, Glazes Cor. See Glazes. 

Porcelain-Lined Kettles.— Grind toge- 
ther 100 parts of powdeied calcined flints (or 
white quartz sand, free from iron), 50 parts of 
calcined borax (borax glass), and 20 parts of 
kaolin (white potter's clay), pass the mixture 
through an 80 mesh sieve, and mix it with water 
to form a thin paste. Line the vessel with 
this and let it dry slowly. Then fuse together 
125 parts of white glass, 250 parts of borax, and 
20 parts of soda ; powder when cold, and make 
into a thin paste with 4 parts of soda and a suf- 
ficient quantity of hot water. Cover the first 
coating with this, and after thoroughly drying, 
heat in a muffle until the glazing is properly 
fused. See Enameling-. 

Porcelain Painting-.— Though materials 
for this purpose can be made, the results will be 
more satisfactory if the specially prepared 
paints are used, as experiments are expensive. 
The Lacroix colors are recommended by Jan- 
vier, in his Practical Keramics. 

Porphyrization.— The reduction of sub- 
stances in a porphyry mortar. Name also ap- 
plied to the process of reducing to very fine 
powder by means of a flat slab and muller. 

Port. See Wines. 

Porter.— A fermented liquor, brewed from 
pale malt, mixed with a sufficient portion of 
nigh dried malt to impart the necessary color 
and flavor. In many cases its color is imparted 
by parched malt or burnt sugar, subsequently 
to the boiling. Porter originated with a Lon- 
don brewer named Harwood, in 1722. and was 
first called entire, or entire butt, from being 
drawri from one cask. 



Port Fires. See Pyrotechny. 
Portland Cement. See Cements. 
Portugal Water. See Waters. 

Posological Table for proportioning the 
doses of medicines to the age of the patient, 
originally drawn up by Gaubius. 

Under ^ year & of a full dose. 

" 1 " A 

" 2 years % 

" 3 " i 

" 4 " £ 

" 7 ■" \i " 

" 14 " '.'.'.'.'.'..... Yz 

" 20 " .... ..% 

Above 21 " the full dose. 

" 63 " H of a full dose. 

" 77 " I 

" 100 " y s 

Dr. Young gives the following simple for- 
mula: For children under twelve years, the 
doses of most medicines must be diminished in 
the proportion of the age to the age increased 
by twelve years. Thus, at two years, the dose 
will be one-seventh of that for an adult, 

2 
viz. : = \ 

2 + 12 

Potasli Water, Liquor of Potassa, Solu- 
tion of Potassa, Caustic Potash Water, Potash 
Soap Lye (pure), Soft Soap Lye, etc. 
Carbonate of notash (salt of tar- 
tar) T 1 lb. 

Put it into a green glass or stoneware carboy 
or jar, and add (cautiously) of— 

Water, boiling 1 gal. 

To the resulting solution further add of — 
Fresh slaked lime, dry % lb. 

Next put in the stopper or bung, and shake 
the vessel very frequently until the whole has 
become cold. After repose decant the clear 
supernatant portion into clean green glass well 
stoppered bottles. 

Potatoes, to Preserve.— For preserving 
potatoes in store, the floor is sprinkled with 
fine quicklime; this is covered with a layer (4 to 
5 in. thick) of potatoes; this by a sprinkling of 
quicklime again, and so on, using the lime in 
the proportion of about 1 measure to 40 mea- 
sures of potatoes. This method checks disease 
when it is present, and improves the potatoes 
if they are watery or waxy. Layers of straw 
and powdered plaster of Paris may be substi- 
tuted for the lime. 

Potin. See Alloys. 

Pot Metal. See Alloys. 

Pot Pourri.— 1. Spread thinly the fresh col- 
lected flowers on porous paper placed in shal- 
low trays, and expose them to the sun or warm 
air until sufficiently dry, then lightly crum- 
ple them up small between the hands, and, the 
other dry odorous ingredients being added, 
with or without a little essential oil of the same 
kind as the dried flowers, thoroughly mix 
the whole together. Sometimes essential oils 
only are added to the dry flowers, but the 
fragrance of the product is then much less dur- 
able. As the basis of his finest dry pot pourri, 
the Continental perfumer usually substitutes 
either reindeer moss or ragged hoary evernia, 
in very coarse powder, for the dried flowers. 

2. A mixture of odorous flowers, roots, gums, 
etc., varied according'to the taste of the opera- 
tor, either mixed together dry or in the fresh 
state preserved with salt. The following is a 
French formula : Take the petals of the pale 
and red roses, pinks, violets, orange flower, 
lilies of the valley, mignonette, heliotrope, jon- 
quils, with a small proportion of the flowers of 
myrtle, balm, rosemary, and thyme; spread 
them out for some days, and as they become 
dry, put them into a jar, with alternate layers 
of dry salt, mixed with orris powder, till the 



Pottery. 



461 



Powders. 



vessel is filled. Close it for a month, stir the 
whole up and moisten with rose water. 

3. Pot-pourri is a mixture of dried petals of 
roses, violets, etc., mixed with 1-10 its weight 
of salt. The leaves of fresh roses, etc., are col- 
lected and dried on porous paper in the sun ; 
as soon as dry they are placed in a jar in layers 
alternating with the salt. Powdered orris root 
and extracts and many other ingredients may 
be added according to taste. 

4. This is a mixture of dried flowers and 
spices not ground. Dried lavender, 1 lb.; 
whole rose leaves, 1 lb.; crushed orris (coarse), 
\ii lb.; broken cloves, cinnamon, allspice, each 
2 oz.; table salt, 1 lb. 

5. Lavender flowers, 1 lb.; rose leaves, 1 lb.; 
cloves, 341b.; cinnamon, 34 lb-; benzoin, J4 lb-; 
pimento, 34 lb.; common salt, 2% lb.; oil of lav- 
ender, 60 minims ; oil santal, 60 minims ; oil of 
geranium, 60 minims ; oil bergamot, 120 min- 
ims; oil lemon, 60 minims; vanilla, 3 oz.; musk 
pods, 1 oz.; essence ambergris, y% oz. Solids all 
ground. 

6. Pot-pourri (for mixing with rose leaves).— 
Tonka bean, % part ; cinnamon, pimento, 1 oz. 
of each ; coriander, 4 oz.; benzoin, 5 oz.; orris 
root, 1 lb. Reduce to powder, mix, add J^ oz. 
essence bouquet toward end. 

Pottery, to Convert into Antique. — 

The way to convert modern pottery into the 
antique is to boil the former in oil and bury it 
in wood ashes. One will be astonished to find 
how quickly the new article will become in ap- 
pearance a veritable antique. 
Pottery, to Stain. See Staining. 

Poultices.— Bran Poultice.— Make it like 
porridge, and put it into a bag. Be sure not to 
make it so soft as that any water will trickle 
down to annoy the patient, 

Bread and Milk Poultice— Stale bread, cold 
milk. Boil bread with enough milk to make a 
thick pulp; spread it on a piece of soft cotton 
and apply it very hot. This poultice is often 
applied without a cloth between it and the af- 
fected part, but poultices put into a bag are 
cleaner and easier rewarmed. Bread poultices 
are cleansing and soothing. 

Fomentation of Camomile Flowers.— Two oz. 
camomile flowers. 

Put into a jar with 2 teacupfuls of water, 
cover jar very close, let it come to the boil, and 
infuse for fifteen minutes, keeping lid close on 
jar all the time; strain off the hot liquor, keep 
it hot, dip pieces of flannel into it, and apply 
externally to the part affected. Good to allay 
swelling and inflammation. 

Linseed Meal Poultices.— Linseed meal, boil- 
ing water. 

Put sufficient meal to make the poultice the 
size required into a hot bowl, and pour on boil- 
ing water enough to make a soft paste; beat 
quickly for three minutes, or till it looks oily. 
Have ready a flannel or cotton bag, the size re- 
quired; pour in the paste, sew up the mouth of 
the bag quickly. Apply the poultice to the 
affected part as hot as can be borne. 

If ordered with mustard, mix a tablespoon- 
ful of dry mustard with the meal. Good for 
inflammation. 

Mustard Poultices.— Dry mustard, cold water. 

Mix enough cold water with the mustard to 
make it into a thick paste; when quite smooth, 
spread it upon a piece of thin old linen, or cot- 
ton; sew it round so as to form a bag. Be care- 
ful not to make the poultice larger than re- 
quired; hold it to the fire for a few minutes, 
so as not to chill your patient; time, from fif- 
teen to thirty minutes; have ready a piece of 
clean soft cotton, or a piece of clean wadding, 
and when you take off the mustard poultice, 
put on the wadding or the cotton. 

Vinegar Poultice.— Crumb of bread soaked in 
a little cold vinegar and then beaten with a 
piece of wood to a smooth paste. A popular 
application in bruises, extravasations, etc., es- 
pecially black eyes, also in sprains. Verjuice 



is often substituted for vinegar in the rural 
districts. 

Poultry.— Poultry Food to Make Hens Lay 
during Winter. — 

Powdered eggshell or phosphate 

of lime 4 oz. 

Sulphate of iron 4 oz. 

Powdered capsicum 4 oz. 

Powdered fenugreek 2 oz. 

Powdered black pepper 1 oz. 

Silver sand 2 oz. 

Powdered lentils or powdered 

dog biscuit 6 oz. 

A tablespoon!" ul to be mixed with sufficient 
meal or porridge to feed 20 hens. 

Lice in Poultry. — Make the roosts perfectly 
clean with hot soap and water, and afterward 
apply spirits of turpentine or kerosene oil. 
Also strew some sprigs and branches over the 
floor of the coop. The building should be kept 
clean. 

Pounce.— Powdered gum sandarac gener- 
ally passes by this name. Powdered cuttle 
fish bone is also used. It is used to prepare 
parchment for writing, The colored powders 
are used in stamping. 

Pouncing Designs.— Prick, the outline through 
the paper, and after placing over the sheet to 
be marked, dust the back with a bag contain- 
ing powdered charcoal. 

Powders.- Baking Powders.— 

1. Tartaric acid powder 8 oz. 

Bicarbonate soda 9 oz. 

Rice flour 10 oz. 

A teaspoon!' ul to every 1 lb. flour. 

2. Bicarbonate soda 1 lb. 

Farina 1 lb. 

Powdered alum % lb. 

Carbonate magnesia J^oz. 

Dry in oven separately. Magnesia may be put 
on the flour. Tartaric acid may replace the 
alum. 

3. Bicarbonate soda 16 oz. 

Tartaric acid 14 oz. 

Carbonate magnesia 6 oz. 

Farina 12 oz. 

Rub through a sieve. 

4. Bicarbonate soda 16 oz. 

Dry tartaric acid 8 oz. 

Rice flour 12 oz. 

5. Dry carbonate soda 8 oz. 

Dry tartaric acid 6 oz. 

Carbonate magnesia 2 oz. 

Turmeric powder 1 oz. 

The soda and acid are properly dried before- 
mixing, or the powder spoils by keeping. 
Preserve in stoppered bottles. 

6. Bicarbonate of soda 4 oz. 

Tartaric acid 3 oz. 

Farina 16 oz. 

Mix together. By farina is meant any cheap 
farinaceous material — wheat, rice, or sago 
flours, etc. To make the packets requires a 
piece of wood, say 6 in. long for small packets, 
and the exact size in thickness and width that 
the packet is to be. The end of this piece 
should fit into a block of wood and go through 
it. Take the paper and fold it on the end of 
the stick, and close it at the end so as to make 
a square bag ; now put the stick with the paper 
on it into the block, and withdraw the stick, 
leaving the paper in the block. It is more con- 
venient to measure the powder than to weigh 
it. Put the powder in a small tin plate funnel, 
and shake it into the paper ; remove the fun- 
nel, and fold down the other end of the paper, 
flatten the folds with the end of the square 
stick and push the packet out of the block. 
The whole operation of making the packet, 
should take a very short time. 

7. Tartaric acid J^ lb. 

Bicarbonate of soda . 12 oz. 

Starch 12 oz. 



Powders. 



462 



Powders. 



Dry each thoroughly previous to admixture, 
which is effected by passing- through a fine 
sieve repeatedly; pack the powder down 
tightly, to prevent the absorption of moisture. 

8. Goodall's is a compound of— 

Rice flour 2 parts. 

A mixture of tartaric acid and 
bicarbonate of soda (each) 1 part. 

9. Horsf ord's Baking Powder.— One powder 
contains acid phosphate of lime and magnesia 
mixed with a certain quantity of flour ; the 
other is bicarbonate of soda. 

10. Mix together perfectly dry 83 parts by 
weight of bicarbonate of soda and 188 parts of 
acid tartrate of potash (cream of tartar). 

11. Green's. — Tartaric acid, 35 lb.; sesquicar- 
bonate of soda, 561b.; potato flour, 1 cwt. Mix as 
before. 

12. Delforte's.— Powdered tartaric acid, J4 lb.; 
powdered alum, y% lb.; bicarbonate of soda, % 
lb.; farina, 1 lb. Dry separately by a gentle 
heat, mix and further add of sesquicarbonate 
of ammonia (in powder), 3 oz.; lastly, closely 
pack it in tinfoil. 

13. Bicarbonate of soda, 4 oz.; cream of tartar, 
9 oz.; fine starch, 7 oz. Dry separately and mix 
thoroughly. It must be kept from moisture. 

Boot Powder.— Poudre steatite de Florence.— 
1. For drawing on boots. The steatite (soap- 
stone) is a variety of talc, white, gray or green, 
and sometimes, but rarely, red and yellow, of 
specific gravity varying from 2'60 to 2'66. It is 
a very soft stone and can be colored of many 
shades with substances soluble in oils, acids, 
alkalies and alcohol. 

It is used naturally or colored, according to 
ehoice. The unctious property of this sub- 
stance renders it particularly applicable in 
facilitating the entrance of the foot into the 
boot. It suffices merely to sprinkle the powder 
in the interior of the boot. 

2. French chalk reduced to powder by scrap- 
ing or grating. Used to facilitate the putting 
en of new or tight boots, a little of it being 
rubbed on the inside of the backs, heels ana in- 
steps. 

3. Boot Tops, Pink Powders for.— Oxalic acid, 
alum, 1 oz. each; cream of tartar and isinglass, 
3^ oz. of each. Color with cochineal or annatto. 
Boil the whole in 1 qt. of water for ten min- 
utes. 

Bronze Powder. See Bronzing. 
Cosmetic Powders. — (Fr. Poudre.) See also 
Rouges. 

1. Poudre de Frangipane, Frangipanni Pow- 
der. — 

„ Poudre de Chipre % lb. 

Poudre aux fleurs d'oranges. . . % lb. 

Essence of ambergris 1 fl. drm 

Civet (in fine powder) 4 or 5 grn. 

Proceed as for poudre de Montpellier (ante). 

2. Poudre a la Marechale. — 

Cyprus powder 1 lb. 

Starch or farina 3^ lb. 

Calamus aromaticus (root) ... 1 oz. 

Cloves 1 oz. 

Cyperus perennis or rotundus ... 1 oz. 
Separately powdered and mixed, as before. 
Pale ash gray. 

3. Starch or farina. 2 lb. 

Cloves 1 oz. 

Orris root % oz. 

Essence of ambergi is (or royale) . 20 drops. 

As before. White. 

4. Poudre de Millefleurs, Millefleur Powder.— 

Poudre de Chipre V/& lb. 

Eau or extrait de millefleurs Vrfz fl. drm 

Mix, as before. On the large scale, the 
solid and liquid scents employed to make the 
eau or extrait are directly added to the pow- 
der as in the poudresde Montpellier, Marechale, 
etc. 



5. Poudre & la Vanille.— 

Cyprus powder , 1J^ lb. 

Vanilla (in fine powder) V/% drm. 

Cloves (in fine powder) }/% drm. 

Essence of ambergris 8 or 10 drops 

Mix, as before. Or it may be made like pou- 
dre de millefleurs, by the simple addition of a 
little essence of vanilla to the plain powder. 

6. Bran of Almonds.— Make an emulsion of 
4 parts of sweet almonds, blanched, with 6 
parts of water; press and dry the residue 
thoroughly. Rub to a powder, and add 1 part 
pulverized orris root. 

7. Blanc de Circassie( Circassian White).— Make 
a slightly blued water with a little ultramarine, 
and dissolve therein a very small portion of 
powdered gum tragacanth. With this solution 
thin out a very finely powdered Venetian talc, 
and of this paste form troches or lumps by 
pushing the mass through the barrel of a glass 
funnel, and catching the drops upon white 
paper. When these drops are dry, they are 
gently loosed and packed separately in hand- 
somely ornamented paper boxes, or in elegant 
china pots, similar to those for the red paints, 
but in this case a little juice of lemon should 
be added to give consistence. 

8. Complexion Powder.— Violet.— 

Best starch 25 lb. 

Terra alba 25 lb. 

Talc (without mica) 25 lb. 

French chalk 25 lb. 

Pulverized orris ...... 10 lb. 

Grind well together with 8 oz. Turkish gera- 
nium oil, 2 oz. oil of citronella, then sift 
through fine wire sieve. 

For flesh tint.— Add to 2 lb. of the violet 
powder 8 oz. carmine. Triturate carefully and 
completely; when thoroughly ground, add 
violet powder until the desired color is ob- 
tained. 

9. Harmless Cosmetic Powders.— The Journal 
of Pharmacy announces the fact that the 
apothecaries of Copenhagen have agreed on 
the substitution of certain harmless com- 
pounds for the numerous poisonous face pow- 
ders now commonly used. In avoirdupois 
weight, the proportions of the ingredients will 
be about as follows : For white powder, oxide 
of zinc, 1 oz.; wheat starch, 9 oz.; oil of rose, 
3 drops. 

10. For Red Powder. — Carmine, 1 oz.; carbon- 
ate of magnesia, 4 oz. 

11. Rose Face Powder.— Rice starch, 7 lb.; 
rose pink, y% drm.; otto of rose, 2 drm.; otto of 
santal, 2 drm. 

12. Poudre de la Mer Rouge, by Cambou, 
Paris.— 

Alum 1 lb. 

White sugar 1 oz. 

Gum arabic (best) 1 oz. 

Carmine .1 oz. 

Mix and reduce the whole to an impalpable 
powder, and sieve through a fine cloth. 

This powder, its author says, is curative of 
the ringworm, red blotches and pimples. 

It is tied up loosely in a bag, and this bag, 
moistened with fresh water, is rubbed gently 
over the skin. 

13. Face Powder.— Starch, 1 lb.; oxide of bis- 
muth, 4 oz. The use of bismuth cannot be too 
strongly reprehended. 

14. Enamel Powder.— 
Talc or French chalk (finely 

scraped) 1 part. 

Pearl white 1 part. 

Rouge or carmine (to slightly 

tinge it) q. s. 

Mix. Used to conceal discolorations, and, 
without the coloring, to whiten the skin. 



Powders. 



463 



Powders. 



15. Poudre Orientate.— 

Peeled sweet almonds 2 lb. 

Rice flour 4 oz. 

Orris root 4 oz. 

Benzoin 4 oz. 

Spermaceti 3 drm. 

Potassium carbonate 3 drm. 

Volatile oil of rhodium wood . . .30 drops. 

Volatile oil of lavender 30 drops. 

Volatile oil of cloves 30 drops. 

Mix the whole and sieve finely. This powder 
is very mild and agreeable. 

16. Poudre d'Iris, Absorbent Powder.— 

Powdered orris root 12 lb. 

Powdered bergamot peel 8 oz. 

Powdered acacia flowers 8 oz. 

Powdered cloves J^ oz. 

Mix and pass through a sieve. The labels ac- 
companying the boxes in which this powder is 
packed should direct its application at evening, 
and its removal from the hair with a fine tooth 
comb the following morning. 

17. Pearl White, Pearl Powder.— This, as al- 
ready noticed, is properly the basic chloride or 
subchloride of bismuth. It is a pearly white, 
inodorous powder. To obtain it in the great- 
est beauty, it should be precipitated from a 
rather concentrated acid solution of the metal, 
and should be dried at a very gentle heat in the 
shade. The continued use of either of the 
above bismuth whites injures the skin, and 
ultimately produces paralysis of its minute 
vessels, rendering it yellow and leather-like — 
an effect which, unfortunately, those who em- 
ploy it generally attempt to conceal by its freer 
and more frequent application. The following 
is also often sold under the above name : 

18. Pearl Powder, Gosmetic P. P.— Pure 
pearl white and French chalk or talc, equal* 
parts, triturated together. It is generally pre- 
ferred by ladies to pearl white alone, from 
being more adhesive. The French chalk, for 
this purpose, is said to be best reduced to 
powder by scraping it with Dutch rushes. Some 
makers add a little more chalk. 

19. Perle Powder.— French chalk, 1 lb.; oxide 
•of bismuth, 1 oz.; oxide of zinc, 1 oz. 

20. Toilet Powder, Skin Powder.— 
Starch or farina (in fine powder). 1 lb. 

Orris root (do.) J^to%oz. 

Essence of ambergris 10 drops. 

Oil of bergamot — 10 drops. 

Oil of rhodium. 2 drops. 

Mix thoroughly, and rub the whole through 
.a fine gauze sieve. Very fine. It should be 
put up in packets of thin non-porous paste- 
board, and packed moderately close, to prevent 
loss of odor. 

21. Powdered starch or farina 1J^ lb. 

Oil of bergamot y^ fl.drm. 

OH of cloves laro'ps! 5 

As before. This forms the common powder 
of the shops. 

22. Pistachio Nut Toilet Powder.— Starch of 
pistachio nuts, 7 lb.; French chalk in fine pow- 
der, 7 1b.; otto of rose and lavender, each 1 drm. 
Weil sifted through a fine sieve. 

Curry (Currie) Powder.— 1. Coriander seeds, 
20 parts; black pepper, 3 parts; cayenne pepper, 
1 part; turmeric, 6 parts; cummin seeds, 6 
parts. Reduce to powder and mix. 

2. The Food Journal indorses the following 
recipe as affording the closest approach to a 
Singapore curry powder that can be obtained 
outside of the tropics : 

One coconut and one lime sliced. 

Cardamoms, thoroughly ground. 2 oz. 

Cinnamon, thoroughly ground... 2 oz. 

Chillies, thoroughly ground 1 oz. 

Coriander seed, thoroughly ~ 

ground 4 oz. 

Black pepper, thoroughly ground 4 oz. 

Mustard seed, thoroughly ground 2 oz. 

Turmeric, thoroughly ground... 5 oz. 

Ginger, thoroughly ground 4 oz. 



3. Ford's.— Turmeric, 12 oz.; coriander seed, 
12 oz.; ginger, 12 oz.; black pepper, 12 oz.; capsi- 
cums, 9oz.; cardamoms, 6 oz.; cummin seed, 6 
oz.; mint, 3 oz. These should be ground sep- 
arately into fine powder, and weigh as above 
after being ground. Mix thoroughly by sifting 
all together. 

Dusting Powders.— McCall Anderson's Dust- 
ing Powder. — The powder, after being well 
triturated, should be bolted. 

Camphor 3 drm. 

Zinc oxide 4 drm. 

Starch 16 drm. 

Flash Light Powder. See Photography. 

Fly Powder.— Prep. White arsenic, 4 oz.; white 
sugar, 6 lb.; rose pink, 1 oz.; mix, and put 6 
drm. in each paper. It is poisonous, and should 
be employed with great caution, especially 
where there are children. 

Infusorial Eavrth as a Dusting Powder.— Infu- 
sorial earth, sterilized by being subjected to a 
heat sufficient to cause it to glow, constitutes, 
it is said, an excellent inert dusting powder. 
It is capable of absorbing about six times its 
own weight of water. Mixtures of equal parts 
of this earth, thus dried, with salicylic acid, 
salol, or iodoform, have proved of equal use. 

Foot Powder.— Dr. Oscar Bernar, Vienna.— 
An unfailing remedy for sweaty feet and bad 
odor of the feet. Powdered alum, 21 parts; 
maize meal, 1 part. 

Glove Powder.— 1. Castile soap, dried by expos- 
ure to a warm, dry atmosphere for a few days, 
and then reduced to fine powder in a mortar. 
Used to clean gloves. 

2. Pipe clay, colored with yellow ocher, umber, 
or Irish slate, q. s., and afterward scented with 
a little powdered orris root, or cloves. Used to 
color gloves made of doeskin and similar 
leather. 

Gold Powder.— Pulvis Auri.— Triturate gold 
leaf with ten or twelve times its weight of sul- 
phate of potash, till bright particles are no 
longer visible; pass it through a sieve; mix 
with boiling water, wash what remains on the 
filter and dry in a stove. 

Gunpowder.— The composition of powder is 
varied considerably to adapt it to special usage. 
Theoretically the proper composition for a 
powder in which the full force of a completed 
reaction between the ingredients employed 
would take place would be : 

Niter (pure) 74*64 

Carbon (pure charcoal) 13*51 

Sulphur (pure) 11*85 

100*00 

In practice, however, the following are 
found best adapted for the several purposes 
indicated : 

Niter. Char. Sul. 
For U. S. military service . 76 14 

For sporting . ..78 12 

For blasting 62 18 20 

Of course much depends upon the thorough- 
ness with which these ingredients are mixed 
together, granulated, and dried. But the man- 
ufacture is one attended with great danger and 
should not on that account be attempted. 

Powder, Power of.— In small blasts, 1 lb. of 
powder will loosen about 4^ tons; in large 
blasts, 1 lb. of powder will loosen about 2% 
tons. One man can bore, with a bit 1 in. in 
diameter, from 50 in. to 100 in. per day of ten 
hours in granite, or 300 in. to 400 in. per day in 
limestone. 

Hair Powder.— (Son prepare et perfume).— 
1. For cleaning the hair. Powder very finely 
and carefully the bran of wheat, perfectly and 
absolutely dry, and, to every pound add 2 oz. 
powdered orris, and pass through a sieve. 

2. Hair Wash Powder.— Powdered borax, lib.; 
camphor, 1 drm.; oil of bergamot, 20 min. 
Mix. 

3. Poudre Blonde (for the hair).— Add yellow 
ocher to the best pearl starch, finely powdered, 
until the desired shade is obtained. 



IB 



Powders. 



464 



Powders. 



4. Starch (finely powdered), V/% lb.; orris root, 
Yq oz.; oil of rhodium, 5 drops. 

5. Plain or Unscented Hair Powder.— Pure 
wheat starch. 

6. Starch reduced to very fine powder, and 
then scented according to the fancy; it is lastly 
passed through a gauze sieve. In its simple 
form without any addition it constitutes plain 
hair powder. In other cases, it is distinguished 
by the name of the substance added to per- 
fume it. Thus we have rose hair powder, vio- 
let hair powder, etc. Potato farina, well tritu- 
rated, is now commonly nsed for hair powder. 

7. Poudre de Gomme (for false toupets).— 
Powder equal parts of gums arabic and traga- 
canth, and add J4. of powder of orris, or white 
perfumed powder, with % of pulverized sugar 
candy. When used this composition is to be 
made into a pasty consistence with a sufficient 
quantity of water. 

Hand Powder.— Almond paste, and other like 
cosmetic powders, often receive this name. 
The product of the following formula is also 
much esteemed among the higher classes : 
Take of— 

Almond powder. ....... J. lb. 

Cuttle fish bone (powdered) 5 oz. 

Curd soap (air dried, powdered).. 2}£ oz. 

White Castile soap (air dried, 
powdered) 2% oz. 

Orris root (in fine powder) V/% oz. 

• Mix and pass the whole through a fine sieve, 
Used to clean, soften, and whiten the hands, 
and to prevent chaps and chilblains. 

Insect Powder, Constituents of. — M. Lacour 
Eymard communicates to IS Union Pharma- 
ceutique the results of an investigation which 
he has concluded on Dalmation insect powder, 
the object being to ascertain why some pow- 
ders of commerce differ from the proprietary 
powders. A portion of the powder was first 
submitted to the ordinary process for the dis- 
tillation of essential oil, and a distillate was 
obtained which was opaque, owing to the 
presence of a very small quantity of essential 
oil, possessing the characteristic odor of the 
flowers. Some bugs and ants were put along 
with a portion of this odorous substance under 
a bell glass, but after eight hours they were as 
lively as ever, entirely unaffected by the vola- 
tile essence. M. Jousset de Bellerme has 
already shown that the essential oil of 
Pyrethrum carneum is without influence on 
insect life, and the same is also true of the 
pyrethrum of the Caucasus. We may recall 
the fact that Hirschsohn has recently come to 
the same conclusion. Continuing his work, M. 
Eymard extracted the resinous matter of the 
powder by means of ether, obtaining 5'6$ of 
dry product, 3*8 of it being fatty matter and 1*8 
resin. An alcoholic solution of the entire resi- 
due was placed on paper, the alcohol allowed 
to evaporate, and some insects placed on the 
paper. Immediately the insects showed symp- 
toms of much agitation, and within five min- 
utes they died. A solution of the resin alone 
had exactly the same effect. Alcoholic and 
aqueous extracts of the powder were also 
made, but these proved to be innocuous to in- 
sects, and M. Eymard concludes that there is 
no doubt that it is the ether-soluble resin which 
is the insect killing constituent, and that the 
finer the powder is, the more active it is. The 
following is the result of the complete analysis 
of the powder : 

Essential oil . ....... A trace. 

Fatty bodies, soluble in ether B'8%. 

Resin, soluble in ether V8%. 

Brown resin, soluble in alcohol . . 4*8$. 

Vegetable albumen V75%. 

Gummy matter 14*75$. 

Inulin and starch 8'b%. 

Mineral salts 7'88^. 

Woody matter 56 - 72#. 

The ash — 7'885# — consisted of potassium 
chloride, 1*94 ; calcium carbonate, 4*15 ; calcium 



phosphate, 0'17 ; silica and iron, 1*625. A mere 
trace of iron was only found. In arecentinves- 
tigation Messrs.Schlagdenhauf een & Reeb ascer- 
tained that the active principle of pyrethrum 
flowers is an acid (pyrethrotoxic acid) soluble 
in alcohol, amylic alcohol, ether and chloro- 
form, which may be isolated by means of 
ether after having been converted into an 
alkaline salt and decomposed by tartaric acid 
in aqueous solution. Apparently this is the 
resin above mentioned. 

Lycopodium Powder.— An absorbent and for 
excoriated surfaces in infants. Lycopodium 
^ lb.; rose or violet toilet powder, 1 lb. 
Magnesium Powder.— 

Chlorate of potash . . 3 parts. 

Perchlorate of potash 3 parts. 

Magnesium powder 4 parts. 

Meen Fun (Chinese Skin Powder).— Magne- 
sian earth— very absorbent. 

Powder, Ink. See Inks. 

Moth Powder. — Lupulin (flour of hops), 1 
drm.; Scotch snuff, 2 oz.; gum camphor, 1 oz.; 
black pepper, 1 oz.; cedar sawdust, 4 oz. Mix 
thoroughly and strew, or put in papers, among 
the furs or woolens to be protected. 

Nail Powder.— The nails should be cut at least 
once in two weeks. A sharp penknife produces 
a smoother edge than scissors. Some persons 
push the quick down with the towel every time 
they wash their hands, but small ivory nail 
cleaners are preferred. The best nail powder 
consists of pure oxide of tin perfumed with 
otto of lavender and tinted with carmine. 

Polishing Powder. See Polishing. 

Putz Powder. See Polishing. 

Sachet Powders.— The material is either to be 
ground in a mill or powdered in a mortar, and 
afterward sifted. 

1. Acacia Sachet.— Cassie flower heads, 1 lb.; 
orris powder, 1 lb. 

2. Scent Powder.— The following recipe for 
scent powder to be used for wardrobes, boxes, 
etc., gives an article far superior to the mix- 
tures sold in the shops: Coriander, 1 oz.; orris 
root, 1 oz.; rose leaves, 1 oz.; and aromatic cala- 
mus, 1 oz.; lavender flowers, 2 oz.; rhodium 
wood, J4 drm.; musk, 5 grn. These are reduced 
to a coarse powder. The scent on the clothes 
is as if all fragrant flowers had been pressed in 
their folds. 

3. Take of reindeer moss, in coarse powder, 
any quantity, and very strongly scent it witn 
any of the compound fragrant essences, or 
with the perfumes of which they are made, or 
with mixed essential oils, at will. 

4. Orris root (in coarse powder) 2 oz. 

Cassia (in coarse powder) 1)4 oz. 

Cloves (in coarse powder) 1 oz. 

Cedar wood (rasped) J4 oz. 

34 oz. 



1 
1 

10 



Yellow sandal wood (rasped) 
Ambergris (in fine powder) . . -j 

Musk (in fine powder) -j 

Mix, add of— 

Oil of lavender (Mitcham) 

Oil of bergamot 

Otto of roses j 

And blend the whole thoroughly together. 

5. Coriander seed. '. 4 

Orris root 4 

Calamus aromaticus (root) 4 

Rose leaves (lightly air dried) 4 

Lavender flowers (lightly air 
dried) 

Rhodium wood (rasped) j "^drm 

Musk (powdered) j 15 ^ 20 

Civet (powdered) j 10 ™^~ 

As before. 



or 6 
grn. 
or 6 
grn. 

drm. 
drm. 
to 15 
drops. 



oz. 
oz. 
oz. 
oz. 



8 oz. 



Powders. 



465 



Powders. 



6. As the last, but adding of— 

Allspice 1)4, oz. 

Cloves y% oz. 

Mace . . , 34 oz. 

Oil of lavender (Mitcham) )4 drm. 

Keplace the musk and civet, in Nos. 5 and 6, 
by essential oil of almonds, 1 fl. drm. 

7. Patchouli 8 oz. 

Lavender flowers (lightly dried) . . 3 oz. 

Orris root 2 oz. 

Cloves — 1 oz. 

Oil of bergamot 1 fl. drm 

Oil of lavender (Mitcham) J^ fl. drm 

Essence of ambergris )4 A- drm 

Essence of musk )4 fl. drm 

The above are used, along with cotton wool, 
to fill scent bags, cassolettes, etc., and as scent 
powders for boxes, drawers, wardrobes, and 
the like. For the latter, besides their fra- 
grance, they are useful in keeping away moths 
and other insects. They are also used beaten 
up with mucilage, to form scent balls, medal- 
lions, etc. 

8. Sachet au Chypre.— Ground rose wood, 1 
lb.; ground cedar wood, 1 lb. ; ground santal 
wood, 1 lb. ; otto of rose wood, 3 drm. Mix 
and sift. 

9. Frangipanni Powder.— 

Powdered violet roots 3 lb. 

Powdered sandal wood 34 lb- 
Orange oil 1 drm. 

Rose oil 1 drm. 

Oil of sandal wood 1 drm. 

Pulverized musk 1 oz. 

Pulverized civet 2 drm. 

10. Sachet of Heliotrope.— Take- 
Powdered orris root 2,000 parts. 

Powdered rosa centif olia 1,000 parts. 

Powdered tonka bean 500 parts. 

Cut vanilla bean . . 250 parts. 

Powdered musk 10 parts. 

Essential oil of bitter al- 
monds 1 part. 

Pound the musk and vanilla bean, together, 
and add the rest. Pass through a not close 
sieve. This is an excellent imitation of helio- 
trope. 

11. Sachet of Lavender. — This and the two 
following recipes are from Piesse. Take- 
Powdered lavender 75 parts. 

Powdered benzoin 20 parts. 

Essential oil of lavender 1 part. 

Mix. 

12. Sachet for Perfuming Linen.— Take- 
Orris root 125 parts. 

Rosa centif olia 125 parts. 

Nutmegs 8 parts. 

Grain musk (Hibiscus abel- 

moschus) 15 parts. 

Powder coarsely and mix. 

13. Sachet a la Marechale.— Take- 
Sandal wood 280 parts. 

Orris root . . .280 parts. 

Rosa centif olia 140 parts. 

Cloves 140 parts. 

Cassia bark (Laurus cassia) 140 parts. 

Musk 1 part. 

Powder coarsely. 

14. Mousseline Sachet.— Vitivert in powder, 
1 lb.; sandal wood, orris, each, }4 lb.; black cur- 
rant leaves (casse), )4 lb. ; benzoin in powder, 
34 lb. ; otto of thyme, 5 drops ; otto of roses, 
J^drm. 

15. New Mown Hay. — Sachet Powder. — 
Ground rose leaves, 1)4 lb. ; ground orange 
flowers. % lb.; ground orris root, 1}4 lb.; ground 
benzoin, 34 lb. ; ground Tonquin bean, % lb. ; 
ground ambrette, % lb. ; oil of verbena, 1]4 
drm. ; oil of almonds, 3 drm. 

16. Patchouly Sachet. — Patchouly herb, 
ground, 16 lb. ; otto of patchouly, 34 drm. 



17. Portugal Sachet.— Dried orange peel, 1 
lb.; dried lemon peel, y% lb.; dried orris root, )4 
lb.; otto of orange peel, 1 oz.; otto of neroli, 34 
drm.; otto of lemon grass, 34 drm. 

18. Rose Powder.— 

Pulverized rose leaves 1 lb. 

Pulverized sandal wood 3^ lb. 

Rose oil 2 drm. 

19. Rose Sachet.— Rose leaves, 1 lb.; sandal 
wood, ground, y z lb.; otto of roses, 34 oz. 

20. Patchouli Powder.— 

Pulverized patchouli leaves 1 lb. 

Patchouli oil 1 scr. 

21. Verbena Powder. — 

Dried and pulverized lemon 

peels 1 lb. 

Caraway seeds 34 lb. 

Oil of lemon peels 4 drm. 

Oil of bergamot — 1 oz. 

22. Verveine Sachet.— Lemon peel, dried and 
ground, 1 lb.; lemon thyme, 34 lb.; otto of 
lemon grass, 1 drm.; otto of lemon peel, % oz.; 
otto of bergamot, 1 oz. 

23. Violet Powder.— The London Chemist and 
Druggist gives this recipe : Powdered starch or 
potato farina, 28 lb.; orris powder, 1 lb. This 
will require about 1 oz. of perfume, varying 
according to fancy. A mixture of ambergris 
and bergamot, with a little musk, is a favorite 
odor, and some makers add a few drops of oil 
of rhodium. The powder should be sifted. 

24. Violet Satchet.— Black currant leaves, 1 
lb.; cassie flower heads, 1 lb.; rose leaves, lib.; 
orris root powder, 2 lb.; otto of almonds, 34 
drm.; grain musk, 1 drm.; gum benzoin in 
powder, V£ lb. Mix the ingredients well by 
sifting. Let them stand for a week in a glass 
jar before using. 

25. Violet Powder, Perfume for.— 

Bergamot oil 20 parts. 

Lemon oil 20 parts, 

Clove oil 10 parts. 

Neroli 10 parts; 

Use equal parts of powdered orris root and 
starch, and add 1 drm. of this to each pound of 
powder.— Druggists' Circular. 

Seidlitz Powders. — Pulveres Eff ervescentes 
Aperientes.— 1. Potassio-tartrate of soda (Ro- 
chelle salts), 2 drm.; bicarbonate of soda, 40 
grn.; mix, and put in a blue paper. Tartaric 
acid, 35 grn., to be put in a white paper. For 
about }4 pt- of water. Laxative. 

2. In one bottle. Potassio-tartrate of soda, 12 
oz.; bicarbonate of soda, 4 oz.; tartaric acid, 
33^ oz.; white sugar, 1 lb. (all in fine powder); 
dry separately by a gentle heat, add essence 
of lemon, % drm.; mix well, pass the mixture 
through a sieve, and put it at once in clean, 
dry bottles. A dessertspoonful or more to a 
tumblerful of water. 

3. Cut blue and white paper to form powders. 
Into the blue papers put 1 drm. bicarbonate 
of soda and 2 drm. Rochelle salts intimately 
mixed. The white powder contains }4 drm. 
tartaric acid. For use, dissolve a white pow- 
der each in half a tumbler of water. Mix and 
drink Avhile it effervesces. 

Soap Powder. See Soaps. 

Stamping Powder.— Powdered talc is good 
for marking cloth. For blue marks on white 
goods use ultramarine blue. 

Tooth Powder. See the Teeth.. 

Washing Powder (Toilet); Alkalized Cosmetic 
Powder.— Sevei'al preparations used in fashion- 
able life by ladies instead of soap. The follow- 
ing are intended chiefly to soften the water 
used in making one's toilet, and thus to pro- 
mote its cleansing action, as well as the free 
lathering of the soap : 

1. The best Scotch soda broken up small and 
exposed (spread out) in a warm dry situation 
until it effloresces and falls into the state of a 



Precipitation. 



466 



Preserving. 



fine white powder. Half a teaspoonful or 
thereabout to be added to y& or % of an or- 
dinary wash basinful of water. 

2. (Dutch Washing Powder.) Powdered 
borax. A good pinch as above. 

3. Carbonate of soda (or effloresced 

Scotch soda) M lb. 

Borax (in fine powder) 34 lb. 

Mix. t Used as No. 2. The above are per- 
fectly harmless to the skin and promote its 
health and clearness. The last two, when daily 
used, also tend to render it soft and white and 
to prevent roughness, chaps, etc. 

Welding Powder. See Welding;. 

Precipitation.— A process in which an 
agent, usually in a fluid condition, being added 
to a compound or a menstruum, a new com- 
pound is separated and thrown to the bottom 
of the vessel in the form of a fine powder. The 
fluid added to produce the precipitation is 
called a precipitant. This should be added 
gradually, stirring the mixture continually 
with a glass rod, until the precipitation ceases. 
The liquid should then be allowed to settle 
until clear. In order to ascertain whether 
there is any matter left in the liquid unpre- 
cipitated, let one drop of the precipitant fall 
into the mixture; if any signs of precipitation 
ensue, more must be added; if the mixture re- 
mains unchanged and clear, the operation is 
complete. The liquid may then be carefully 
decanted and the precipitate filtered, washed 
and dried. 

Precipitate.— Any substance which has 
separated from its solution in a solid and 
usually a pulverulent or flocculent form. This 
substance is called a precipitate. This is of 
great importance in chemistry, as chemical 
analyses depend on the formation of precipi- 
tates almost entirely in the determination of 
substances. 

Preserving. See also Eggs, Furs and 
Skins, Meat, Wood, Salicylic Acid. 

Preserving Media. See Microscopy, etc.; 
also Antiseptics. 

Beer. — Acid sulphite of lime is recommended 
to be added to beer which has to be kept for a 
length of time in warm places, or to undergo 
transmarine exportation; 1 gal. of the aqueous 
solution (commercial) is added to 1,000 gal. 
beer. 

Fruit, Grain and Vegetables.— Fov the preser- 
vation of grain no further precautions are 
necessary beyond gathering it when ripe and 
keeping it dry. 

Canning Fruit.— The Pomona Times publishes 
the following detailed statement: 

A word or two as to the philosophy or science 
of canning will not be amiss, for it is founded 
on scientific principles, and there may be*many 
modifications in the methods of securing the 
results desired, so that methods may, in many 
instances, be modified by circumstances. 

There may be said to be two causes for the 
fermentation and decay of fresh fruit. Every- 
where in the atmosphere there are little float- 
ing germs which attach themselves to cut fruit, 
causing fermentation. The oxygen of the air 
is also ready to enter into combination and 
produce decay. The first of these causes the 
strongest influences in starting the processes 
of decay. 

Canning checks the process from the fact that 
a boiling heat kills all the germs of ferment; 
and, by closely sealing, no more can enter, nor 
can the oxygen of the air gain access to the 
fruit to act upon it. 

It has been found that the germs will not go 
through a sheet of cotton batting, and fruit 
has been preserved by closing it pretty tight, 
to prevent evaporation, and wrapping the 
joint loosely with cotton. 

Fruits are in a proper condition to can when 
they are fully ripe, but not soft and mushy. 
They can be canned at any time before they are 



too ripe, but at the expense of a fine appear- 
ance. Many of our canneries sacrifice quality 
in taste and flavor to quality in appearance. 
The home canner will seek the best flavor and 
make the fruit look as well as he can. 

Glass is of course best, but tin cans will keep 
fruit just as well, with a slight danger of the 
acid of the fruit dissolving a portion of the 
tin. 

If no regard is had for fine appearance, the 
easiest way to can is to cook the fruit in a por- 
celain or graniteware kettle, in small quanti- 
ties, two to five cans at a time, and when 
cooked pour into cans and seal at once. 

If the finest appearance is desired, all fruit 
that is peeled or cut should be at once dropped 
into water to keep it from discoloring. By the 
aid of a silver spoon or knife the pieces can be 
arranged in the can systematically and regu- 
larly, and the can should then be shaken down 
as solid as possible by gently jolting on the 
table. It should be filled with sirup. "We leave 
the amount of sugar in this sirup to the taste 
of each man. We prefer for most fruits a good 
strong sirup, but all do not. The filled cans 
should now be placed in a boiler with water 
enough to come up nearly to the neck and 
covers put loosely on, and the whole brought 
to boil and kept long enough to cook thorough- 
ly. The time varies. The following table is 
said to be a good guide : 

Time Sugar 
Fruit. for to qt. of 

boiling. fruit. 

Cherries 5 min. 6 oz. 

Raspberries 6 min. 4 oz. 

Blackberries 6 min. 4 oz. 

Strawberries 8 min. 8 oz. 

Plums 10 min. 10 oz. 

Whortleberries 5 min. 8 oz. 

Pieplant 10 min. 8 oz. 

Sour pears (whole) 30 min. 4 oz. 

Bartlett pears ) halves) 20 min. 6 oz. 

Peache9 (halves) 8 min. 4 oz. 

Peaches (whole) 15 min. 4 oz. 

Pineapples (sliced) 15 min. 6 oz. 

Crab apples 25 min. 8 oz. 

Sour apples 10 min. 5 oz. 

Ripe currants 6 min. 8 oz. 

Gooseberries 8 min. 8 oz. 

Wild grapes. . . 10 min. 8 oz. 

Quinces (sliced) 15 min. 1<) oz. 

Tomatoes 20 min. j^ tea- 
spoonful 
of salt. 

The fruit will shrink considerably in cook- 
ing, and a few pieces should be cooked in a 
separate dish to fill up with if there is a chance. 
If this extra dish is cooked with a little more 
sugar than the rest, it is a good idea. As soon 
as the cans are cooked enongh, remove them 
from the water, take off the covers and fill the 
cans as full as possible, the top with boiling hot 
sirup; wipe the top and neck clean, put on the 
rubbers, and screw down the tops as tight as 
possible. Watch the rubbers carefully to see 
that the tops fit them well. 

It is sometimes necessary to test the zinc 
covers of the Mason jar, by placing them on a 
smooth, flat surface, and if the edge does not 
come down close all the way round, it can be 
pressed down by rubbing it with a smooth 
iron. 

Set the fruit away where you can watch it 
for a week, and if you discover no fermenta- 
tion, it can be put in a dark place to keep. 
Move it as little as possible after this. If you 
have any doubts about any can being perfectly 
sealed, you can wrap the top in cotton and it 
will be apt to keep as well as any. Apricots, 
peaches, nectarines, and pears should be as ripe 
as possible and still keep their shape. 

If you fill cans with hot cooked fruit, they 
will not break if you stand them on a wet 
folded cloth while filling. 

Jellies are delicious, and can be made of most 
kinds of fruit. Currants are very nice, and a 



Preserving. 



467 



Preserving. 



few raspberries with them give the whole a 
raspberry flavor. Blackberries, apricots, plums, 
apples, quinces, and grapes before they are 
fully ripe make excellent jelly. Some small egg 
plums and some Verdel grapes gave us some 
fine jelly, very light in color, and tart. Cook 
the fruit in a little water, and the juice which 
will drain out without pressure is nicest. By 
straining twice through a flannel bag, the juice 
that comes from pressure is made about as clear 
and nice as any. 

Quinces may be pressed gently for a portion 
of their juice, and the pulp mashed and rubbed 
through a sieve or one of those crushers made 
on purpose, and with the addition of sugar 
made into a nice marmalade. Jellies will be 
lighter colored to boil the juice alone before 
adding the sugar. You will need about equal 
bulks of juice and dry sugar to make good 
jelly glasses. The best cover we have ever 
found is melted paraffine. The glasses should 
be allowed to be open, or lightly covered for a 
day or two to shrink ; then pour the melted 
paraffine on top and let it cool. The hot par- 
affine kills all germs of mould or ferment and 
keeps it air tight. The name of the jelly may 
be written on the smooth surface of the par- 
affine when cold. It will come off as neatly as 
a glass cover. If you do not use paraffine, 
cover the top with a wax paper neatly cut to 
circular form the exact size of the glass and 
pressed down to the jelly. Then put on the 
regular cover. 

Crystallized Fruit.— This can be made at home 
very nicely. Select nice, firm fruit. Cook it a 
little in clear water, the amount of cooking you 
will soon learn. Place the cooked fruit into 
very thick, hot sirup, and let it stand for about 
two days ; then drain off the sirup, which will 
now be very thin, and boil it down until it is 
thick again, put in the fruit and let it heat 
through and stand for about four days, then 
repeat the process, letting it stand longer 
every time. When the sirup no longer gets 
thin, remove the fruit and dry it in the sun or 
in an evaporator with gentle heat. It may be 
rolled in granulated sugar to fully dry it, and 
then may be packed in boxes for use. By using 
the first sirup for jelly, and making up some 
entirely new, the process can be hastened and 
the fruit will dry better, but will not be of 
quite so good a flavor. Try it. 

Fruit Juices.— Formic acid is said to possess 
powerful preservative properties, exceeding, 
when added to acid solutions, even carbolic 
acid, and to be particularly suitable for adding 
to fruit juices; about J4 to y%% is the quantity 
requisite to preserve fruit juices, vinegar, glue, 
ink, etc. 

Cooking.— The preservation of vegetables by 
cooking them in sealed cases is dependent 
upon the destruction of all organic germs by 
the heat of the boiling and the perfect exclusion 
of air. An example of the simplest form is the 
canning of tomatoes. The fruits are scalded 
to loosen the skin, and then dipped in sieves 
into water, heated by the injection of steam, 
for one-half minute. They are then skinned, 
and picked over, and passed into the steamer. 
Thence they fall into the hopper, and are fed 
by the stuffer, a cylinder worked by a treadle, 
into the cans. The filling of these is adjusted 
by boys, and they are sealed up. The cans are 
then boiled for two hours, then partially cooled, 
the air is let out by a pin hole, and they are 
immediately soldered up, and the cooling is 
completed. 

Many other vegetables are canned in a simi- 
lar manner. Those which have a green color 
lose it during the operation, by the destruction 
of the chlorophyl. The same remark applies to 
those dried by heat, 'ihe green color may be 
replaced by adding a solution of chlorophyl. 

Desiccation.— The simplest form of desicca- 
tion is by ordinary sun and wind drying, as 
conducted in hay making. The next step is by 
radiated sun heat, as in coffee drying; a further 



advance is made by the application of artificial 
heat, as in hop drying and tea drying. The 
primary object in all these cases is the removal 
of the water mechanically present, and with- 
out whose presence fungoid growths and de- 
cay cannot exist. As a curative agent simply, 
the application of heat is, however, unneces- 
sary and injurious, causing a partial destruc- 
tion of the flavor, and more or less fermentative 
change. Research has proved that between 
the limits of 32° and 60° F. (0° and 15° C.) vege- 
table substances retain their flavor and all 
other qualities, while giving up their moisture,, 
no fermentative action being engendered, 
Thig has led to the adoption of the following: 

Cold Blast System.— The fruit or vegetables 
are deprived of moisture by subjection to dried 
air at a low temperature. The air is compressed 
in a chamber containing chloride of calcium or 
any other compound possessing strong dehy- 
drating qualities. Chloride of calcium is in 
practice probably the best, as it so readily 
gives up the absorbed water on being heated. 
The compressed and dried air is then admitted 
into a chamber containing the substances to be 
treated. The expansion lowers its temperature 
somewhat, which should be maintained between 
32° and 60° F. (0° and 15° C). The substances 
are distributed throughout this chamber on 
perforated trays, so as to be fully exposed to 
the current of cold dry air passing through. 
All the moisture is thus removed, without the 
least detriment to the flavor, color, and other 
virtues of the substance acted upon. The pro- 
cess has a great advantage over hot drying, 
both in the cost entailed and the result 
achieved. Fruit and vegetables thus prepared, 
and packed with ordinary care, remain good 
for an indefinite period, and resume their natu- 
ral shape and dimensions when placed in water. 

Masson and Gannal's Process.— Vegetables 
are submitted for a few minutes to steam at 
70 lb. a sq. in., then dried by air at 212° F. (100° 
C), subjected to hydraulic pressure so as to 
form tablets, and, when required for use, are 
soaked in cold water for five hours. 

Hot Air Process. — 1. Great quantities of veg- 
etables continue to be prepared by this pro- 
cess, which has been in use for some time by 
Whitehead and other well known firms. A 
common method of conducting the operation 
is as follows: The fruit or vegetable is pared 
and cored, if necessary, and chen finely shred- 
ded. The shreds are spread on galvanized iron 
wire screens in the evaporator, a three storied 
chamber, through which passes a current of air 
heated to 240° F. (116° C). The screens resc on 
endless chains, that move upward at intervals 
of three to five minutes, when a fresh screen is 
put on below, and a finished one is taken off at 
the top. The evaporation is very rapid. The 
cores and peelings of apples, etc., are made into 
vinegar. 

2. Another plan is by means of a vacuum 
pan, heated to 120° to 170° F. (49° to 77° C). The 
air is dried by passage over chloride of calcium. 
The operation occupies twenty minutes. 

Carsten's Process for Potatoes.— The pota- 
toes are peeled and cut into disks, and are 
scalded by immersion in nearly boiling water. 
They are then dried hard in an oven. To pre- 
serve the white color, they are treated with 
water acidulated with 1% of sulphuric acid. 
They are then washed in cold water, and 
dried. 

Sacc's Process.— Sacc's process for preserving 
vegetables is as follows: The vegetables are 
warmed to destroy their rigidity, and are then 
packed in barrels, and surrounded with one- 
fourth their weigh of acetate of soda in pow- 
der, by which their moisture is obsorbed. In 
summer the action is immediate; but in winter 
it may be necessary to put the barrels into a 
room heated to 68° F. (20° C). After twenty- 
four hours, the vegetables are removed, and 
kept in a dry atmosphere. For use, they are 
soaked in cold water for twelve hours. 



Preserving. 



468 



Proofs. 



Furs and Skins, to Preserve. See Furs and 
Skins as well as the following.— l.The folio wing- 
is Dr. Lettsom's recipe for a mixture found to 
answer both for animals in cases and skins, in 
the open air. For birds it is equally good and 
effective : Corrosive sublimate, J4 lb.; saltpeter, 
prepared or burnt, }4 lb-; alum, burnt, 34 lb.; 
flowers of sulphur, y % lb.; camphor, J4 lb.; 
black pepper, 1 lb.; tobacco, ground coarse, 1 
lb. Keep in glass stoppered bottle. Give two 
or three good rubbings with it. 

2. Swan Skin.— Six oz. arsenic, 3 oz. corrosive 
sublimate, 2 oz. yellow soap, 1 oz. camphor and 
14 Pt. 90$ alcohol. Put all these ingredients in 
a saucepan, which place over a slow fire, stir- 
ring the mixture briskly till the several parts 
are dissolved and form one homogeneous mass. 
This may be poured into a wide mouthed bot- 
tle, and allowed to stand till quite cold, when it 
will be ready for use. Of course these quanti- 
ties may be increased or decreased, according 
to the size of the animal or bird to be operated 
on. If the soap and arsenic are left out, it will 
answer better, as they leave it greasy. To be 
put on with a sponge fastened on the end 
of a stick. Use very cautiously; mark poison. 

India Rubber. — To prevent India rubber ma- 
terials from hardening and cracking they are 
steeped in a bath of melted parafflne for a few 
seconds, or several minutes, in accordance 
with the size of the articles, and ? hen dried in a 
room heated to about 212° F. (100° C). 

Hempel, in the Ber. Chem. Ges., says that the 
hardening of vulcanized India rubber is caused 
by the gradual evaporation of the solvent 
liquids contained in the India rubber, and intro- 
duced during the process of vulcanization. 
Guided by this notion, he has made experiments 
for a number of years in order to find a method 
for preserving the Ind'a rubber. He now finds 
that keeping in an atmosphere saturated with 
the vapors of the solvents answers the purpose 
India rubber stoppers, tubing, etc., which still 
possess their elasticity, are to be kept in ves- 
sels containind a dish filled with common petro 
leum. Keeping in wooden boxes is objection- 
able, while keeping in airtight glass vessels 
alone is sufficient to preserve India rubber for a 
long time. Exposure to light should be avoided 
as much as possible. Old hard India rubber 
may be softened again by letting the vapor of 
carbon bisulphide act upon it. As soon as it 
has become soft it must be removed from the 
carbon bisulphide atmosphere and kept in the 
above way. Hard stoppers are easily made fit 
for use again in this manner, but the elastic 
properties of tubing cannot well be restored. 

Leather. — There is nothing as good as castor 
oil for preserving leather. Applied once a 
month, or once or twice a week in snowy 
weather, it not only keeps the leather soft, but 
makes it waterproof. Copal varnish is the 
best thing to apply to the soles; but the latter 
should be thoroughly dry, and if they have 
been worn, they should be previously roughed 
on the surface before applying the varnish. 
Linseed oil is perhaps better than nothing, but 
it rots the leather; hence the objection to dub- 
bings and other mix-ups of muttensuet, linseed 
oil, etc. With regard to castor oil, it may fur- 
ther be said that it does not prevent a polish 
being produced on the boots; and that leather 
so treated is avoided by rats, if even its pro- 
portion be only one third to two thirds tallow. 

Milk. — 1. A mixture of 2 drm. boracic acid with 
3 drm. common salt, of which an addition of % 
drm. to 1 gal. of milk is said to increase its 
keeping qualities for twenty-four hours. 

2. When milk contained in wire corked bot- 
tles is heated to the boiling point in a water 
bath, the oxygen of the included small portion 
of air under the cork seems to be carbonated, 
and the milk will, it is said, keep fresh for a 
year or two. 

3. Glacialine.— According to Dr. Besana, this 
substance, which has met with so much favor 
in England and elsewhere as an antiseptic, es- 



pecially for the preservation of milk, has the 
following composition : Boracic acid, 18 parts ; 
borax, 9 parts; sugar, 9 parts; glycerine, 6 parts. 
4. Morfit's Process.— In 1 gal. milk at 130° to 
140° F. (55° to 60° C.).is dissolved 1 lb. gelatine; 
the mixture is left to cool to a jelly, when it is 
cut into slices and dried. The compound is 
used to gelatinize more milk, and this is rep sat- 
ed till the gelatine is in the proportion of 1 lb. 
to 10 gal. of milk. 

Prince's Metal. See Alloys. 

Peruvian Beer. See Beers. 

Printers' Rollers.— 1. Take an equal quan- 
tity of good glue and concentrated glycerine ; 
soften the former by soaking in cold water, 
then melt it over the water bath, gradually ad- 
ding the glycerine. Continue the heat until the 
excess of water has been driven off, meantime 
constantly stirring. Cast in brass or bronze 
moulds well oiled. 

2. To 8 lb. transparent glue add enough 
water to cover it; let it stand with occasional 
stirring seven or eight hours. After twenty- 
four hours, all the water should be absorbed. 
Heat it in a water bath, as glue is always heated 
as soon as melted, and when both rise, remove 
from fire, and add 7 lb. molasses that has been 
made quite hot. Heat with frequent stirring 
for half an hour. The moulds should be clean 
and greased. Pour into moulds after it has 
cooled a little, and allow to stand eight or ten 
hours in winter, longer in summer. Some use 
far more molasses, three to four times above 
quantity, and less water. In this case, after 
soaking one to one and half hours, the glue is 
left on a board overnight, and then melted 
with addition of no more water, and three or 
four times its weight of molasses added. Two 
hours' cooking is recommended in this case. 

3. Resin soap and small quantities of oil and 
earthy matters are occasionally introduced. 
The heating must be continued until the great- 
er part of the water has been expelled, when 
the composition is ready for casting in copper 
moulds, oiled and warmed. 

4. Best glue 10^ lb. 

Black molasses or honey 2J£ gal. 

India rubber, dissolved in oil of 

turpentine 1 lb. 

Venice turpentine 2 oz. 

Glycerine 12 oz. 

Vinegar 4 oz. 

The above formula is given for the mysteri- 
ous black composition, so durable and elastic, 
and known but to very few persons until re- 
cently. Purified India rubber only is used. To 
recast add 20 per cent, new material. The old 
home receipt is, 2 lb. best glue, soaked over- 
night, to 1 gal. of New Orleans molasses. Will 
not recast. 

Printers, Varnisli for. See Var- 
nishes. 

Printing Inks. See Inks. 

Printing, Photographic. See Photo- 
graphy. 

Prints. — (Ackerman's Liquor.) Use 4 oz. 
each of the finest pale glue and white curd soap; 
boiling water, 3 pt., 12 fl. oz.; dissolve, then add 
of powdered alum, 2 oz. Used to size prints 
and pictures before coloring them. 

Prints, to Transfer.' See Transfer- 
ring. 

Prisms, Cement for. See Cements. 

Proofs, Correction of.— Synopsis of Read- 
er's Marks : 

["] This indicates that the line has to be in- 
dented one em of its own body. 

{») A full stop or full point has to be inserted. 

Trs. A transposi ion of a word or words. 



Proofs. 



469 



Ital. 



Change Roman into italic. Also indi- 
cated by underlining the word or words 
to he in italic. 

]. c. A capital or small capital to be changed to 
a lower case letter. 

Rom. Change italic into Roman. 

Cap. Alowercaseor small capital letter to be 
changed to a capital. 

Sm. Cap. A lower case or capital letter to be 
changed to a small capital. 

X A bad or battered letter. 



V 



Proofs. 



Delete or expunge. 



j_ A space or quadrat standing high to be 
pushed down. 

w. f . Denotes a wrong font letter. 

Equal. Equalize spacing throughout the line. 

s The matter has something foreign between 
the lines, or a wrong font space in the 
line, causing the types to get crooked, 



Q /J^o not try to correct the faults of hurriecT making-read y/by 







a weak impression, and by carrying an excess of ink to fhide 
kthe weakness/ Excess of ink fouls the rollers, clogs the 




~cu 



type, and makes the printed work smear or set off. A good 
print cannot be had w hen the impression is so weak that the 
paper (iouchesJ bareIylthe ink on the types and is not pressed 
against the types. There must be force enough to transfer 
the ink not only on to the paper^but into the paper. A firm 
sJ^& c/ impression th$mHl be had, even if the paper be indented. 
* The amount of impression require " 



<5> 



A 



T/ 



yusf/oA/i 



impression required will largely depend on 

the making-ready. MJth carefujjmaking- ready, ^repression 

may be light; roughly"and hurriedly done, it must be hard/ 

indentation is evidence of wear of type. The spring and 

#7 resulting friction of an elastic impression surface is most felt 

/ where there is least resistance — at the upper and lower ends 

of lines of /ype, where they begin to round off. It follows 

that the laving of time that may be gained by hurried and 

rough m ak ing-ready must be offset by an increased wear of 

type. '(That impression is J}est for preventing wear of type' 

which,is confined to its surface and never Taps over ovfiie its 

edges. But this perfect surface impression is possible onJy 

.. on a large forme with new type, sound, m& packing, and 

•J H +-S ample time for /makingjtaady.^ If types are worn, the in- 

f // / dentation of the paperby impression cannot be entirely 

/» //£ prevented^ ^rood presswork does not depend entirely upon 

.j ' the/ pressor" machine, neither on the work man, nor on the 

"*" TT* materials. Nor will superiority in any «*^point compensate 

• • for deficiency in another : new type will suffer from a poor 

&L/ . /roller, and careful making-reaj/y is thrown away if poor ink 

J m // be used/ It is necessary that all the m ateria ls shall be 

"6y ' good, that t/fey should be adapted to- each other and fitly 

/ j used. A good workman can do much with poor"materials, 

7tl/ but a neglect to cojjply with one condition ofterTproduces 

/ as bad a result as the neglect of alP> 

$X>crt *PZ Cli the loregoing facts are carefully studied mafiy difficul- 






i 

-v 

I 



tics will be overcome in obtaining rcallv^good work. 



Stet. Matter, wrongly altered, remains as it 
was. Dots are usually placed under the 
matter in question. 

^ A space has to be inserted. 

»A Space to be reduced. 

£} A turned letter. 

New par. or n. p. or [ Commence a fresh line. 
Run on. Sentence not to commence a new line, 
but to follow on previous matter. 



> When a superior letter or inverted comma 
/ is required to be inserted in the matter 

' it is usually written over this sign. 

C The words or letters over which this is 
marked to be joined. 

Page as corrected.— Do not try to correct the 
faults of hurried making ready by a weak im- 

Eression, and by carrying an excess of ink to 
ide the weakness. Excess of ink fouls the 
rollers, clogs the type, and makes the printed 
work smear or set off. A good print cannot be 
had when the impression is so weak that the 
paper barely touches the ink on the types and 



Protein. 



470 



Punch. 



is not pressed against the types. There must 
toe force enough to transfer the ink not only 
on to the paper, but into the paper. A firm 
impression should be had, even if the paper be 
indented. The amount of impression required 
•will largely depend on the making- ready. 
With careful making ready, impression may be 
light; roughly and hurriedly done, it must be 
hard; indentation is evidence of wear of type. 
The spring and resulting friction of an elastic 
impression surface is most felt where there is 
least resistance— at the upper and lower ends 
of lines of type, where they begin to round off. 
It follows that the saving of time that may be 
gained by hurried and rough making ready 
must be offset by an increased wear of type. 

That impression is the best for preventing 
wear of type which is confined to its surface 
and never laps over its edges. But this perfect 
surface impression is possible only on a large 
form with new type, sound, hard packing, and 
ample time for making ready. If types are 
worn, the indentation of the paper by impres- 
sion cannot be entirely prevented; good press- 
work does not depend entirely upon the press 
or machine, neither on the workman nor on 
the materials. Nor will superiority in any 
point compensate for deficiency in another; 
new type will suffer from a poor roller, and 
careful making ready is thrown away if poor 
ink be used. It is necessary that all the mate- 
rials shall be good, that they should be adapted 
to each other and fitly used. A good workman 
can do much with poor materials, but a neglect 
to comply with one condition often produces 
as bad a result as the neglect of all. If the fore- 
going facts are carefully studied many difficul- 
ties will be overcome in obtaining really good 
work. 

Protein.— Name given to a substance which 
Mulder regarded as the original matter from 
which animal fibrin, albumen and casein were 
derived, but which is now considered as a pro- 
duct of the decomposition of those important 
principles by moderately strong caustic alkali. 

Prussian Blue. See Pigments. 

Pulleys, Rules for Calculating the 
Speed of.— The diameter of the driven being 
given, to find its number of revolutions.— 

Rule. — Multiply the diameter of the driver by 
its number of revolutions, and divide the pro- 
duct by the diameter of the driven ; the quo- 
tient will be the number of revolutions of the 
driven. 

Ex.— Twenty-four in. diameter of driver X 150, 
number of revolutions, =3,600-*-12 in. diameter 
of driven=300. 

The diameter and revolutions of the driver 
being given, to find the diameter of the driven, 
that shall make any given number of revol u- 
tions in the same time. — 

Rule.— Multiply the diameter of the driver by 
its number of revolutions, and divide the pro- 
duct by the number of required revolutions of 
the driven ; the quotient will be its diameter. 

Ex. — Diameter of driver (as before) 24 in. x rev- 
olutions 150=3,600. Number of revolutions of 
driven required=300. Then 3,600-^-300=12 in. 

The rules following are but changes of the 
same, and will be readily understood from the 
foregoing examples. 

To ascertain the size of the driver.— 

Rule.— Multiply the diameter of the driven by 
the number of revolutions you wish to make, 
and divide the product by the required revolu- 
tions of the driver ; the quotient will be the 
size of the driver. 

To ascertain the size of pulleys for given 
speed.— 

Rule.— Multiply all the diameters of the 
drivers together and all the diameters of the 
driven together; divide the drivers by the 
driven; the answer multiply by the known 
revolutions of main shaft. 

Pulleys, to Cover with Paper.— 
Scratch the face of the pulley with a rough file 



thoroughly, so that there are no bright or 
smooth places. Then swab the surface with a 
solution of nitric acid, 1 part; water, 4 parts; 
for 15 minutes; then wash with boiling hot 
water. Having prepared a pot of the best tough 
glue that you can get, stir into the glue a half 
ounce of a strong solution tannic acid, oak 
bark, or gallnuts, as convenient to obtain, to a 
quart of thick glue; stir quickly while hot and 
apply to the paper or pulley as convenient, and 
draw the paper as tightly as possible to the 
pulley, overlapping as many folds as may be 
required. By a little management and moist- 
ening of the paper, it will bind very hard on the 
pulley when dry, and will not come off or get 
loose until it is worn out. Use strong hard- 
ware wrapping paper. 

Pulleys, to Lag.— Cast iron pulleys may 
be lagged with leather without the use of riv- 
ets, by first brushing over the surface with 
acetic acid, which will quickly rust it and give 
a rough surface ; then attach the leather to the 
face of the pulley with cement composed of 
1 lb. of fish glue and % lb. of common glue. 

Pulleys, Wood, to Harden.— 1. Soft 
maple is often used in the construction of fric- 
tion pulleys. If it is boiled in olive oil, it will 
E rove beneficial in a number of ways. It will 
arden the timber and render it less liable to 
split, but at the same time the gear wjll slip 
more after such treatment. 

2. Boil for eight minutes in boiled linseed 
oil. 

Pulp (Wood), to Harden.— Various sub- 
stances can be used to harden the pulp, such as 
glue, starch and gum arabic, tragacanth, etc. 
The dry pulp should be mixed with as thin 
mucilage as is possible to make it stick to- 
gether when pressed. White clay or kaolin can 
be also mixed with the pulp to make it like a 
putty. The moulds should be slightly oiled to 
keep from sticking. 

Pulverization. — This is generally per- 
formed with a mortar and pestle, or on a 
larger scale by stamping, grinding, etc. Some 
soft substances, as carbonate of magnesia, can 
be pulverized by simply rubbing through a 
sieve; some require soaking or steaming, others 
drying or desiccation before they can be pul- 
verized; others require the addition of some 
other substance as an intermedium to aid in 
the operation. When a substance is required 
to be reduced to an impalpable powder, a slab 
and muller are used; this process is termed 
porphyrization. 

Pumice Stone.— A gray porous stone 
found in the neighborhood of volcanoes. Its 
chief use is in polishing and in removing stains 
from the hands. 

Pumps.— 1. The ordinary speed to run a 
pump is 100 ft. of piston per minute. 

2. Useful numbers for pumps. The square 
of the diameter multiplied by the stroke, mul- 
tiplied by 0'7854, gives capacity of the pump 
cylinder in cubic inches; by 0'002833, in gallons; 
by u-0004545, in cubic feet; by 0*02833, in lb. fresh 
water. 

Punch.— Punch is a beverage made of vari- 
ous spirituous liquors or wine, hot water, the 
acid juice of fruits, and sugar, it is considered to 
be very intoxicating; but this is probably be- 
cause the spirit being partly sheathed by the 
mucilaginous juice and the sugar, its strength 
does not appear to the taste so great as it really 
is. Punch, which was almost universally drunk 
among the middle classes about fifty or sixty 
years ago, has almost disappeared from our 
domestic tables, being superseded by wine. 
There are many different varieties of punch, 
It is sometimes kept cold in bottles, and makes 
a most agreeable summer drink. 

1. Juice of 3 or 4 lemons; yellow peel of 1 or 2 
lemons; lump sugar, % lb.; boiling water, 314 
pt.; infuse ^ hour, strain, add porter }/% pt.; 
rum and brandy, of each % to 1 pt. (or either 



Punch. 



471 



Putty. 



alone 1)4 to 2 pt.) and add more warm water 
and sugar, if desired weaker or sweeter. 

2. To Make Hot Punch.— Ingredients. — ^ pt. 
rum, % pt. brandy, J4 lb. sugar, 1 large lemon, Vo, 
teaspoonful of nutmeg, 1 pt. of boiling watei\ 
Rub the sugar over the lemon until it has ab- 
sorbed all the yellow part of the skin; then put 
the sugar into a punchbowl; add the lemon 
juice (free from pips), and mix these two in- 
gredients well together. Pour over them the 
boiling water, stir well together, add the rum, 
brandy and nutmeg; mix thoroughly and the 
punch will be ready to serve. It is very im- 
portant in making good punch that all the in- 
gredients are thoroughly incorporated; and to 
insure success, the processes of mixing must be 
diligently attended to. Allow a quart for 4 
persons; but this information must be taken 
cum grano salis ; for the capacities of persons 
for this kind of beverage are generally sup- 
posed to vary considerably. 

3. Cold Punch.— Arrack, port wine, water, of 
each 1 pt.; juice of 4 lemons; sugar, 1 lb.; mix. 

Arrack Punch, Imitation. — Two or three pre- 
served tamarinds dissolved in a bowl of any 
kind of punch will impart to it a flavor closely 
resembling arrack. 

Brandy.— 1. To 1 pt. Cognac brandy, \i pt. of 
Jamaica rum, y^ pt. of peach brandy, add 2 lb. 
white sugar, 1 gill of lemon and 1 gill of lime 
juice; mix all well together, and add ice equal 
to 2 qt. of water; cut 2 lemons into thin slices, 
peel and slice thin 1 pineapple; add these to the 
punch and let stand to ripen and blend for 1 
hour before using. 

2. To 1 teaspoonful of raspberry sirup add 1 
tablespoonf ul white sugar, 1 wineglass brandy, 
the same quantity of water, a small piece lemon, 
2 slices of orange, 1 piece of pineapple. Fill the 
tumbler with shaved ice, shake well, and dress 
the top with berries in season; sip through a 
straw. 

3. Take 3 doz. lemons, chip off the yellow 
rinds, taking care that none of the white un- 
derlying pith is taken, as that would make the 
punch bitter, whereas the yellow portion of 
the rinds is that in which the flavor resides and 
in which the cells are placed containing the es- 
sential oil. Put this yellow rind into a punch 
bowl, add to it 2 lb. of lump sugar, stir the 
sugar and peel together with a wooden spoon or 
spatula for nearly Yz hour, thereby extracting 
a greater quantity of the essential oil. Now 
add boiling water, and stir until the sugar is 
completely dissolved. Squeeze and strain the 
juice from the lemons and add it to the mix- 
ture; stir together and taste it; add more acid 
or more sugar, as required, and take care not 
to render it too watery. " Rich of the fruit and 
plenty of sweetness," is the maxim. Now 
measure the sherbet, and to every 3 qt. add 1 
pt. of Cognac brandy and 1 pt. of old Jamaica 
rum, the spirit being well stirred as poured in. 
This punch may be bottled and kept in a cool 
cellar; it will be found to improve with age. 

Claret.— 1. To a large punch bowl half filled 
with broken ice add 2 lb. of pulverized sugar; 
€ oranges cut crosswise into thin slices, 6 
bottles of claret, and 1 bottle of champagne; 
mix well together and let stand for one hour 
before using. 

2. Take 1 tablespoonful of sugar, a small 
slice of lemon, 2 or 3 slices of orange. Fill the 
tumbler with shaved ice, and then pour in the 
claret, shake well, and ornament with berries 
in season. Place a straw in the glass. 

3. Take V/b tablespoons sugar, 1 slice of lemon, 
2 or 3 slices orange. Fill the tumbler with 
shaved ice; pour in the claret; shake well. 

Gin Punch.— 1. To half a pint of old Holland 
gin add 1 gill of maraschino, the juice of 2 
lemons, and the yellow rind of 1 previously 
infused in the gin, 2 gills of simple sirup or 4 
oz. of pulverized sugar, and 1 qt. of seltzer 
water. Mix well and freeze to a semi-solid. 

2. Yellow peel and juice of 1 lemon; gin, % 
pt.; water, 1% pt.; sherry, 1 glass. 



Iced.— Champagne or Rhenish wine, 1 qt.; 
arrack, 1 pt.; juice and yellow peels of 61emons; 
white sugar, 1 lb.; soda water, 1 or 2 bottles; 
ice as cream. 

Milk Punch.— 1. Take 1 tablespoonful sugar; 2 
tablespoonf uls water; 1 wineglass brandy; \4 
wineglass Santa Cruz rum; % tumbler shaved 
ice. Fill with milk and shake well; grate a 
little nutmeg on top. 

2. Yellow rinds of 2 dozen lemons; steep for 
two days in rum or brandy, 2 qt.; then add 
spirit, 3 qt. more; hot water, 3 qt.; lemon juice, 
1 qt.; loaf sugar, 4 lb.; 2 nutmegs, grated; 
boiling milk. 2 qt.; mix, and in two hours strain 
through a jelly bag. 

Norfolk.— French brandy, 20 qt.; yellow peels 
of 30 oranges and 30 lemons ; infuse for twelve 
hours ; add 30 qt. of cold water, 15 lb. lump 
sugar, and the juice of the oranges and lemons; 
mix well, strain through a hair sieve, add new 
milk, 2 qt., and in six weeks bottle. Keeps 
well. 

Orange.— As No. 1, using oranges, and adding 
a little orange wine. A little curacoa, noyeau, 
or maraschino improves it. 

Princes\— Put into a freezing can a bottle of 
sparkling champagne, a gill of maraschino, \4 
pt. of strawberry sirup, the juice of 6 oranges, 
the yellow rind of 1 rubbed on sugar. 

Raspberry.— As Norfolk, but using raspberry 
juice or vinegar for oranges or lemons. 

Regent's.— 1. Pare off the thin yellow rinds 
from 4 oranges and 4 lemons ; express the juice 
from the same fruit and strain it ; add to it the 
yellow rinds, with 2 sticks of cinnamon broken 
up, ^ doz. cloves, and a dessertspoonful of 
vanilla sugar. Simmer these ingredients very 
slowly for half an hour in 1 qt. of simple sirup. 
Express the juice from \)4 doz. of lemons, and 
add it to the decoction. Then make a strong 
infusion of the finest green tea and add it to 
the mixture; after which add equal portions 
of old Jamaica rum and Cognac brandy, accord- 
ing to the strength required. Mix all well to- 
gether, strain through a hair sieve, put it into 
a freezer and make very cold. 

2. Strong hot green tea, lemon juice, and 
capillaire, of each V/z pt.; rum, brandy, arrack, 
and curacoa, of each 1 pt.; champagne, 1 bottle; 
mix, and slice a pineapple into it. 

Tea.— Hot tea, 1 qt.; arrack, \4 bottle; white 
sugar, 6 oz.; juice of 8 lemons ; yellow rinds of 
4 lemons. 

Wine.— Sugar, 1 lb.; yellow peel of 3 lemons ; 
juice of '9 lemons; arrack, 1 pt.; port or sherry 
wine (hot), 1 gal.; cinnamon, 34 oz.; nutmeg, 1 
drm. 

Wliisky.— To 1 wineglass of whisky add 2 
wineglasses of hot water, and then sugar to 
taste. Dissolve the sugar well with 1 wine- 
glass of the water, then pour in the whisky, 
and add the balance of the water ; sweeten to 
taste, and put in a small piece of lemon rind or 
a thin slice of lemon. 

Purge.— Calomel, 15 grn.; jalap, 15 grn.; 
mix in some sirup. Great care should be used 
in taking doses of this. 

Purl.— Prep. To warm ale or beer, add bit- 
ters, 1 wineglassful, or q. s. Some add spirit. 

Purple of Cassius. —Syn. Purple precipi- 
tate, cassius do., gold purple, crystallized pro- 
tochloride of tin, 1 part; crystallized perchlo- 
ride of tin, 2 parts; dissolve each separately, 
mix, and add it to a solution of crystallized 
terchloride of gold, 1 part; wash and dry the 
precipitate. Very fine. 

Puzzolana.— A volcanic ash found at Pom- 
peii, Vesuvius, etc. Mixed with lime it forms an 
excellent hydraulic cement. A good artificial 
puzzolana may be made by heating a mixture 
of 3 bushels of clay and 1 bushel of slaked lime, 
for some hours, to redness.— M. Bruyere. 

Putty. See Cements. 

Putty, Jewelers'.— 1. Tin putty, an oxide 
of tin made by levigating the crusts of oxide 



Putty. 



472 



Pyrotechny. 






that form upon the metal when kept for some 
time in fusion. It is used for polishing-. 

2. Melt tin, 1 oz. with an equal weight, or 1% 
oz. of lead, and then raise the heat so as to ren- 
der the mixed metal red hot, when the tin will 
be immediately flung out in the state of putty. 
Both are very hard, used for polishing glass 
and japan work, and to color opaque white 
enamel. 

Putty, to Soften and Remove. See 
Cleansing. 

Putty Powder.- Tin peroxide, used for 
polishing. See Jewelers' Putty above. 
Putz Powder. See Polishing. 
Pyro Developer. See Photography. 

Pyrophorus.— Term given to substances 
which inflame instantly when exposed to the 
air. The following are some of the compo- 
sitions : 

1. Lampblack, 3 parts; burnt alum, 4 parts; 
potassium carbonate, 8 parts. Then place in a 
ladle and heat until dry. Then place in a test 
tube and heat until the flame ceases to be ad- 
mitted. Then place a stopper in the test tube 
and cool. 

2. Potassium sulphate, 9 parts ; lampblack 
calcined, 5 parts. Proceed as before. 

Pyrotechny. — Asteroid Rocket. — Compo- 
sition for 1 lb.: Niter, 8 oz.; fine charcoal, 3% 
oz.; No. 2 charcoal, ^ oz.; sulphur, 2 oz.; meal 
powder, V/% oz. 

Bursting Powder. 





1 


2 


3 


Meal powder 


1 


1 
1 


8 


Grain powder F 






1 







Chlorate Meal Powder. 



Number 

Chlorate of potash 

Charcoal, fine 

Sulphur 



1 


2 


25 


15 


5 


3 


3 


2 



60 
9 



To Represent Cordage in Fireworks.— Anti- 
mony, 1 part; juniper resin, 1 part; niter, 2 
parts; sulphur, 16 parts. Mix and soak soft 
ropes with the composition. 

Common and Sparkling Fires.— 1. Meal pow- 
der, 4 parts; charcoal, 1 part. 

2. Meal powder, 16 parts; niter, 8 parts; sul- 
phur^ 4 parts; charcoal, 4 parts. 

3. Meal powder, 16 parts; very fine glass dust, 

5 parts. 

4. Meal powder, 8 parts; very finely powdered 
porcelain, 3 parts. These fires can be arranged 
very effectively as stars, suns, etc. For in- 
stance, provide a circular disk of hard wood, 

6 in. in diameter and 1 in. thick. Nail to this 
5 spokes of wood at equal distances from one 
another, and 15 in. long. Nail also to the back 
of the central disk a strip of wood about 2 feet 
long, 2 inches wide, and % inch thick. By 
means of this you can screw the whole piece con- 
veniently to your firing post. On each of the 5 
spokes tie a case of brilliant fire, supported at 
its end, and connect the mouths of these with 
quick match. 

Red Chinese Fire.— I. Meal powder, 16 parts; 
niter, 16 parts; sulphur, 4 parts; charcoal 4 
parts; iron borings, 14 parts. 

2. Meal powder, 16 parts; sulphur, 3 parts; 
charcoal, 3 parts: iron borings, 7 parts. 

3. Meal powder, 8 parts; niter, 16 parts; sul- 
phur, 3 parts; charcoal; 3 parts; iron borings, 
8 parts. 

4. Meal powder, 16 parts; niter, 8 parts; sul- 
phur, 4 parts; charcoal, 3 parts; Iron borings, 

7 parts. 



On Preparing Some Colored Fires (Bengal 
Lights) Used in Pyrotechny.— By Sergius Kern 
(St. Petersburg). — In preparing colored 
fires for fireworks by means of the usual 
formulae given in many manuals of pyrotechny, 
it is often very necessary to know the quick- 
ness of burning of colored fires, as in some 
cases, as decorations and lances, they must 
burn slowly; in other cases, as wheels, stars for 
rockets, and Roman candles, they must burn 
quicker. Working for some months with many 
compositions of such kind, I prepared three 
tables of colored fires (red, green and violet), 
where every formula with a higher num- 
ber burns quicker than a fire with a lower 
number. For instance. No. 5 burns quicker 
than No. 6 and slower than No. 4. These tables 
will, I think, be of much assistance in the pre- 
paration of fireworks. 

Green Colored Fires.— / 

Potassium Barium 

No. Chlorate. Nitrate. 

Per cent. Per cent. 



1.... 


....36 


2 ... 


...29 


3.... 


... 24 


4.... 


. . .21 


5.... 


....18 


6.... 


....16 


7 . 


....14 


8 ... 


...13 


9. . . . 


....12 


10 ... 


....11 


11... 


....10 


12.... 


.... 9 




9 


14.... 


.... 8 


15.... 


.... 8 



40 

48 

53 

57 

60 

62 

64 

66 

67 

68 

69 

69-5 

70 

70-5 

71 



Sulphur. 
Per cent. 

24 
23 
23 
22 
22 
22 
22 
21 
21 
21 
21 
21 
21 
21 
21 



Red Colored Fires.— 



Potassium Strontium 

No. Chlorate. Nitrate. 

Per cent Per cent. 



Carbon 
Sulphur Powder. 
Per cent. Per cent. 



9 ... 
10..., 
11... 
12..., 
13 . 
14. . . , 
15..., 



40 
.32 
.27 
.23 
,20 
.18 
.16 
.15 
.13 
.12 
.11 
.10 
.10 
. 9' 
. 9 



25 



39 
46 
51 
55 

58 

60 

61 6 

63 

64 

65 

66 

67 

67 25 

68 

68-35 



18 
19 
20 
20 
20- 
21 
21' 
21 
22 
22 
22 
22 
22 
22 
22 



•5 



075 
075 
065 



Violet Colored Fires.— 
Potassium Calcium 
No. Chlorate. Carbonate. 
Per cent. 

1 52 



2.. 
3., 

4., 

5. 

6. 

7., 

8., 

9. 

10 

11 

12 

13.. 

14., 

15., 



.52 
.52 
.52 
.52 
.52 
.51 
.51 
.51 
.51 
.51 
.51 
.51 
.51 
.51 



Per cent. 
29 
28 
26 
24 
23 
21 
20 
18 
16 
15 
13 
11 
10 

8 

6 



Malachite 

powdered. Sulphur. 
Per cent Per cent. 



4 

5 

7 

9 

10 

13 

14 

16 

18 

19 

21 

23 

24 

26 

28 



15 
15 
15 
15 
15 
15 
15 
15 
15 
15 
15 
15 
15 
15 
15 



—Chemical News. 



Colored Fires for Theaters.— We give below 
a table of the composition of the mixtures 
commonly employed for colored fires in tab- 
leaux, etc. These fires, however, should never 
be used within doors, as the gaseous products 
of some of them are extremely poisonous. The 
lime light lanterns and lenses of suitably col- 



Pyrotechny. 



473 



Pyrotecliny. 



ored glass have now been generally substituted 
for these fires, and give much better results. 





1 


2 


3 


4 


5 




Green 


Red 


Yellow 


Blue 


White 


Chlorate of 








potash 


32- 7 


29'7 




545 






§•8 


17-2 


23'6 




20 


Charcoal 


52 


1-7 


3-8 


18-1 




Nitrate of ba- 












ryta 


52-3 










Nitrate of 












strontia 




457 








Nitrate of so- 












da 






9'8 






Ammonium 












sulphate of 




















27-4 










62-8 




60 


Black sul- 












phide of an- 
















57 






5 


Floury gun- 












powder .... 










15 



It is hardly necessary to mention that great 
care is required in mixing these materials, and 
that each should be pulverized separately. 

Fires or Lights, Colored.— These fires serve to 
illuminate; hence intensity of light with as 
little smoke as possible is aimed at. In the pre- 
paration of such mixtures the ingredients, 
which should be perfectly dry, must be re- 
duced separately, by grinding in mortar 
or otherwise to very fine powders, and then 
thoroughly but carefully mixed together on 
sbeetaof paper with the hands or by means of 
cardboard or horn spatulas. The mixtures are 
best packed in capsules or tubes about 1 in. in 
diameter and from 6 to 12 in. long, made of stiff 
writing paper. Greater regularity in burning 
ia secured by moistening the mixtures with a 
little whisky and packing them firmly down 
in the cases by means of a wooden cylinder, 
then drying. To facilitate ignition a small 
quantity of a powder composed of mealed pow- 
der, 16 parts; niter, 2 parts; sulphur, 1 part, and 
charcoal, 1 part, loosely twisted in thin paper, 
is inserted in the top. The tubes are best tied 
to sticks fastened in the ground. 

White Lights.— 

Saltpeter 4 

Sulphur 1 

Black sulphide of antimony 1 

Yellow Lights.— 

1. Chlorate of potash 4 

Sulphide of antimony 2 

Sulphur 2 

Oxalate of soda 1 

2. Saltpeter 140 oz. 

Sulphur.. 45 oz. 

Oxalate of soda 30 oz. 

Lampblack 1 oz. 

Green Lights.— 

1. Chlorate of baryta 2 oz. 

Nitrate of baryta 3 oz. 

Sulphur 1 oz. 

2. Chlorate of potash 20 oz. 

Nitrate of baryta 21 oz. 

Sulphur 11 oz. 

Red Lights.— 

Nitrate of strontia 25 oz. 

Chlorate of potash. 15 oz. 

Sulphur 13 oz. 

Black sulphide of antimony. ... 4 oz. 

Mastic 1 oz. 

Pink Lights.— 

Chlorate of potash 12 oz. 

Saltpeter 5 oz. 

Milk sugar 4 oz. 

Lycopodium 1 oz. 

Oxalate of strontia 1 oz. 



oz. 
oz. 
oz. 

oz. 
oz. 
oz. 
oz. 



Blue Lights.— 

Chlorate of potash 3 oz. 

Sulphur ..1 oz. 

Ammonio-sulphate of copper. . . 1 oz. 

For colored fires, where the mixtures are 
ignited in shallow pans and maintained by ad- 
ditions of the powders, the compositions are 
somewhat different. 

White Fire.- 

Niter „ 16 oz. 

Mealed powder 4 oz. 

Sulphur 8 oz. 

Yellow Fire.— 

Niter 2 oz. 

Sulphur 4 oz. 

Nitrate of soda 20 oz. 

Lampblack 1 oz. 

Red Fire.— 

Niter 5 oz. 

Sulphur. 6 oz. 

Nitrate of strontia 20 oz. 

Lampblack 1 oz. 

Blue Fire.— 

Niter 8 oz. 

Sulphur 2 oz. 

Sulphate of copper, , , 4 oz. 

Green Fire. — 

Niter :'. 24 oz. 

Sulphur 16 oz. 

Nitrate of baryta 48 oz. 

Lampblack 1 oz. 

Bengal Fire.— 

Sulphur 4 oz. 

Mealed powder 4 oz. 

Antimony 2 oz. 

Lampblack 16 oz. 

From the Western Druggist : 
Red Fire.— 

Strontium nitrate 3 parts. 

Potassium chlorate 1 part. 

Shellac, in coarse powder 1 part. 

Mix. 

Green Fire. — 

Barium nitrate 3 parts. 

Potassium chlorate 1 part. 

Shellac .'. 1 part. 

Mix. 

Violet Fire.— 

Calcium carbonate 2 parts. 

Malachite 2 parts. 

Sulphur , 2 parts. 

Potassium chlorate 6 parts. 

Mix. 

Purple Fire.— 

Copper sulphide 1 part. 

Strontium nitrate 14 parts. 

Calomel 14 parts. 

Potassium chlorate 15 parts. 

Shellac 5 parts. 

Mix. 

On account of the calomel, this must not be 
burned indoors. 

Yellow Fire. — 

Sodium nitrate 3 parts. 

Potassium chlorate 1 part. 

Shellac 1 part. 

Mix. 

Blue Fire. — 

Copper ammonia sulphate 3 parts. 

Potassium chlorate 1 part. 

Shellac , , , 1 part. 

Mix. 



Pyrotecli ny. 



474 



Pyroteclmy, 






Five-Pointed Star. 



Number. 



Meal powder 

Sulphur 

Niter 

Sulphide of antimony 




Spur Fire, for Flower Pots and Star Candles. 



Number. 



Vegetable black ... I 7 

Sulphur 14 

Kealgar, or sulphide of ar 

senic , 

Niter , 

Meal powder 

Charcoal 



2 


3 


4 


5 


6 


2 


3 


4 


2 


4 


5 


4 


16 


6 


9 


1 


1 


2 


1 


1 


16 


10 


32 


11 


20 


3 


— 


IT 


4 


5 


— 


— 


4 


1 


1 



Flower Pots, Composition for.— Niter, 
parts; sulphur, 8 parts ; lampblack, 6 parts. 

Gerhe. 



18 



Number 


1 

2 
2 
16 
1 
5 


2 

3 

2 

36 

6 

8 


3 

4 
1 


4 
1 

8 
3 


5 

16 

8 
1 


6 

2 
10 

7 
2 


7 ! 8 

3 2 
6 4 
916 

5 8 

2 1 

I 
i 

1 


9 

2 
9 
2 

5 

2 


10 

2 
4 
2 

3 

2 


11 

8 
1 


1? 










Cast iron borings 

Charcoal 

Coke grains 

Porcelain grains.. 


3 

1 



The Mixture for Golden Bain is Composed of.— 

Niter. 16 oz. 

Sulphur 11 oz. 

Mealed powder 4 oz. 

Lampblack 3 oz. 

Flowers of zinc 1 oz. 

Gum arabic 1 oz. 

All the materials used in fireworks must be 
in the state of fine powders and perfectly dry. 

Gunpowder.— The component parts of gun- 
powder are saltpeter, sulphur, and charcoal, 
used in the following proportions : 

1. English war powder.— Saltpeter, 75 parts; 
sulphur, 10 parts; charcoal, 15 parts. 

2. French war powder.— Saltpeter, 75 parts; 
sulphur, 12*5 parts; charcoal, 12*5 parts. 

3. French sporting powder.— Saltpeter, 76'9 
oarts; sulphur, 9'6 parts; charcoal, 13*5 parts. 

4. French blasting powder. — Saltpeter, 62 
parts; sulphur, 20 parts; charcoal, 18 parts. 

There are a number of variations of the above 
receipts, but the difference, which is purely a 
matter of opinion, consists principally in vary- 
ing the quantity of sulphur or charcoal em- 
ployed. See Powders. 





Inflamant. 








Number 


1 


2 


3 


Meal powder 


1 
8 
4 


1 
16 

8 


1 
24 


F. F. F. grain 


12 







Lances.— 1. Lances are small paper cases, two 
to four in. in diameter, filled with composition, 
and are used to mark the outlines of figures. 
They are attached endwise to light wooden 
frames or sticks of bamboo and connected by 
streamers or quick match. The following are 
some of the compositions used in these : 



White Yellow Red Blue Green 

Niter 26 — 16 8 96 

Sulphur 9 4 10 2 64 

Mealed powder 5 4 7J6 — — 

Nitrate of soda. ... — 16 — — — 

Lampblack — 2 — — 8 

Nitrate of strontia. — — 30 — — 

Sulphate of copper — — — 4 — 

Nitrate of baryta.. — — — — 192 

2. Lances are used in making up devices, such 
as names, mottoes, wreaths, and so on. They 
consist of small cases, generally made about 
r 3 g of an inch in diameter, that is, round a piece 
of glass or brass rod or tube/of that size; tubes 
are always best for these small formers. The 
cases are about 2 or 2}4 in. long, with one end 
pinched or turned in. Two rounds of thin 
demy or double crown white paper, pasted, 
will give sufficient thickness and substance for 
the case. The cases, when dry, are to be filled 
with either of the compositions in the same 
way as golden rain : 

Compositions for Lances. White.— 1. Niter, 
16 parts; sulphur, 8 parts; meal powder, 6 parts. 

2. Niter, 16 parts; sulphur, 4 parts; meal pow- 
6 parts. 

3. Niter, 12 parts; sulphur, 4 parts; sulphide of 
antimony, 3 parts. 

4. Niter, 72 parts; sulphur, 18 parts; regulus 
of antimony, 33 parts; realgar, 1 part; shellac, 1 
part. 

5. Niter, 96 parts; sulphur, 24 parts; regulus 
of antimony, 48 parts; realgar, 6 parts; shellac, 
1 part. These for the most part give a bluish 
white flame, and when employed in cases of the 
size mentioned above, burn slowly, and will 
last as long as this species of firework is re- 
quired to last. 

Yellow. — 1. Chloride of potash, 72 parts; 
oxal. soda, 60 parts; stearine, 6 parts; sulphur, 6 
parts. 

Pin Wheels. 





1 

1 
1 
2 


2 

3 

4 
9 


3 

5 

9 

15 


4 

1 

8 


5 

7 

9 

20 

1 


6 

14 

16 
32 

3 


7 
4 

i 

1 
1 


8 
4 

A 

3 


9 

2 

5 

36 

2 


10 

2 

2 

26 

2 
1 


11 

3 

3 

35 

3 

2 


12 

2 

2 

18 

. 
3 


13 


Sulphur 

Niter 

Meal powder 

Sulphuretof 

Antimony — 
Beech sawdust, 

fine 


3 


Litharge, fine.. 
Orpiment, or 

Vegetable black 
Nitrate of lead. 


1 



Compositions for Pin Wheels, etc.— 

Common. Brilliant. Chinese. White. 



Niter 

Sulphur 

Mealed pow- 
der 

Charcoal 

Steel filings . 

Cast iron fil- 
ings 



6 

1 

16 
6 



1 
1 

16 

7 



7 
16 



Port Fire. 



Number 

Meal powder 

Sulphur 

Niter 



1 


2 


3 


3 


1 


1 


4 


2 


2 


12 


4 


6 



5 

8 

25 



Quick Match.— Make a thick paste of gun- 
powder and hot water, with a small quantity 
of gum in it. Take a"bout four strands of cot- 



Pyrotecliny. 



475 



Pyrotecliny. 



ton, such as is sold in balls and used for making 
the wicks of lamps, steep this in the solution of 
niter used for making- touch paper, and wring- 
it as dry as possible ; then rub it well in the 
gunpowder paste till it is thoroughly covered 
with it. One end of the cotton may be passed 
through a small funnel, whose mouth is not 
more than % in. in width. By this means, if 
the whole length of the cotton is drawn 
through it, the superfluous paste will be re- 
moved, and the match will be of a nice round 
form. Hang it out of doors on a dry day, and 
when it is nearly dry coil it upon a tray or 
paper, and dust it over with meal powder. In 
winter it will not be sufficiently dry for use 
under a week. When thoroughly dry it should 
be stiff and hard, and the less it is bent or 
doubled the better. To use this match for con- 
necting the mouths of different fireworks, or 
clothing them, as it is termed, make some long- 
paper tubes round a wire former which has a 
diameter of not less than T 3 5 in. These pipes are 
threaded on the match, and have a piece cut 
away at their sides wherever they are inserted 
into the mouth of a case, in order that the 
match may be laid bare and convey its fire to 
the priming of the cases. 

Silver Rain. 



Number 

Steel filings... 
Meal powder... 

Niter 

Sulphur 

Charcoal 

Nitrate of lead 



12 3 

12 2 

4 7 8 

— 1 — 

— — 1 



4 
3 
2 

3 

10 





Gold Bain. 








Number .... .... 


1 


2 


3 


4 


5 


Sulphur 


1 

2 

6 

16 


1 
2 
1 
6 


1 
2 
5 

18 


1 
4 




Niter 

Meal powder 


3 

8 



Roman Candles.— To Make a % Roman Candle. 
—Procure a straight piece of brass tube, % of 
an inch external diameter and 16J^ inches long. 
Saw or file off a piece, 1^ inch long, Fig. 1. 
This is for the star former, and is drawn of the 
correct size. 

In the other piece, of 15 inches, fix a handle, 
as shown, in diminutive, in Fig. 7. This is for 
the case former. It should be filed smooth at 
the end. 

Take another piece of brass tube, i 9 5 of an 
inch external diameter and about 16^ inches 
long. In this also fix a handle, or fix it into a 
handle, Fig. 4. Invert it, and set it upright in 
a flower pot, filled with sand or loose mould. 
Melt some lead in a ladle, and pour it slowly 
into the tube, leaving room for the air to es- 
cape up the side, till it is full. If the lead is 
poured in rapidly, the confined air, expanding, 
jerks the metal up, and may cause serious 
injury. A pound or more of lead will be re- 
quired. When cold, drive the end of the lead in 
with a hammer, and file in smooth. This is for 
a rammer. 

Take a piece of deal, Fig. 6, about 12 inches 
long, 6 inches broad, and % inch thick; and, on 
the top, screw a handle, like one on a scrubing 
brush. This is for a rolling board. An iron 
door handle would answer. A wooden one, 
however, about an inch thick, not cylindrical, 
but slightly flat, and rounded at the edges, is 
preferable, as it gives more purchase for the 
hand. 

Cut a piece of tin, or zinc, or thin board into 
the shape of figure 8, in which the distance be- 
tween the arms, a and b, across the dotted 
line, shai'. be % vf an inch. This is for a gauge, 
with which to measure the external diameter of 
the case. Write upon it, % space. 

Procure some 60 lb., 70 lb. or 84 lb. imperial 
brown paper ; the size of a sheet will be 29 in. 
by 22^. Cut a sheet into four equal parts, each 
14^2 by 1134; paste the four pieces on one side, 
and lay them on one another, with the pasted 
face upward, putting the fourth piece' with 
the pasted side downward, upon the pasted 
side of the third piece. Turn them over; take 
off the now top piece, and lay it flat on the 



Rockets. 





1 

1 
4 

8 


2 

1 
2 
5 


3 

12 
17 
50 


4 

4 

5 

16 


5 

8 
11 
32 


6 

4 

7 

16 


rr 
I 

2 

4 
9 


8 

4 

8 

16 

3 


9 

2 
12 
20 

1 


10 

2 

8 

16 

1 


11 

1 

2 
4 
1 


12 

1 

2 
4 
2 


13 

8 
27 
36 

6 


14 

1 
2 
4 
2 

1 


15 

1 
2 
4 
1 
1 


16 

1 
4 

8 

1 
>? 


17 

2 
4 

8 
1 


18 


Charcoal 


1 


Niter 




Steel filings 


4 







Rockets, ^j-lb.— Composition for.— 1. Niter, 9 
oz.; sulphur, 2 oz.; meal powder, IJ^oz.; fine 
charcoal, 2 oz.; No. 2 charcoal, 2 oz. 

2. Niter, 8 oz.; sulphur, 2 oz.; meal powder, 
l^oz.; fine charcoal, 4oz. 

3. Niter, 8oz.; sulphur, l}4 oz.; fine charcoal, 
3 oz.; No. 2 charcoal, lj^oz. 

Rockets, 34-lb.— Composition for.— 1. Niter, 8 
oz.; sulphur, 1}^ oz.; meal powder, 2 oz.; fine 
charcoal, 2}4 oz.; No. 2. charcoal, lj^oz. 

2. Niter, 8 oz.; sulphur, 1)4 oz.; meal powder, 
2J4 oz.; fine charcoal, 2 oz.; No. 2 charcoal, 
2oz. 

3. Fine fire. — Niter, 8 oz.; sulphur, 2 oz.; meal 
powder, 2}4 oz.; fine charcoal, 4 oz. 

Roman Candle. 



Number, 


1 

4 


2 
2 


3 
3 


4 

1 


5 

1 


6 

2 


7 
7 


8 
3 


9 
4 


10 
H 


1112 

8| 3 


13 
8 


14 







Charcoal 


3 


3 3 


2 


1 


3 


8 


1 


1 7 


9 3 


11 2 


Niter 


8 


2 8 


4 


3 


9 


21 


4 


5 18 


18 10 


32 1 


Meal p'wder. 


8 


8 3 


3 


2 


4 


12 


5 


4 4 


V 


— 3 



near edge of a table, pasted side upward. 
Take the former, Fig. 7, and paste the tube all 
over. Lay it along the edge of the paper, bend 
the paper over with the fingers of both hands, 
and roll it tierhtly up, until the external diam- 
eter of the case about fits the guage, Fig. 8. 
If the paper should be too long, of course a 
piece must be cut off ; if it should not be long 
enough, more must be added, taking care to 
bind in the second piece with three or four 
inches of the first piece; for if the whole of 
the first piece be rolled up before beginning 
tne second, the latter, Avhen dry, will probably 
slip off and spoil the case. The case having 
been rolled up, take the handle of the former 
in the left hand, lay the case flat on the near 
side of the table, take the rolling board, Fig. 6, 
in the right hand, press the front part of it on 
the case, and drive it forward five or six times, 
like a jack plane, letting the handle of the 
former slip round in the left hand. This will 
tighten the case, and render it, when dry, as 
hard as a book cover. 

The former must always be pasted before 
rolling a case, to prevent its sticking. It 



Pyroteclmy. 



476 



Pyrotechny. 



should, likewise, be wiped clean with a damp 
sponge before being laid aside. Brass tubes 
keep clean a much longer time if lacquered. 
To lacquer them, clean them with very fine 
glass paper ; make them hot by the fire, till you 
can just bear them on the back of the hand ; 
then, with a camel's hair pencil, wash them 
over with thin lac solution. The cases may be 
either 14J^j or 11J4 in. long ; but 11J4 is the best, 
for when the cases are too long, the fuse, as it 
approaches the bottom, is apt, if slow, to 
smoke ; if fierce, to set the top of the case in a 
flame. If the learner decides upon 11J4 in., 
the former and rammer may each be two or 
three inches shorter. 

After the first case has been rolled up to fit 
the gauge, it may be unrolled and the paper 
measured. Future pieces of the same quire 
of paper can then be cut of the right size at 
once, so that the case will fit the gauge without 
further trouble. 

A large slab of slate is convenient for rolling 
upon, but a smoothly planed board will answer 
every purpose. 

When a number of cases are finished hitch a 
piece of flax two or three times round each of 
them, and hang them up to dry in a place free 
from draught, that they may not warp. 

Flax is sold in balls; the thick yellow is the 
best. It is named indifferently, flax or hemp. 
It is much used by shoemakers and is sold at 
the leather shops. Two or three thicknesses of 
this, waxed, or drawn through the hand with a 
little paste, is very convenient for passing 
round the necks of small choked cases, tying 
cases on wheels, etc. 

To Make a Roman Candle Star.— Take the 
former, Fig. 1, which, as said before, is 1)4 in. 
long; have a cylindrical piece of turned wood, 
box, beech or mahogany, Fig. 2, about 2 in. 
long, and of a diameter to just fit easily into 
Fig. 1. At a point, a, at the distance of about 
• % of an inch from the end, d, with a bradawl or 
very small gimlet or nosebit, make a hole and 
drive in a piece of brass wire, to project just so 
much as to prevent the tube slipping over it. 
A piece of a brass rivet, such as used by shoe- 
makers, is convenient for the purpose. The 
part with the head on is best; a quarter of an 
inch length will be sufficient, filed or cut off 
with the nippers. It is evident that upon in- 
serting Fig. 2 into the tube, Fig. 1, a vacant 
space of % of an inch will be left at the bottom. 
Fig. 3 is a piece of turned wood, or better still, 
of turned brass, exactly like Fig. 2, without the 
side pin, a. Now, to pump a star, insert Fig. 2 
in Fig. 1; press the tube into damped composi- 
tion, turn it round and withdraw it. Rest the 
tube on a flat surface, insert Fig. 3 and give it 
two or three taps with a small mallet, like Fig. 
26. A convenient size for the mallet is lj^j in. 
square, 3 in. long, with a turned handle. The 
mallet is best made of beech or mahogany. The 
slight malleting consolidates the star and pre- 
vents it from getting broken in charging; it 
will compress it to about nine-sixteenths of an 
inch in height. Push it out and set it by to 
dry. 

Stars are best made in summer, and dried in 
the sunshine; when dry they should be put 
into clean pickle bottles furnished with tight 
fitting buugs. A piece of wash leather passed 
over the bottom of the bung, gathered up 
round the sides, and tied at the top like a choke, 
makes a good stopper. Shot shaken up in bot- 
tles, with water, soon cleans them. 

To Damp Stars.— Stars containing nitrate of 
strontium must be damped either with lac solu- 
tion or wax solution; anything containing 
water destroys the color. Niter stars may be 
damped with gum water, dextrine solution or 
thin starch. Most other stars with either of 
the solutions. Crimsons and greens will mix 
with boiled linseed oil, but they cannot then 
be matched, as oil renders meal powder almost 
imflammable. With all stars, not a drop more 
of the solution should be used than is sufficient 



to make the composition bind; and it is advis- 
able not to damp more than half an ounce at a 
time; this is particularly the case in using the 
lac solution, as it dries rapidly; and if a large 
quantity of composition is damped and gets 
dry and has to be damped over and over again, 
it becomes clogged with the shellac and the 
color is deteriorated. If it should get dry, and 
require a second damping, it, is best to use pure 
alcohol only the second time. 

Before mixing compositions, every article 
should be as fine as wheaten flour and perfectly 
dry. Nitrate of strontium, if purchased in the 
lump, should be set over the fire in a pipkin; it 
will soon begin to boil in its water of crystal- 
lization; it must be kept stirred with a piece of 
wood till the water is evaporated and a fine 
dry powder left. A pound of crystals will 
yield about eleven ounces of dry powder, which 
should be immediately bottled. Even then, If 
used in damp weather, it is best dried again 
and mixed with the other ingredients while 
warm. This second drying may be in a six 
inch circular frying pan. 

Articles, separately, may be reduced to pow- 
der with the pestle in a mortar. See that it is 
wiped clean every time, as there is danger of 
ignition with chlorates and sulphides. When 
the articles are to be mixed, they may be put 
into the mortar and stirred together with a 
small sash tool. A % in. is a convenient size. 
The mixture must then be put into a sieve and 
shaken in the usual way; or it may be brushed 
through with the sash tool. Return it to the 
sieve and brush and shake through again. As 
it lies in a heap* level or smooth it with the 
blade of a table knife, or any straight edge: if 
thoroughly mixed, it will present a uniform 
color; if it appears darker in one part than in 
another, it must be sifted again. A sieve with 
a top and receiver is very desirable, as nearly 
all mixtures are either black or poisonous; the 
dust from star mixtures is very injurious to the 
lungs. If a top and receiver cannot be readily 
purchased, both may easily be constructed out 
of a sheet of millboard, fastened with a brad- 
awl and waxed yellow flax, and neatly covered 
with paper. 

Mixtures may be damped on a Dutch tile, a 
marble slab, or a slate without a frame. They 
may be stirred about with a dessert knife, 
pressed flat, and chopped, or minced, as it 
were,, and again pressed flat. 

To Make Lac Solution.— Put half an ounce 
of flake shellac into a tin pot, and pour upon 
it J4 of a pt. or 5 oz. of methylated spirit; or 
preferably, a like quantity of wood naphtha. 
Let it stand for about a day, stirring it oc- 
casionally till dissolved. Then half fill a basin 
with boiling water, set the tin containing the 
lac in it and leave it till it boils and curdles. 
If the water does not remain hot long enough 
to make it boil, set it in a second basin of boiling 
water. As soon as it has curdled remove it, 
and when cold pour it into a vial and cork it. 
Spirit must never be boiled over a fire nor 
near one, as the vapor might inflame. Keep 
the pot, therefor, while in the hot water, at a 
distance from a fire or flame of a lamp or can- 
dle. 

To Make Wax Solution.— Put into a vial % an 
oz. of white (bleached beeswax), pour upon it 
5 oz. of mineral naphtha (coal or gas tar naph- 
tha); keep it tightly corked. 

To Make Stearine Solution. — Dissolve a 
piece of composite candle in mineral naphtha 
in the same way. Mineral naphtha must not 
be used near a candle or fire, as it gives off 
an inflammable vapor at less than 100° Fahren- 
heit. 

To Make Gum Solution.— There is no better 
way of preparing this than simply to put cold 
water upon gum arabic, and let it stand till 
dissolved. If for sticking purposes, as much 
water as will just cover the gum will be suf- 
ficient: but, for making quick match, 1 oz. or 
134 oz. of gum to a pint of water. If required 



Pyrotechny. 



47: 



Pyroteclmy. 



in a hurry, put the gum into cold water, in a 
pipkin or tin saucepan, set it on the fire, make 
ft "boil, and keep stirring- till dissolved. When 
cold, bottle and cork it. 

To Make Dextrine Solution.— Take J^ an oz. 
of dextrine and 5 oz. or a J4 pt. of cold water, 
put the dextrine into a cup or basin, add a 
little of the water, and mix it well with a tea- 
spoon, rubbing- it till all is dissolved; then add 
the remainder of the water, stir well together 
a second time, pour it into a vial and cork for 
use. Dextrine, wetted to the consistency of 
honey, may be used instead of thick gumarabic 
water for pasting. For this purpose it is ad- 
visable to keep either in a Avide mouthed bot- 
tle, and to set the bottle in a gallipot contain- 
ing a little water; the brush, a camel's hair 
pencil, or very small sash tool with one-third 
of the bristles cut away on each side, to render 
it flat, can then be kept in the water when not 
in use; this will prevent it, on the one hand, 
from becoming dry and hard; and, on the 
other, from getting clogged and swollen. It 
can be squeezed between the thumb and fingers 
when wanted for use. The flat gum brushes 
now sold, bound with tin, are not pleasant to 
use* as the tin oxidizes and turns of a disagree- 
able brown color. If there is a difficulty in 
obtaining a graduated water measure, one 
sufficiently correct for pyrotechnic purposes 
may be made with a vial. Paste a narrow strip 
of paper up the outside of the vial, weigh 4 oz. 
of water in a cup in the scales; pour it into 
the vial, mark the height, and divide it into 
four equal parts for ounces; of course, it can 
be graduated into half and quarter ounces, and 
increased, if large enough, to five or more 
ounces. A gallon of distilled water weighs ex- 
actly ten pounds. Consequently a pint of pure 
water weighs a pound and a quarter. This is 
also near enough for spirit, though, of course, 
spirit is a trifle lighter. Doctors' vials are often 
marked with ounce divisions. 

To Make Paste.— Paste is most economically 
made in a zinc pot, which may be 4 in. deep 
and 3J4 in. diameter. Any zinc worker will 
make one to order. Put into it 2 oz. wheaten 
flour, add a little cold water, rub the two to- 
gether with a spoon till smooth and free from 
lumps ; pour in more water till the pot is full 
within about an inch, set the pot in half a 
saucepanful of water, put it on the fire; make 
the water boil, and keep it and the paste boil- 
ing for four or five minutes, stirring the paste 
the while. Remove it from the fire, and set it 
by to cool. The paste is to remain in the zinc 
pot, in which it will keep good for a length of 
time and beautifully white. 

Some recommend alum in paste; but it is 
best avoided, especially in cases intended to re- 
ceive colored fires. Alum is a double salt, a 
sulphate of alumina and potassa ; it has an acid 
reaction; and, coming in contact with chlorate 
of potash and sulphur, may cause spontaneous 
combustion. A drop of sulphuric acid instantly 
ignites stars containing them. At theaters the 
clown sometimes fires a cannon with what ap- 
pears to be a red hot poker, but which in real- 
ity is only a piece of wood painted red. A mix- 
ture is made of chlorate of potash and sulphur 
or sugar, a glass bead is filled with sulphuric 
acid, and the hole stopped up with wax. This 
is laid in the mixture, and when it is struck 
with the poker, the liquor escapes and inflames 
the potash and sulphur. Sulphate of copper is 
a particularly dangerous salt, and must never 
be used, as it is almost certain to cause sponta- 
neous combustion. Chertier, to whom pyro- 
techny otherwise owes so much, introduced 
an empirical preparation, by dissolving sul- 
phate cf copper in water, together with chlo- 
rate of potash, drying it, and wetting it with 
ammonia ; but this, however dried, when again 
wetted, turns litmus paper red. Practicus has 
named it -Ghertier's copper. Its use is not 
recommended. 

Two paste brushes will be sufficient for an 



amateur, sash tools, one about an inch diame- 
ter, the other smaller for light purposes. Let 
them stand in the paste. If they get dry, the 
bristles fall out. For convenience, one may be 
kept in the paste and one in water. 

Dry clay, powdered and sifted as fine as possi- 
ble, is used for plugging or stopping up the 
bottoms of cases. Amateurs have discon- 
tinued its use, and employ plaster of Paris in 
preference. Directions will be given for each, 
so that the learner can adopt which he pleases; 
but plaster is infinitely preferable. It is an 
American improvement. 

Koman Candle Scoops.— No species of fire- 
works require greater care in their construc- 
tion than Roman candles. In the first place the 
stars must be fierce, that they may light thor- 
o ughly ; next, they must not be driven out with 
too great velocity. For this purpose the blowing 
powder must be caret uhy adjusted. The stars 
also must be of so easy a fit that when put into 
the case they may fall to the proper depth of 
their own accord. If they require pushing, they 
are too tight, and will probably be blown out 
blind. When made as directed they will neces- 
sarily be of an easy fit, as they will be of the 
inner diameter of the brass tube, while the 
bore of the case is equal to its external diame- 
ter, 

To regulate the blowing powder, prepare a 
number of little scoops, like Fig. 5, which is 
about the right size for the bottom star. They 
are formed of pieces of tin, zinc, or copper. 
Cut a long strip of tin */z in. broad; cut this 
across into 7 pieces of the following lengths: 
1%, 1M, 1%, 2, 2Y8, 234, and 4 in. Round off the cor- 
ners. Take a piece of brass wire, or stair rod, 
about 34 in. in diameter, and with the wooden 
mallet before mentioned, Fig. 26, bend each 




S7 




of the pieces round the rod into a half cylinder 
or gutter. Take up the smallest and hold % in. 
of the end of the stair rod in the end of the 
semi-cylinder to keep it open; put the other 
part, from a to b, Fig. 5, in a vise and pinch it 
up; it will assume the form represented; the 
bowl part will be % hi. long and the handle lin. 
long. Make the bowl of the next scoop f in. 
long, the next % in., and so on; the handle will 
always be 1 in. long. The last, for the top star, 
will have a bowl of 3 in. The smallest scoop 
ought to hold as much grain powder as will 
weigh about one twelfth of the star; but to 
have the scoops accurate, it will be necessary 
to charge a Roman candle, fire it, and observe 
whether the stars go a uniform height. For 
measuring the interval fuse, or fuse between 
the top of one star and the bottom of the next, 
a large scoop of the size of Fig. 10 will be re- 
quired. The tin may be 1 in. broad, and the 
bowl part 23^ in. long, bent round the rammer, 
Fig. 4. To adjust it, take a Roman candle 
case, fit on the foot, Fig. 9, which is a piece 
of wood or brass turned with a tenon to fit 
tight at the bottom of the case. Fill the scoop 
and strike it level with a straight edge; empty 
it into the case, rest the foot on a flat surface; 
insert the rammer, Fig. 4, and jolt it up and 
down a dozen times or more, lift it about 
V2 in. at a time ; put in another scoopful 
and jolt it in like manner. If the two scoop- 
f uls thus compressed fill 1 in. of the case, the 
scoop will be correct. If more or less, the 
scoop must be shortened or lengthened accord- 
ingly. 
A piece of writing paper may be pasted and 



Pyrotechny. 



478 



Pyrotechny. 



wound twice round the handle of each scoop, 
as from a to ~b, Fig-. 4. One dot can be put 
upon the scoop for the first or bottom star ; 
two dots for the second scoop, etc., or any 
memorandum can be written upon them for 
future guidance. Should they get soiled, they 
may be cleaned with a soaped damp piece of 
sponge. 



Gunpowder for fireworks is used in two 
forms, meal powder and grain powder. Meal 
powder is a fine black dust and is employed in 
all cases of mixing. Grain powder is of three 
kinds, F, FF, and . FFF— fine, double fine and 
treble fine. FFF is best for crackers, simply 
because it runs rapidly down the pipes ; for 
driving stairs, shells, etc., F will be sufficient, 



CTb 



a 




c^^ 



a 


8 


b 















%," % 






Pyrotecliny. 



479 



Pyrotechny. 



but FFF may be employed ; FF need not be 
purchased. If in any place there should be a 
difficulty in obaining meal powder, F grain 
powder may be crushed in a leather bag by 
laying the bag on a hard surface and beating 
it with a hammer. The leather should be of 
the same kind as shoes are made of. 

To Charge Roman Candle Cases.— Pour some 
F grain powder into a wooden bowl or platter, 
represented by Fig. 11. Round the edge lay 
the little blowing powder scoops side by side, 
beginning with the smallest at a, the next at 
b, and so on to g. Put some Roman candle 
fuse into a large tin scoop, made to stand on a 
flat bottom, like Fig. 12, the same in shape as 
used by tea dealers ; and, on the right hand of 
it lay the charging fuse scoop. Fig. 10. If the 
Roman candle is to contain different colored 
stars, set seven ia a row in the order desired. 
When the cases are intended to be fired in 
threes or fours, the stars in one may be all 
blue, in another crimson, in another green, in 
another white. Fit the foot, Fig. 9, in the bot- 
tom of the case, put in a scoopf ul of clay, 
insert the rammer, Fig. 4, and jolt it till the 
clay is well composed. The clay should fill half 
an inch. This being done, invert it, and shake 
out any little dust that may remain. Put in 
the little scoopf ul, a, of F grain powder, then 
lay the scoop at A. Now put in a star. As 
previously stated, it ought to fall of its own 
accord ; but make sure that it has reached the 
blowing powder by putting in the rammer. 
Having ascertained this, put in a scoop of 
fuse, Fig. 10 ; lay the scoop on the right of Fig. 
12; insert the rammer and jolt it; put in 
another scoop of fuse, Fig. 10 ; lay the scoop on 
the right of Fig. 12; insert the rammer and jolt 
it as before. Then proceed with the scoop, b, 
of grain powder and lay it at B, and so on, till 
the case is filled. The fuse on the top star is 
best driven in with a short solid rammer and 
mallet, as it is difficult to jolt the long rammer 
in so small a space. The last eighth of an inch, 
near the mouth of the case, should be fine meal 
powder, as it binds better than the Roman 
candle fuse, and also blows off the leader pipe. 

The blowing powder scoops, having been laid 
at A, B, etc., all that is required is to turn the 
bowl or platter a little round to the left and 
they will come in rotation ready for the next 
case. Also, by putting the scoop, Fig. 10, alter- 
nately to the left and right of the scoop, Fig. 
12, it will always be known whether the proper 
quantity of fuse has been put in. 

Colored stars, from their fierceness, have a 
tendency to burn in the cases. This defect 
may be remedied by putting upon each star a 
small coopful of starting fire, No. 1, before 
putting in the interval f use as much as will fill 
round the sides of the star. This composition 
is somewhat fiercer than would suit for the 
regular fuse; so catches the blowing powder 
sooner. 

A Roman candle is well charged when the 
stars isochronize, or comeoutat equal intervals 
of time; they should also, theoretically, ascend 
to equal heights; but with colored stars this 
cannot be perfectly insured, as some shrink 
more than others in drying, and of course fit 
more loosely; some are heavier, some fiercer 
than others. 

The interval fuse must always be driven in 
at twice, never at once. Each star, with its 
blowing powder and fuse, occupies about an 
inch and a half; perhaps a trifle more. 

Instead of driving in clay at the bottom, 
plaster of Paris may be used, and then the 
foot. Fig. 9, will not be required. Have some 
plaster of Paris in a wide-mouthed bottle; a 
glass of cold water with a salt spoon in it; and 
a number of pieces of paper about four inches 
square. Put a small quantity of the plaster on 
one of the pieces of paper; indent the middle 
with the finger; put to it a little water and work 
it up with a dessert knife. Just as it gets to 
the consistency of mortar and is about to set, 



mould it with the fingers to the shape of a 
cork; push it in to the end of the case; rest the 
case on a flat surface; insert the rammer and 
give it two or three slight jolts; turn it round 
a few times and withdraw it. If the plaster 
sticks to the end of the rammer, it shows either 
that you have used the plaster too wet or 
have not turned the rammer round a suffi- 
cient number of times. 

No more plaster must be mixed at a time 
than will suffice for one case. When plaster 
has once set it cannot be mixed up a second 
time; therefore take a fresh piece of paper and 
let the knife be cleaned every time. It is ad- 
visable to have two dessert knives, then one 
can be used to scrape the other. As much 
plaster should be used as will fill the case up 
about half an inch. They must be set by to 
dry; their not requiring the use of the foot 
wiil be found a great convenience. 

Roman candles are usually made from three- 
eighths to six-eighths, but five-eighths is a 
very satisfactory size. If a Roman candle is 
intended to be fired singly, twist a piece of 
touch paper round the mouth. If the cases are 
intended to be fired in threes, fours, etc., to 
form a bouquet, or to be placed round a mine, 
jack-in-the-box, or devil-amOng-the-tailors, 
omit the touchpaper and envelop the case in 
double crown, made to project an inch beyond 
the mouth, to receive the leader or quick- 
match. 

A steel pen inserted, nib backward, in the 
end of a small paper tube, rolled round the 
end of a pen holder, makes a neat little scoop. 
It may be fastened in with a little plaster of 
Paris. A scoop may also be made with a quill. 

Composition for Roman Candles. — 1. Niter, 18 
parts; sulphur, 6 parts; fine charcoal, 1 parts; 
meal powder, 4 parts. 

2. Niter, 16 parts; meal powder, 8 parts; fine 
charcoal, 8 parts; sulphur, 6 parts. 

3. Niter, 16 parts; meal powder, 11 parts; sul- 
phur, 6 parts; antimony, 4 parts. The next 
thing is to fill the case. Before filling it intro- 
duce a little clay to the bottom of the case, 
thus forming a better and firmer bottom. This 
being done properly, put in a little coarse pow- 
der, and over this a small piece of paper to 
prevent the composition mixing with the 
powder; then ram down as much composition 
as will fill the case one-sixth of its height; over 
this put a small piece of paper covering about 
two thirds of the diameter, then a little corn 
powder, and upon that a ball, observing that 
the ball is rather smaller than the diameter of 
the case. Over this first ball more of the com- 
position must be put and rammed lightly down 
to prevent breaking the ball, till the case is 
one third full; then a piece of paper, a little 
powder, and then another ball as before, till 
the case is filled with balls and composition, 
taking care to place composition above the 
highest ball. When the case is thus filled, cap 
it with touch paper by pasting it round the 
orifice, and a little priming of powder being 
added, the work is complete.— Pyrotechnist's 
Treasury. 

Saxon. 





1 


2 


3 








1 
1 
2 


3 
4 
9 


5 




9 




15 






Shell Fuse. 



Number 

Meal powder 

Niter 

Sulphur 



Pyrotechny. 



480 



Pyrotechny. 



Signal Fireworks.— The following- proportions 
are given in an English patent by E. H. La- 
marre, of Paris, for colored lights for signals : 

White Light.— One hundred parts potassium 
chlorate, 10 parts antimony sulphide, 15 parts 
boiled linseed oil. 

Red Light.— Fifty parts potassium chlorate, 
50 parts strontium nitrate, 5 parts wood char- 
coal, with as much linseed oil as is required to 
knead the mass together. 

Green Light.— Fifty parts potassium chlorate, 
50 parts barium nitrate; 5 parts wood charcoal 
and linseed oil, as above. The use of linseed 
oil is claimed as a specialty in substitution for 
oil of turpentine or resin. — Science, Record, 
1874. 



Rose Colored Stars.— Chlorate of potash, 20 
parts; carbonate of strontia, 8 parts; calomel, 
10 parts; shellac, 2 parts; sulphur, 3 parts; tine 
charcoal, 1 part. The advantage of this com- 
position is that it is not at all liable to suffer from 
damp in winter. The carbonate of strontia is 
a salt not absorbent of moisture like the ni- 
trate, and is, moreover, always to be had in a 
state of fine powder. 

Green Stars.— 1. Chlorate of potash, 20 parts; 
nitrate of baryta, 40 parts; calomel, 10 parts; 
sulphur, 8 parts; shellac, 3 parts; fine charcoal, 
1 part; fused sulphide of copper, 1 part. 

2. Nitrate of baryta, 40 parts; realgar, 2 parts; 
sulphur, 8 parts; lampblack, 1 part. 

3. Chlorate of potash, 28 parts; nitrate of 



Slow Fires, to be Heaped upon a Tile in Shape of a Cone, and Lit at Top. 



Colors. 



Scarlet. 



Green. 



Purple. 



Yellow. 



Crimson. 



Nitrate of strontium. . . 

Nitrate of barytes 

Oxalate of soda 

Sulphure of copper. . , . . 

Chlorate of barytes 

Chlorate of potash 

Charcoal, fine 

Calomel 

Sulphur, washed 

Shellac 

Vegetable black 

Sulphide of antimony. . 



16 

1 
1 

4 


24 

3 

3 

6 
8 
1 


108 

30 

12 

24 

39 
2 
1 


16 

1 
1 

4 


16 

1 

5 

2 
, _3 


_ 
16 

12 

9 

7 
1 


108 

24 

9 

24 

39 

2 

1 


72 

3 

4 

18 

24 

3 

2 


20 
3 

2 

4 
2 


10 
5 

2 

1 
6 


40 

5 

2 

13 

4 



36 



12 
1 
1 

4 



In order to get the powder into a conical heap, press it into a wineglass, or lay a tile upon the 
top, and invert. 



To Make Slow Match.— Dissolve 1 drm. nitrate 
of lead in Yq oz. boiling water. Cut a sheet of 
blotting paper in six equal parts, and wet them 
on both sides, with a sash tool, with the 
solution. When dry, paste a piece all over, and 
upon it smoothly press another piece; upon 
this, pasted, put a third piece ; and so on, till 
all the six form a stiff board. Lay them under 
a heavy weight ; and, when dry, with a sharp 
knife and straight edge, cut the whole into 
strips a quarter of an inch broad. Four inches 
will burn about a quarter of an hour. Narrow 
tape, boiled in the solution, makes excellent 
slow match. 

Squibs, Compositions for.—l. Meal powder, 20 
parts ; niter, 6 parts ; sulphur, 4 parts ; E. char- 
coal, 4 parts. 

2. Meal powder, 16 parts; E. charcoal, 2 
parts. 

3. Meal powder, 24 parts; niter, 4 parts; E. 
•charcoal, 4 parts ; sulphur, 1 part. 

4. Meal powder, 16 parts ; niter, 6 parts ; sul- 
phur, 4 parts ; E. charcoal,3 parts. Weigh out 
all the ingredients, mix them thoroughly, and 
pass the composition through a sieve at least 
three times. The composition cannot be over- 
mixed. 

Squib and Serpent. 





1 


2 


3 








1 

I 
2 
8 


1 

8 




Charcoal 












4 




1 



Stars, Crimson. — 1. Chlorate of potash, 24 
parts; nitrate of strontia, 32 parts; calomel, 12 
parts; sulphur, 6 parts; shellac in fine powder, 
6 parts; sulphide of copper, 2 parts; fine char- 
coal, 2 parts. 

2. Chlorate of potash, 12 parts; nitrate of 
strontia, 20 parts; sulphur, 11 parts; charcoal, 2 
parts; antimony, 2 parts; mastic, 1 part. 

3. Nitrate of strontia, 72 partsr sulphur, 20 
parts; gunpowder, 6 parts; coal dust, 2 parts. 



baryta, 12 parts; sulphur, 15 parts; mastic, 1 
part. 

Pale Rose Colored Stars.— Nitrate of strontia, 
8 parts; chlorate of potash, 4 parts; sulphur, 3 
parts; sulphuret of antimony, 2 parts. Take 
especial care that the nitrate of strontia used 
in this formula; is very dry. 

Pale Green Stars.— Nitrate of baryta, 16 parts; 
chlorate of potash, 8 parts; sulphur, 6 parts; 
antimony, 3 parts. 

Yellow Stars.— 1. Chlorate of potash, 20 parts; 
bicarbonate of soda, 10 parts; sulphur, 5 parts; 
mastic, 1 part. 

2. Chlorate of potash, 30 parts; dried soda, 12 
parts; sulphur, 8 parts. 

Golden. Yollow Stars.— Chlorate of potash, 20 
parts; nitrate of baryta, 30 parts; oxalate of 
soda, 15 parts; sulphur, 8 parts; shellac, 4 parts. 
If it is thought advisable to give the stars 
made from this formula a tailed appearance, 
add one part of fine charcoal. The composi- 
tion is to be moistened with the shellac solu- 
tion. The stars form a beautiful contrast with 
those of an intense blue. 

Blue Stars.— 1. Chlorate of potash, 8 parts; 
sulphide of copper, 6 parts; Chertier's copper, 
5 parts; sulphur, 4 parts. 

2. Chlorate of potash, 12 parts; Chertier's cop- 
per, 6 parts; sulphur, 4 parts; calomel, 1 part. 

3. Chlorate of potash, 16 parts; Chertier's 
copper, 12 parts; calomel, 8 parts; stearine, 2 
parts; sulphur, 2 parts; shellac, 1 part. This 
gives a most intense blue. 

4. Chlorate of potash, 20 parts; carbonate of 
copper, 14 parts; sulphur, 12 parts; mastic, 1 
part. 

5. Niter, 12 parts ; sulphide of antimony, 2 
parts; sulphur, 4 parts; lampblack, 2 parts. All 
these compositions should be moistened with 
gum water, and in No. 3 the stearine employed 
must be in fine powder. 

Violet Stars.— Chlorate of potash, 9 parts; ni- 
trate of strontia, 4 parts; sulphur, 6 parts; car- 
bonate of copper, 1 part; calomel, 1 part; mas- 
tic, 1 part. 

White Stars.— Saltpeter, 9 parts; sulphur, 3 
parts; antimony, 2 parts. 



Fyrotechiiy. 



481 



Pyroteeliny. 



No. 1. Mauve and Lilac Stars and Lances. 



Number.... 

Chlorate of potash .... 

Calomel 

Shellac 

Nitrate of strontium . . 

Sulphide of copper , 

Stearine 

Sulphur, washed 

Chloride of lead 

Nitrate of lead 

Oxychloride of copper. 

Salammoniac 

Vegetable black. . 

Niter 

Carb'nate of strontium 
Orpiment or realgar. 



1 


3 


3 


4 


5 


6 


7 


8 


28 


17 


BO 


40 


35 


34 


34 


35 


12 


— 


— 


— 


10 


12 


12 


— 


4 


— 


— 


— 


5 


6 


5 


— 


4 


4 


35 14 


— 


4 


— 16 


2 


7 


30 — 


5 


3 


si- 


1 


— 


— — 


1 


— 


ll— 


— 


7 
1 


35 


10 
2 


— 


— 


-13 








10 





13 1 


— 


— 


8 
1 


12 

1 


— 


— 


— 


6 

1 


- 


- 


— 


2 


5 


— 


4 
1 


2 



13 



16 



10 



The following refers to table No. 6, page 483 : 
If powdered nitrate of barytes and shellac, 
crushed by being hammered in a bag, are mixed 
together and melted in a pipkin over the Are, 
the mixture, when cold, may be reduced to a 
powder in an iron mortar with patience. Take 
No. 6. Weigh out 31 parts nitrate of barytes, 
and 3 parts coarsely powdered lac; melt them 
together; when cold, powder them, and add 
the other substances in proper proportion. 
Shellac may be melted with nitrate of stron- 
tian, in the same way. 

No. 2. Sugar Blues for Stars and Lances. 



Number 


1 

8 
4 
3 
5 


3 

36 

18 
12 

32 

1 


3 

40 

24 

9 

22 

2 


4 

40 
24 
12 
12 
1 
3 


5 

36 
12 
4 
4 
3 
4 


6 

9 
3 
1 
3 

1 

2 


7 

44 
13 
12 
12 
1 
5 


8 
40 

9 

6 


9 

6 
5 
4 

~ 
1 


10 


Chlorate of potash 

Calomel 


2 
1 


Loaf sugar 

Sulphuret of copper. 

Stearine 

Oxychloride of copper 

Salammoniac 

Copper tilings 

Black oxide of copper 





No substance combines better with salts of 
copper than sugar. Sugar, put into the bowl 
of a tobacco pipe and placed in the fire, burns 
fiercely, and is converted into caramel. This 
poured on to a plate, slightly smeared with 
butter to prevent it sticking, hardens on cool- 
ing ; and is used for coloring brandy, vinegar, 
gravy, porter, coffee, etc. Stearine must be 
scraped very fine from a Stearine candle. 
Sugar blues are to be damped with pure water 
only, as the sugar itself, when wetted, is suffi- 
ciently cohesive. Use an exceedingly small 
quantity of water, and rub it up thoroughly in 
the mortar ; the longer it is rubbed, the better 
it combines. 



The following refers to table No. 10, page 482 : 
It is impossible to powder shellac sufficiently 
fine by hand; and, twenty years ago, powdered 
shellac could not be procured. About that 
time the drug grinders, finding a demand for 
it, submitted it to the action of the stamping- 
mills (mechanical pestle and mortar), and now 
it can be obtained at most shops. 

Chertier mixed flake shellac with salt; melted 
the two together; powdered the mixture; anr 
washed out the salt. Such process is needles 
now. It is useless, unless as fine as wheatei. 
flour. 

No. 4. Steel Stars for Rockets and Shells. 



Number 


1 

8 

3 
2 

2 


. 2 

24 

5 

6 
6 

4 


3 


4 


5 


Nitrate of lead.. 
Chlorate of pot- 
ash 

Charcoal 


28 

6 
6 
6 
3 
1 


5 
1 
3 

1 


4 


Steel tilings 

Niter 

Shellac, tine 

Sulphur, washed 


4 

1 



Rub up the mixture thoroughly in a mortar, 
with just enough boiled oil to make it cohere, 
and pump it into Roman candle stars; the oil 
will preserve the steel from rusting. For 
Roman candles or Italian streamers they will 
be ready at any time; for rockets and shells 
they may be matched and enveloped, like 
figure 32, a day or two previously. Tney form 
beautiful stars. Or they may be charged in 
cases, and primed with chlorate meal powder. 
Or they may be damped with lac solution. 



No. 5. 



Pearl Streamer. 



Number 


1 


2 


3 


4 


5 






Niter 


12 

5 

14 


26 
11 

28 


2 
1 
4 
1 


10 
8 
1 




Zinc filings 

Meal powder. ... 
Vegetable black. 


15 

12 

1 



Instead of filings, zinc may be obtained in a 
fine powder, by pouring it, melted, into a hot 
iron mortar, and hammering it with the pestle 
directly it begins to solidify. Sift it through a 
fine sieve. Protect the hands with cloth gloves 
while using the pestle. Damp the composition 
with gum water for Roman candle stars. Bro- 
ken bits of the stars may be put into colored 
gerbes. 



No. 3. 



Purple and Violet Stars and Lances. 



Number 


1 

42 

42 

13 

12 

4 

4 

1 


2 

28 
14 

14 
1 
5 


3 

48 
48 
38 
28 
40 
1 


4 
16 

2 

7 
8 


5 

6 

4 
1 

2 
1 
1 


6 

16 

6 
6 

4 


7 

3 

1 
2 
3 

4 


8 

6 

1 
3 

2 

1 


9 
26 

20 
3 

4 
14 


10 
30 

3 

8 

12 
4 

12 


11 

96 
24 

48 

1 

42 


12 

34 

2 
8 

1 

4 
2 


13 
20 

6 

8 

1 

5 

2 


14 

32 

12 
13 

2 

1 

8 


15 






Chlorate of potash 


37 


Nitrate of strontium 

Sulphur, washed 


9 


Calomel 


13 


Sulphide of copper 




Shellac 

Vegetable black 


8 


Black oxide of copper 

Carbonate of strontium 


1 


Loaf sugar. 

Oxychloride of copper 


9 




I 







Pyrotechny. 






482 












Pyrotecliny. 














No. 6. Green or Emerald Stars and Lances. 




1 

16 
16 

5 
1 


>> 

8 
8 

i 

1 
1 


3 

132 
108 

6 

48 

24 

1 


4 

32 

51 

6 


5 

144 
160 

4 


8 
21 
3 
7 
1 

2 


7 

3 

2 
2 
1 


8 

1 

■> 
1 


9 

4 
1 


10 

16 
8 

8 

5 

1 


11 

6 

7 
3 

5 

5 


12 

12 
5 

4 

1 

2 
3 


u 

16 

8 
4 
1 

2 
4 


14 

3 

3 

2 
2 


isfie 

48 22 


17 

24 
32 

10 
3 


18 

108 
108 

18 

48 

24 

1 


19 

24 
32 

8 

2 

_ 3 


20 

16 

48 

12 

1 

8 
5 

2 


~1 

2 
10 

2 

1 


22 

13 

32 

8 
2 

_ 

— 


Chlorate of potash 


Chlorate of barytes 

Charcoal, fine 


42 


22 
lit 


Sulphide of antimony 


27100 


Calomel .. 


Shellac 

Vegetable black 

Loaf sugar 


12 

1 


12 
1 


71 1 

i 

714 


Orpiment, or Realgar 


5 


— 






No. 7. 


Deep and Pale Yellow Stars and Lances. 


















Number 


1 

8 
3 

2 


2 

4 
2 

1 




5 

12 
4 

2 

4 
1 

1 


6 

16 

4 

3 

4 
1 
1 

1 


7 

4 
3 

20 
5 


8 

4 
1 

1 


9 

16 
4 

4 
2 
2 
1 


10 


11 12 


13 
16 

3 

4 

3 

4 


14 

4 
1 

1 
1 


15 
8 
3 

1 
3 


16 

6 

4 

7 
3 
1 


17 

20 
15 

30 
8 
4 

1 


18 
5 

1 

1 
1 


19 








3 

4 

10 
3 


8 16 
4 S 






12 
8 

3 


16 

4 

3 

4 

1 


6 


Oxalate of soda 


3 


Bicarbonate of soda 


16 

61 
1 

1 


5 
1 




Carbonate of strontium 




Nitrate of barytes 





Sulphur, washed 


2 


Shellac 


1 






Charcoal, fine 





Orpiment, or realgar 







— - 



No. 8. 



White or Bright Stars and Lances. 





1 

3 
4 
8 
1 


2 

3 
6 

14 


3 

2 
4 

14 
1 


4 

1 
2 
5 

1 


5 

1 
3 

10 
3 


6 

1 

2 
6 

1 


7 

1 

2 
9 
2 


8 

1 
1 

4 
1 


9 

3 
11 

48 
10 


10 

5 

24 
5 
3 

2 


11 

7 

34 

6 

5 


12 

18 
3 

3 

28 
5 


13 

8 
1 

16 
16 


14 

2 
1 

3 

4 


15 


Meal powder 




Sulphur •. 


1 


Sulphide of arsenic, realgar 

Nitrate of lead 


2 

12 


Shellac 


3 

1 







No. 9. Blue Stars 


and Lances without Sugar. 


























1 

5 

4 
4 

1 


2 

40 

20 

20 

5 
•> 


3 

18 

8 

10 

5 


4 

40 

28 

28 

10 
'3 


5 

6 

2 

3 
1 


6 7 
8 48 


8 9 

40 24 
12 6 

2 1 
— 6 

9 — 
1 1 

— , 3 

1 


1011 
16 30 


12 

24 
8 

1 
4 

2 
1 


13 

8 
1 
3 

1 

3 


14 

22 
8 
6 

2 

'5 


15 

40 

20 

25 

5 

2 


16 

6 
3 
5 

2 


17 

16 

1 

2 
4 


18 

24 
8 

1 
2 

5 


19 

2 

1 
1 


20 
5 
1 

1 
2 


21 

40 

20 
5 

5 
6 


22 23 


Chlorate of potash . 


40 36 




2 
2 

"4 

1 


12 

2 

8 

4 

1 
1 


8 

5 

2 
2 


10 

10 

'3 
3 


-12 

22 — 
-1 6 
— 1 9 








5 9 




3 1 












6 — 




1 



No. 10. 


Crimson and, 


Scarlet Stars and Lances. 




























1 


2 

8 
16 
6 
1 
1 


3 

16 


4 
16 


5 

24 

e 

1 

2 
6 

10 


6 

16 

16 

5 

1 
1 


7 

24 
20 
10 

5 


8 

16 
24 

7 

14 

1 

1 


9 

8 
5 
1 

1 
2 
1 


10 

16 

6 

4 
2 
1 


11 

25 
30 
10 

3 
9 
3 


12 

4 

7 
1 

1 
2 
1 


13 

32 

48 
6 

12 
12 


14 

6 
5 

1 
5 

1 


15 
16 

7 
11 


16 

28 

12 

— 

12 

5 


17 

32 
42 
13 

4 

12 
4 


18 

26 

10 

5 

3 

10 

1 


19 

96 
72 
24 


20 

8 

12 

2 


2122 


23 


24 




24 8 
1812 

- 2 

5 3 

— 4 


2 

8 
2 
1 






16 

16 

5 

1 


13 




32 
9 


32 

12 


32 
8 




1 1 


21! 4 
42 — 


2 


Shellac 


4 

7 
3 


2 
1 


— 




— 




4 


1 


5 




— 






Loaf sug'ar 




— 




— 







Pyrotechny. 



48c 



Pyrotecliny. 



No. 11. 



Tailed, Streamer, or Comet Stars, for Rockets, Shells and Roman Candles. 



Number 

Vegetable black 

Charcoal , 

Sulphur 

Nitter 

Meal powder 

Oxalate of soda 

Sulphide of antimony 
Chlorate of potash . . . 
Asphaltum, Egyptian. 

Burgundy pitch 

Coke grains, tine ... . . , 



1 
1 

2 
5 
5 

8 


2 

3 

8 

24 

24 

30 


3 

3 

2 
2 
9 
6 


4 

6 
3 

16 


5 

2 

4 
8 


6 

3 
4 

20 
12 

U 


7 

6 

1 

10 

5 


8 

12 

2 
20 

7 


9 

3 

2 

2 
9 
6 

J 


10 

1 

4 

12 

12 

8 


11 

1 
3 
4 
3 

1 


13 

1 
3 
4 
3 

z 

1 


13 

3 

8 

4 

12 

4 



14 



Oiled Tailed Stars for Rockets and Shells. 



Number 

Charcoal 

Sulphur 

Niter 

Meal powder 

Sulphide of antimony 



1 


2 


9 


6 


9 


5 


32 


18 


24 


12 


16 


9 



To 1 oz. add 24 drops of boiled linseed oil ; 
rub them thoroughly together in a mortar ; 
then spread out the mixture for a few days to 
dry. When dry, mix with starch, dextrine so- 
lution, or gum water, and chop into % or % in. 
cubical blocks. They will keep for years, and 
improve by age. In order that a star may tail, 
it must rapidly burn through and leave a cin- 
der, or scoria; from this, as it falls, minute 
portions become detached, and trail behind. 

Magnesium, Colors for Stars and Asteroids. 





S3 

o 


■+3 






> 




Colors. 


a 


© 


a 


<o 


o 






O 


03 

o 
m 


o 
u 

O 


3 

s 






Nitrate of strontium . . 


8 


6 


— 





Chloride of barytes 


— 


— 


12 


— 


— 


— 


Oxychloride of Copper. 
Oxalate of soda J. 


— 


— 


— 


2 


— 


— 


— 


— 


— 


— 


2 


— 


Sulphide of antimony.. 












1 


Chlorate of potash 


a 


4 


— 


5 


4 


— 


Niter 


2 


2 


1 


2 





12 




4 




1 












Shellac 


— 


2 


3 


1 


1 


— 


Calomel 


— 


4 


— 


2 


— 


— 


Magnesium filings 


2 


3 


* 


3 


1 


2 




A few magnesium filings may be added to any 
color. 

Star .bights. Composition for.— Fine dry 
niter, 20 parts ; sulphur, 6 parts ; lampblack, 
3)4 parts. 

Starting Fire. 



Number 

Charcoal 

Meal powder 

Sulphur 

Niter ... 



Streamers.— Streamers or quick matches, used 
for communicating fire quickly from one tube 
to another in display pieces, are" composed of 
the following composition packed in slender 
continuous paper tubes: 

Niter 2 oz. 

Sulphur 1 oz. 

Mealed powder .. 16 oz. 

Charcoal 4 oz. 

To Make Touch Paper.— Dissolve y 2 oz. of niter 
in \^ pt. of hot water. Procure some 12 lb. 
double crown blue, cut each sheet into four 
equal parts, fifteen by ten. Lay them smooth 
upon each other, and, with a sash tool dipped 
into the niter solution, wash them over on one 
side, and hang them up to dry. 

Wasp Light. 



Number. 



Nitre 14 

Sulphur j 5 

Meal powder 3 

Realgar. .-.-.. 1 



Tourbillion. 



Number .... 

Sulphur 

Niter 

Charcoal 

Meal powder 

Steel filings 

Cast iron borings 



1 
1 

4 

2 
1 


2 

3 
5 
3 

4 


3 

3 
16 

8 
8 


4 

7 
10 

4 
24 

8 


5 

3 
8 
3 

16 
6 


6 

4 
32 

6 
32 

5 

8 


7 

4 
17 

4 

6 


8 

4 

17 

5 

8 


9 

2 
4 

4 

3 


10 

4 

8 

9 

4 


11 

1 

8 

10 

7 


12 

7 
20 

23 

14 


13 

4 
14 

3 
13 

2 

5 



14 

1 

4 
2 
1 

1 



Wheel and Fixed Cases. 



Number 

Meal powder 

Sulphur 

Charcoal 

Niter 

Steel filings 

Vegetable black 

Realgar 

Litharge 



1 

8 
1 
1 
2 


2 

24 
1 
4 
3 


3 
8 
1 


4 

36 
1 
4 


5 

4 

1 

2 


6 
18 

2 
5 


7 

8 
1 

1 
3 


8 

12 

1 

3 
3 


9 

42 
3 

8 
5 


10 

4 

1 


16 

2 
5 


12 
10 

1 


13 

13 

1 

1 

2 

1 


14 
16 

3 


15 

20 

1 

3 


16 

40 
4 
3 

24 
6 
1 
1 
2 



17 

as 
i 
a 

4 



Quantivalence. 



484 



Razors. 



Case Colors for Wheels, Compositions for— 1. 
White.— Niter, 10 oz.; sulphur, 3 oz.; regulus 
antimony, 2 oz.; realgar, 1 oz.; red lead, Yz oz.; 
shellac, ^ oz. 

2. Golden Yellow.— Potassium chlorate, 8 oz.; 
barium nitrate, 2 oz.; shellac, 2 oz.; sodium 
oxalate, V/% oz.; stearine, >£ oz. 

3. Orange.— Potassium chlorate, 8 oz.; stron- 
tium chlorate, 1 oz.; barium nitrate, 2 oz.; 
shellac, 2 oz.; sodium oxalate, 1)4 oz 

4. Mauve.— Potassium chlorate, 12 oz.; mer- 
curous chloride, 4 oz.; strontium nitrate, 2 oz.; 
copper subsulphate, 2 oz.; shellac, 2 oz.; stear- 
ine, % oz. 

5. Rich Crimson.— Potassium chlorate, 9 oz.; 
strontium nitrate, 5 oz.; shellac, 2 oz.; mer- 
curous chloride, l^oz.; copper sulphide (fused), 
1 oz.; lampblack, 34 oz. 

6. Red.— Potassium chlorate, 8 oz.; strontium 
nitrate, 5 oz.; shellac, 2oz.; mercurous chloride, 
loz. 

7. Brilliant Green.— Potassium chlorate, 10 oz.; 
barium nitrate, 5 oz.; shellac, 2 oz.; mercurous 
chloride, 2 oz.; pure sulphur, I oz.; copper sul- 
phide, % oz.; fine charcoal, y% oz. 

8. Rich Emerald Green.— Potassium chlorate, 
18 oz.; barium nitrate, 9 oz.; barium chlorate, 5 
oz.; shellac, 4 oz.; mercurous chloride, 2 oz.; 
copper powder, 1 oz.; pure sulphur, 1 oz. 

9. Bright Blue.— Potassium chlorate, 7 oz.; 
mercurous chloride, 4 oz.; Chertier's copper, 4 
oz.; dextrine, 1% oz.; stearine, l£ oz. 

10. Bright Blue.— Potassium chlorate, 8 oz.; 
Chertier's copper, 7 oz.; mercurous chloride, 3 
oz.; shellac, 1 oz.; stearine, 1 oz. 

11. Rich Blue.— Potassium chlorate, 8 oz.; cop- 
per subchloride, 2oz.; shellac, \& oz.; mercurous 
chloride, 3 oz.; stearine, 1 oz. 

All the ingredients must be perfectly dry 
and fine enough to pass through a forty mesh 
sieve. They should be thoroughly well mixed 
and the ccmpositions should be kept in stop- 
pered bottles ready for use. 

Quantivalence. — The term quantivalence 
of an atom, or of a group of atoms, is used to 
express the number of hydrogen atoms with 
which it can be combined or for the Dumber for 
which it can be exchanged. Atoms are classi- 
fied according to the combining or exchanging 
power into monads, dyads, triads, pentads, 
hexads and heptads, or else are designated as 
univalent, bivalent, trivalent, quadrivalent, 
etc. The quantivalence is indicated by Roman 
numerals placed above the chemical sym- 
bol, as O" or C xv . The words valence, equiv- 
alence and atomicity are used instead of quan- 
tivalence, but the term atomicity is used more 
properly when it refers to the number of atoms 
in a molecule. 

Quartz, to Polish. See Polishing. 
Queen's Metal.— A species of pewter. See 
Alloys. 

Quills.— Prep. Suspend the quills in a cop- 
per, over water sufficiently high to touch the 
nibs; then close it steam tight and apply four 
hours' hard boiling; next withdraw and dry 
them, and in twenty-four hours cut the nibs 
and draw out the pith; lastly, rub them with a 
piece of cloth and expose them to a moderate 
heat in an oven or stove. The quills prepared 
in this way are as hard as bone, without being 
brittle, and as transparent as alass. 

Radicle. — Syn. Radical. — In accordance 
with the well known binary theory of the con- 
stitution of saline compounds, every salt is 
composed, like chloride or sodium of two sides 
or parts, which are termed its radicals. That 
part of a salt which consists of a metal, or of 
a body exercising the chemical functions of 
one, is called a metallic, basic radical; while the 
other part, which, like chlorine, by combining 
with hydrogen, would produce an acid, is desig- 
nated the acidulous radical. Every salt, there- 
fore consists of a basic and of an acid rad- 
ical. 



Raisin Cider. See Cider. 
Raspberry Vinegar. See Vinegar. 

Ratafia.— Ratafia, for flavoring, is by no 
means difficult to make when the peach is in 
season. The following is a simple recipe : 
Blanch 2 oz. of peach or apricot kernels ; bruise 
them well; put them into a bottle, and fill it 
nearly up with good brandy ; dissolve in a cup 
of cold water y z lb. of white sugar candy, 
and add it to the brandy after it has stood 
for a month on the kernels; strain off the 
kernels before you add the sugar; then filter 
through paper, and bottle off in small bottles 
for use. Another rather more expensive 
method of making it is to take 50 bruised 
peach kernels, M lb. of bitter almonds, 1 lb. 
of white sugar candy, and mix thoroughly 
with 1}4 pt. of 90 % alcohol ; then add 3 qt. of 
water and V/% gal. of malt spirits. —Confec- 
tioners'' Journal. 

Ratafias. See Liquors. 

Rats, to Destroy.— 1. When a house is in- 
fested with rats which refuse to be caught by 
cheese and other baits, a few drops of the high- 
ly scented oil of rhodium poured on the bottom 
of the cage will be an attraction which they 
cannot refuse. 

2. Place on the floor near where their holes 
are supposed to be a thin layer of moist caustic 
potash. When the rats travel on this, it will 
cause their feet to become sore, which they 
lick, and their tongues become likewise sore. 
The consequence is that they shun this locality, 
and seem to inform all the neighboring rats, 
about it, and the result is that they soon aban- 
don a house that has such a preventive. 

3. Cut some corks as thin as wafers, and fry, 
roast, or stew them in grease, and place the 
same in their track ; or a dried sponge fried or 
dipped in molasses or honey, with a small quan- 
tity of bird lime or oil of rhodium, will fasten 
to their fur and cause them to depart. 

4. If a live rat be caught and smeared over 
with tar or train oil, and afterward allowed to 
escape in the holes of other rats, he will soon 
cause all to take their departure. 

5. If a live rat be caught, and a small bell 
be fastened around his neck, and allowed to es- 
cape, all of his brother rats as well as himself 
will very soon go to some other neighbor's 
house. 

6. Take a pan, about twelve inches deep, and 
half fill it with water ; then sprinkle some bran 
on the water and set the pan in a place where 
the rats most frequent. In the morning you 
will find several rats in the pan. 

7. Two parts common squills (well bruised) 
and 3 parts of finely chopped bacon are made 
into a stiff mass, with as much meal as may be 
required, and then baked in small cakes, which 
are put around for the mice to eat. 

Razors, to Grind and Set. — Razors 
that have been in use so long that the edge 
is rounded by strapping can be brought to a 
flat bevel on the edge by placing them on a 
perfectly flat hone or other fine grained stone, 
with a little thin oil, as lard oil or fine machine 
oil, letting the back always rest upon the stone, 
and with small circular motions of the hand, 
without pressure, grinding down the bevel un- 
til the stone marks meet on both sides in a 
thin feather edge. The regular razor hone 
as imported through the cutlery trade from 
England is the best. The finest washed flour 
emery, laid on a flat piece of wood with glue 
and pressed down with a flat piece of iron or 
plate glass, or a strip of emery paper glued to 
a strip of wood and pressed upon a flat iron or 
piece of glass, will answer the purpose. In 
using the emery stick always draw the razor 
backward from the cutting edge, to prevent 
catching and hacking the edge against any un- 
even particles of emery. For a strap use a 
strip of fine, even calfskin, glued to a piece of 
wood, on which rub a little paste made of ox- 



Razor. 



485 



Reduction. 



ide of iron (rouge) mixed with olive oil. Draw 
backward and keep the heel or back of the 
razor in contact, so as not to round the edge. 
Oxide of tin or putty powder mixed with oil 
also makes a good razor strap paste. The skin 
of a horse's tail is very highly recommended 
for razor straps. 

Razor Paper. See Paper. 

Razor Paste. — 1. Mix fine emery intimately 
with fat and wax until the proper consistency 
is obtained in the paste, and then rub it well 
into the leather strap. Prepare the emery by 
pounding thoroughly in a mortar the coarse 
kind, throwing it info a large jug of water and 
stirring well. Immediately the large particles 
have sunk, pour off into a shallow plate or 
basin and let the water evaporate. This emery 
is better for polishing and other purposes 
than that prepared at the emery mills. 

2. The grit from a fine grindstone is very effi- 
cient for a razor paste. 

3. Levigated oxide of tin, prepared putty 
powder, 1 oz.; powdered oxalic acid, J4 oz.; 
powdered gum, 20 grn.; make into a stiff paste 
with water, and evenly and thinly spread it 
over the strop. With very little friction this 
paste gives a fine edge to the razor, and its effi- 
ciency is still further increased by moistening 
it. 

4. Emery reduced to an impalpable powder, 
2 parts; spermaceti ointment, 1 part; mix to- 
gether and rub it over the strop. 

5. Jewelers' rouge, black lead and suet, equal 
parts; mix. 

6. Pradier.— Best putty powder, l}4 oz.; jew- 
elers' rouge, 1% oz.; scales of iron, % oz.; levi- 
gated Turkey stone, 4J^ oz<; beef suet, 2^4 oz. 

7. Put equal parts of dried sulphate of iron 
and salt in a closed vessel and apply a gradually 
increased heat. Pulverize, elutriate, mix with 
•ard or tallow. 

Reagents, Chemical. — Reagents are 
substances which effect a chemical change in 
the molecule. Only the best quality of chemi- 
cals should be used. Very minute directions 
lor preparing reagents are given in Fresenius, 
but this list of reagents, with their .proper 
strengths, is complete) enough for ordinary 
qualitative work. The following are the prin- 
cipal reagents used by the chemist, with the 
proper strength. Distilled water only should 
be used in making up reagents. For the various 
synonyms of the chemicals, see the appendix. 
The alphabetical arrangement is disregarded, 
and the reagents are given in the order in which 
they should be placed on the laboratory table. 

Sulphuric Acid.— Concentrated sp. gr. P843. 
Dilute should also be provided. To 5 parts 
water add 1 part sulphuric acid. 

Hydrochloric Acid.— Concentrated sp. gr. 112, 
:2i% acid is the usual reagent strength. Both 
concentrated and dilute should be provided. 

Nitric Acid. — Concentrated acid should be 
purchased and diluted to sp. gr. 132, 32# acid. 

Acetic Acid— Sp. gr., 1-04, 30% acid. This acid 
is called the No. 8 of commerce. 

. 1 mmonia.— Strong, sp. gr., - 96. Keep in a 
bottle with a ground glass stopper. 

Ammonium Carbonate.— Dissolve 1 part of 
the salt in 4 parts by weight of distilled water, 
to which 1 part reagent ammonia has been 
added. 

Ammonium Chloride.— Dissolve part of the 
salt in 8 parts water. 

Ammonium Sulphide.— Pur chase of the right 
strength; it is an article of commerce. 

Ammonium Oxalate.— Dissolve 1 part of the 
salt in 24 parts water. - 

Potassium Hydroxide.— Dissolve 1 part of the 
stick alkali in 20 parts of water. 

Sodium Hydroxide.— Use about 1 part to 9 
parts of water. 

Potassium Carbonate.— Dissolve 1 part of the 
dry salt in 10 parts of water. 

Potassium Iodide.— Dissolve 1 part of the dry 
salt in 20 parts of water. 



Potassium Bichromate.— Dissolve 1 part of the 
salt in 10 parts of water. 

Poiassium Ferro-cyanide.— Dissolve 1 part of 
the crystallized salt in 12 parts of water. 

Potassium Sulpho-cyanide.— Dissolve 1 part of 
the salt in 25 parts of water. 

Calcium Hydroxide.— Slake lime by the addi- 
tion of 6 parts water, after which add 30 parts 
water and allow to stand, decant the liquid and 
add 300 parts water to the residue, let the coarser 
particles subside, then pour the liquid contain- 
ing the finely divided lime in suspension into a 
bottle and use the liquid. 

Barium Chloride.— Dissolve 1 part of the salt 
in 10 parts of water. 

Magnesium Sulphate.— Dissolve 1 part of the 
salt (cryst.) in 10 parts water. 

Mercuric Chloride.— Dissolve 1 part of the 
crystallized salt in 16 parts of water. 

Silver Nitrate.— Dissolve 1 part of the crys- 
tallized salt in 70 parts water. Another au- 
thority says to use 1 part of the salt in 20 parts 
of water. Keep in an orange colored bottle. 

Lead acetate.— Dissolve 1 part of the salt in 
10 parts of water, and filter. 

Ferric Chloride.— Dissolve 1 part of the iron 
in 15 parts of water. 

Alcohol.— Use 96% alcohol. 

Cobaltous Nitrate.— Dissolve part of the salt 
in 10 to 20 parts of water. 

Sodium Sulphite.— Dissolve 1 part of the salt 
in 5 parts of water. 

Potassium Cyanide.— Dissolve 1 part of the 
salt in 3 or 4 parts of water. 

Potassium Chromate.— Dissolve 1 part of tho 
salt in 10 parts of water. 

Potassium Ferricyanide.— Dissolve 1 part o;. 
the salt in 12 parts of water; make as. required, 
for use. 

Potassium Sulphate.— Dissolve 1 pa:.'fc of the 
salt in 12 parts of water. 

Potassium Permanganate.— Dissolve 1 part o_i 
the salt in 400 or 500 parts of water. 

Carbon Bisulphide.— ~Cse at the same strength 
as purchased. 

Ether.— Use same strength as purchased. 

Calcium Sulphate.— Saturated solution. 

Copper Sidphate.— Dissolve 1 part of the salt 
in 10 parts of water. 

Calcium Chloride.— Dissolve 1 part of the salt 
in 8 parts of water. 

Sodium Carbonate.— Used largely in blowpipe 
work. Used as purchased; buy the C. P. 

Ferrous Sidphate.— The solution of this salt 
does not keep well, so it should be prepared as 
required for use, by dissolving 1 part of the 
salt in 8 parts of water. 

Sodium Borate. — Used in blowpipe work. 
Get the pure crystallized salt. 

Sodium- Ammo nium Phosphate.— This is the 
microcosmic salt. It is used in a dry state for 
blowpipe work. 

Ferrous Sulphide.— Use as purchased. 

Metallic Zinc— Use the granulated zinc. 

Potassium Chlorate.— Use as purchased. 

Starch Paste is also used extensively. It 
should be kept in tin or a salt mouth, and only 
made up as wanted. 

Soap Solution, Clark's. See Soaps. Soap 
Solution. 

Phenol Phthalein. See Phenol Phtha« 
lein Solution. 

Realgar.— Arsenic bisulphide or red sul- 
phide of arsenic. It is easily fused and is deadly 
poison. 

Rectification.— A second distillation of a 
fluid for the purpose of rendering it purer. 

Red Lead.- Pb 3 4 or minium. 

Red Pigments. See Pigments. 

Reduction.— Reduction is the term applied 
.o a process by which the oxygen is withdrawn 
from a metallic oxide, leaving the base in its 
original state. This is effected by heating the 
oxide with carbon or hydrogen ; or by expos- 
ing it to the action of some other body which 



Reduction. 



486 



Rouges. 



has a powerful affinity for oxygen. When hy- 
drogen is employed, the metallic oxide is heat- 
ed to redness in a glass or porcelain tube, and 
subjected to a current of hydrogen gas, which 
absorbs the oxygen and leaves the metal pure. 
Other agents, as tallow, oil, resin, sugar and 
starch, are sometimes used for reducing, but 
carbon and hydrogen are generally employed. 

Reduction of Density of Negatives. 
See Photography. 

Regulus.— Certain metals, such as copper 
and silver, possess a strong affinity for sulphur, 
and may be converted into sulphides by fusion 
with such bodies as iron pyrites or the sul- 
phates of barium and lime. The sulphide thus 
formed is called a regulus or malt. In a 
similar way, nickel and cobalt are converted 
into arsenides by their combination with arsen- 
ic ; the arsenide is then termed a speise. In 
smelting ores containing iron, copper, nickel, 
arsenic, sulphur, and silica, three products may 
be obtained : nickel, speise ; copper, regulus ; 
and iron, slag. 

Removal of Paint. See Cleansing. 

Resins. See also Gums. 

Resin, Rlack.— The remains of turpen- 
tine after the oil has been distilled. — Rosin o r 
colophony. 

Yellow.— Yellow rosin. 
Resin Paper. See Paper. 

Resin* Violin Row. See Bow, Vio- 
lin, Resin for. 

Retorts, Cement for. See Cements. 

Retouching. See Photography. 

Retouching. Varnish for. See Varn- 
ishes. 

Reviver, Riack. Take 2 pt. of vinegar, 
and infuse 1 oz. of iron filings, 1 oz. copperas, 
1 oz. ground logwood, and 3 oz. bruised galls. 

Kiel Reviver. — Logwood, 4 parts ; cop- 
peras, y% part ; water, 40 fl. parts ; boil for ^ 
hour and strain into tragacanth (pow- 
dered), i\ part ; soft soap, 1 part ; glycerine, 3 
parts; add 1 fl. part methylated spirit, con- 
taining J4 part salicylic acid ; oil gaultheriae, 4 
minims ; add water to make 40 fl. parts. 

Rice Water.— Boil whole rice in water for 
a few minutes, and then strain the liquid. Its 
principal use is in a photographic process, 
now almost obsolete. 

Ripening.— Term used in keramics to de- 
scribe the tempering or rotting of the clay 
before manufacture. 

Rivets.— The distance apart of the rivets 
used to connect two pieces of metal plate 
together is regulated by the rule that the 
joint sectional area of the rivets shall be equal 
to the sectional area of plate left after punch- 
ing the rivet holes.— Rank ine. 

Rivet Metal. See Alloys. 

Roasting.— Term used in metallurgy to 
describe a kind of calcination to which ores are 
submitted before their final reduction to the 
metallic state. Many substances, such as 
water, arsenic ana sulphur, are driven off. 

Rockets. See Pyrotechny. 

Rollers, Ink, to Clean.— Rollers should 
not be washed immediately after use, as they 
will become dry and skinny, but they may be 
washed ^ hour before using again. In cleaning 
a new roller, a little oil rubbed over it will 
loosen the ink, and it should be scraped clean 
with the back of a knife ; it should be cleaned 
this way for about a week, when lye may be 
used. New rollers are often spoiled by wash- 
ing too soon with lye. 

2. To Renew a Hard Roller.— "Wash carefully 
with lye, then apply a thin layer of molasses, 
Let it stand all night, then wash with water. 
and let it hang until dry enough to use. 



Rollers, Printers'. See Printers' Rol- 
lers. 

Roman Vitriol.— A name given to cop- 
per sulphate. 

Roofing, Fire Proof.— After the paper 
is put on take coal tar and lime (burnt, but not 
slaked), and boil them together in the propor- 
tion of 15 lb. lime to 100 lb. tar. Put it on hot- 
To pulverize the lime, sprinkle it with a little 
water and sift it. To avoid the tar boiling 
over, stir the lime in the boiling tar very slowly. 
The mixture must always be heated before 
putting on. The lime and tar form a chemical 
connection, which is fire proof, cannot be 
melted by sun heat or dissolved by steam or hot 
water, and makes a smooth, glazed roof. 

Roofs, Composition for.— Take 1 measure of 
fine sand, 2 of sifted wood ashes, and 3 of lime, 
ground up with oil. Mix thouroughly, and lay 
on with a painter's brush, first a thin coat and 
then a thick one. This composition is not only 
cheap, but strongly resists fire. 

Root Reer. SeeReers. 

Rope.— A tarred rope is about 34 weaker 
than untarred white rope. Tarred hemp and 
manilla ropes are of about equal strength. 
Wire rope of the same strength as new hemp 
rope will run on the same sized sheaves; 
but the greater the diameter of the latter, the 
longer it will wear. One wire rope will usually 
outlast three hemp ropes. Running wire rope 
needs no protection; standing rigging should 
be kept well painted or tarred. 

Ropes, to Protect. See Cleansing, 
Mildew. 

Rosemary, Spirit of. — 

1. Rosemary tops -j 2 ^ ^° 3 

Rectified spirit 5 pt. 

Water 4 pt. 

Digest twenty-four hours, and distill 1 gal. 

2. Take of— 

Oil of rosemary (recent) 1*4 oz. 

Proof spirit 1 gal. 

Dissolve by agitation. Both are in high re- 
pute as hair cosmetics; also used to make ex- 
temporaneous rosemary water and in compound 
perfumes. 

Rose Water. See Waters. 

Rosin. — A name given to resin, either yel- 
low or black. Another name is colophony. 

Rosin, to Rleach. See Bleaching. 

Rosin Oil. See Oils. 

Rosolio de Turin. See Liquors. 

Rouge.— Red Oxide of Iron.— 1. It is pre- 
pared as follows: Make a boiling solution of iron 
sulphate, filter it, and add to it a concentrated 
solution of oxalic acid; this throws down yellow 
oxide of iron. Wash the precipitate, and heat 
it while still moist upon an iron plate, over a 
charcoal fire. At a temperature of 400° F, the 
salt is decomposed, and brownish red peroxide 
of iron, or rouge, is formed. 

2. The rouge used by machinists, watch- 
makers and jewelers is a mineral substance. 
In its preparation crystals of sulphate of iron,, 
commonly known as copperas, are heated in 
iron pots, by which the sulphuric acid is ex- 
pelled and the oxide of iron remains. Those 
portions least calcined, when ground, are used 
for polishing gold and silver. These are of a 
bright crimson color. The darker and more 
calcined portions are known as crocus, and are 
used for polishing brass and steel. For the 
finishing process of the specula of telescopes, 
usually made of iron or of steel, crocus is in- 
valuable; it gives a splendid polish. 

3. Others prefer for the production of rouge 
the peroxide of iron precipitated by ammonia 
from a dilute solution of sulphate of iron, 
which is washed, compressed until dry, then 



Rouges. 



487 



Rouges. 



exposed to a low red heat and ground to pow- 
der. 

4. A rouge suitable for fine work may be 
made by decomposing a solution of sulphate 
of iron with oxalic acid, also in solution; a pre- 
cipitate of oxalate of iron falls, which must be 
well washed and dried; when gently heated 
the salt takes fire, leaving an impalpable pow- 
der of oxide of iron. 

Rouge, Stick.— Stick rouge as used by the 
jewelers is supposed to be made with paraffine 
as a cementing element, as little as will hold 
the rouge together. 

Rouges, Face Paints and Powders. 
See also Powders and Cosmetics. 

Analyses of Face Powders of the Market.— By 
W. H. Snow in New Idea. 

Swan Down.— Manufactured by Henry Tet- 
low.— 

Zinc oxide 38*9$ 

Orris root 18*35$ 

French chalk 42*75$ 

Wright's.— A harmless face powder manu- 
factured by Alfred Wright, of Rochester, 
N. Y.; claimed by its manufacturer to be 
entirely free from lead or other poisonous 
minerals, and no more hurtful in use than com- 
mon starch. Upon examination it proved 
to be 

French chalk 25*48$ 

Corn starch , . 33*73$ 

Bismuth oxide . . 0*8$ 

Calcium sulphate 40*19$ 

S unders' Bloom of Ninon.— Saunders' pure 
white face powder, or Bloom of Ninon, manu- 
factured by J. T. Saunders, Oxford street, Lon- 
don; claimed by its manufacturer to be a deli- 
cate preparation tor beautifying the complex- 
ion, free from anything which can possibly in- 
jure the skin. Each box holds 1 oz. 25 grn. 
We otter the following formula : 

Precipitated chalk 23*00 parts. 

French chalk. 23*76 parts. 

Bismuth subcarbonate 6*64 parts. 

Zinc oxide 16*60 parts. 

Corn starch 30*00 parts. 

Pozzoni's (White).— J. A. Pozzoni's complex- 
ion powder, manufactured in St. Louis, Mo., 
states on the label that it imparts a brilliant 
transparency to the skin, removes all pimples, 
freckles, and discolorations, makes the skin 
delicately soft, perfectly harmless, containing 
no arsenic or other deadly material. Found 
upon examination to be : 

French chalk 55*95$ 

Calcium carbonate 31*25$ 

Bismuth oxy-chloride 12*8$ 

Palmer's Lily White Tablet for the complex- 
ion, prepared only by Solon Palmer, New York. 
Examination proved it to be : 

Precipitated chalk 42*5$ 

French chalk 57'5$ 

Palmer's Invisible was found upon examina- 
tion to be a silicate of alumina , magnesia, pot- 
ash, and soda, colored with carmine. The nat- 
ural silicate is probably French chalk. 

[The foregoing are analyses merely, and are 
not to be taken as formulae from which the 
various preparations may be compounded. 
Perfumes have to be added, and it is not neces- 
sary to adhere rigidly to the quantities given.] 

The following is a valuable synopsis of the 
principal rouges and face paints and pow- 
ders: 

According to Mierzinsky, these preparations 
are not only in demand for toilet purposes, but 
are also indispensable to the actor and actress. 

They may be divided into fatty powders, 
fatty paints in sticks, palette paints, and liquid 
paints. 

For the preparation of all these the following 
are necessary : Pure white French chalk, thor- 
oughly washed with dilute acetic acid, carbon- 



ate of magnesia, oxy-chloride of bismuth, sub- 
nitrate of bismuth, chalk, lead, zinc, and bar- 
ium whites, and coloring matters. 

Fatty Powders.— These contain as basis pure 
white French chalk; in order to temper the 
character of this, it is mixed with magnesia, 
chalk, zinc, or lead white or bismuth. The 
finest paint is furnished by bismuth white, only 
it possesses the disadvantage in a higher degree 
than even lead white of turning brown in a 
sulphureted atmosphere. Zinc white has not 
the same drawback, but it fails in luster and is 
not so pure a white. The paint is colored red 
with carmine ; pink with eosin, and flesh color 
with a mixture of eosin and aniline orange. 
Mostly the red paint is in demand, and it must 
be matched with the complexion. It should be 
kept both dark and pale. The following mix- 
tures should be kept prepared : 

90 parts French chalk with 30 parts carmine. 
110 parts French chalk with 30 parts carmine. 
125 parts French chalk with 25 parts carmine. 

These can be rubbed up with a few drops of 
fatty oil and perfumed as desired. Coal tar 
colors must be dissolved before admixture, but 
the operator must proceed with great care, as 
the colors are greedily taken up by the French 
chalk. 

Fatty Paints in Sticks.— 1. These have wax, 
cacao butter, benzoated oil, or suet, with 
French chalk as bases. Sometimes a mixture 
of these may be used, sometimes benzoated suet 
with cacao butter, sometimes cacao butter 
alone. 

The following formulas give good results : 

2. Take of— 

White wax 2 parts. 

Olive oil, or almond oil, or suet. . 3 parts. 

French chalk 1 part. 

Zinc oxide 1 part. 

Mix. 

3. Take of — 

White wax 2 parts. 

Oil or benzoated suet 2 parts. 

Bismuth white 5 parts. 

Mix. 

No preparation of bismuth can be recom- 
mended. 

These are colored red, if desired, with an 
ammoniacal carmine solution. The proportion 
of 1 part of carmine to 40 parts of base is 
most approved, and the best method of pro- 
cedure is to dissolve 1 part of carmine in f part 
of strongest ammonia, to mix this solution with 
six parts of French chalk, and to stir until the 
ammonia has evaporated and the mixture be- 
come dry. This colored chalk is then mixed 
with a basis made from 13>£ parts of wax and 
20 of any fixed oil. 

Palette Paints contain the same materials as 
the powders, rubbed with thin mucilage to a 
paste, and fixed on plates of porcelain with a 
very thick mucilage. These paints must be 
intensely colored. Cinnabar is frequently used 
for these paints as under : 

4. Take of— 

Frenchchalk 190 grm. 

Best cinnabar 30 grm. 

Rub together with six drops of almond oil 
and then with a few drops of tragacanth mu- 
cilage. Not recommended; injurious to health. 
Liquid Paints.— In these the whites or colors 
are suspended. 

5. Eau de Lys.— Take of— 

Zinc white 10 parts. 

French chalk 10 parts. 

Glycerine 20 parts. 

Rose water 1,000 parts. 

Mix. 

6. Lait d'lris.- Take of— 

Bismuth white 10 parts. 

Water 120 parts. 

Mix. The water is perfumed with essential 



Rouges. { 

oil of orris. Bismuth is a dangerous ingre- 
dient. 

7. Take of— 

Eosin 4 parts. 

Distilled water 80 parts. 

Glycerine 20 parts. 

Eau de cologne 300 parts. 

Spirit (free from fusel oil) 400 parts. 

Dissolve. Allows to stand and filter. Ac- 
cording to desire the proportion of eosin may 
be increased, or diminished, or modified with 
aniline orange. 

8. Take of— 

Finest carmine 20 parts. 

Lead white 30 parts. 

French chalk 60 parts. 

Tincture of benzoin (simple) 5 parts. 

Eau de cologne 50 parts. 

Rose water... 250 parts. 

Mix. 

9. Take of— 

Carmine 4 parts. 

Strongest ammonia 4 parts. 

Rose water 500 parts. 

Essence of rose 15 parts. 

This liquid is principally used to give the 
lips the beautiful cherry red color which is so 
much admired. 

Liquid .Rouge.— Several different preparations 
arc sold under this name, but the first of those 
following only strictly deserves it. 

1. Dissolve pure rouge (carthamine) in alco- 
hol, and acidulate the solution with acetic acid. 
Very rich. 

2. A solution of carmine in liquor of ammonia, 
or in carbonate of potash water, to be diluted 
for use. Rich colored. 

3. The red liquid left from the preparation of 
carmine. Inferior to the preceding. 

Spanish Lady's Rouge. —This is properly 
rouge crepons; but cotton wool which has 
been repeatedly wetted with a strong ammo- 
niacal solution of carmine, and dried, is usu- 
ally sold for it. Used like rouge crepons. 

Rouge de Carmin (fine rouge for theaters).— 
Take of carmine, 2 drm., and commingle it 
with a little warm water. Again, into a deep 
porcelain plate put 4 oz. finely powdered talc, 
and in the center of this powder make a cavity 
with the end of the finger, and pour in the car- 
mine mixture, stirring all the while with an 
ivory or horn spatula. When the whole is well 
mixed, add 6 drops oil and a solution of gum 
tragacanth, and finish as before directed. The 
first shade of this rouge is very deep. 

Second Shade.— Carmine, 2 drm.; talc, 4^ oz.; 
a little less of oil and gum. 

Third Shade.— Carmine, 2 drm.; talc, 5 oz.; 
oil, 7 drops; and solution of gum, 15 drops. 
Thus proceed for the other degrees of color, by 
augmenting the proportions of gum and oil y% 
oz. at each descending shade. Run down as 
low as ten variations. 

Azure Paste.— Equal parts French chalk and 
ultramarine finely sifted. Triturate with gum 
tragacanth into a stiff paste. 

Caution against Bismuth as a Cosmetic.— The 
continued use of bismuth white injures the 
skin. It will finally produce paralysis of its 
minute vessels, and will render the skin yellow 
and leather like. 

Liquid Blanc de Perle (for theatrical use).— 
Rose or orange flower water, 1 pt.; oxide of 
bismuth, 4 oz. Mixed by long trituration. 

Bloom of Roses. — Take of — 

Soft water (boiling) 1 pt. 

Lemon juice (recent, boiling) — *4 pt. 

Dilute sulphuric acid (Ph. L.) — M oz. 
Mix, add of— 

Dried red rose leaves 3 oz. 

And digest, in glass or glazed earthenware, 
with frequent stirring, for two hours. Then 
strain off and forcibly squeeze out the liquor 
from the leaves with the hands, and pass it 



i Rouges, 

through coarse muslin. Next add, and dissolve 
in it, of — 

Gum arabic (fine pale) 1 oz. 

Esprit de rose J£ fl. drm 

Set it aside (corked) in a cool place for a few 
days; then decant the clear portion, or filter it 
through bibulous paper. Contact with alka- 
lies and metals darkens and spoils its color. 

Face Paint (Brown).— The general principle 
in making such preparations consists in mixing 
the dry powder, a little darker than the desired 
tint, with some fat, such as petrolatum or lard. 
A formula for a brown face paint is as follows : 

Take of— 

Burnt umber 1 part. 

Cacao butter 6 parts. 

Oil of neroli 5 drops. 

Melt the cacao butter, add the umber, and 
while cooling make an intimate mixture, add- 
ing the perfume toward the last. Wash it off 
with vaseline. 

Burnt Cork, for Minstrels.— 

Take best lampblack 1 grn. 

Cacao butter . . 6 grn. 

Oil of neroli 5 drops. 

Melt the cacao butter, add the lampblack, 
and while cooling make an intimate mixture, 
adding the perfume toward the last. 

Paint, for Black Eyes.— Bismuth, 2 parts; talc, 
1 part; color with carmine to skin tint. Wash 
the part with mixture of glycerine, 1 part; 
water, 5 parts; dry and apply powder. 

Nigger Black. — Beat finest lampblack into a 
stiff paste with glycerine and apply with a 
sponge; if necessary mix a little water with it 
when using. This is far superior to the old 
fashioned burnt cork and beer, which required 
a lot of rubbing in, and almost skinned one's 
face to remove. The above can be as easily re- 
moved as it is applied. 

mute Face and Arms Lotion.— 

Zinc oxide J^ oz. 

Glycerine 2 oz. 

Rose water 2 oz. 

Superior to powders. Many of our leading 
actresses use the above. 

Theatrical Face Paints.— The principle is to 
make a dry powder somewhat darker than the 
desired tint, and then thoroughly mix this 
powder with some bland oil (as almond oil), or 
some fat (as perfumed benzoated lard), or some 
perfumed paraffinoid (as petrolatum), in the 
proportions necessary to produce the required 
color and consistency. Hager and Torjesen 
give the following formula? : 

White.— 1. Oxide of zinc, subnitrate of bis- 
muth and plumbate of alumina— of each, 1 oz. 
Mix and make into a paste with almond oil 
(5 to 6 drm. required) and perfume with 12 min- 
ims of peppermint oil, 12 grn. of camphor, and 
1 drm. of ess. bouquet. 
2. Po wd. Venetian talc 300 grm. 

Bismuth oxychloride 50 grm. 

Carmine 0*05 grm. 

Oil bergamot 10 drops 

Oil neroli - 2 drops 

Bright Red.— Oxide of zinc, subnitrate of 
bismuth and plumbate of alumina— of each, 10 
drm.; resin, 234 grn., dissolved in 1 drm. of 
ess. bouquet ; oil of peppermint, 12 min- 
ims ; camphor, 12 grn. ; almond oil, a suffi- 
ciency to make a paste. Mix as above. 

Deep Bordeaux Red.— Oxide of zinc, sub- 
nitrate of bismuth, plumbate of alumina— of 
each, 15 drm.; oil of peppermint, 12 minims; 
camphor. 12 grn. ; carmine, 30 grn. (dissolved in 
80 minims of solution of ammonia) ; almond 
oil, a sufficiency; ess. bouquet, 1>£ drm. 
Mix. 
Red.— 

Powdered Venetian talc 100 grm. 

Carmine 2*5 grm. 

Water of ammonia 20 grm. 






Rubber. 



489 



Rubber. 



Digest the carmine in the water of ammonia 
until dissolved, mix the solution with a por- 
tion of the powdered talc, and this with the 
remainder, and dry by exposure to the air. 

Skin Color. — Vermilion, 3 drm. ; tincture of 
saffron, 2 drm. ; powdered orris, 5 drm. ; pre- 
cipitated chalk and oxide of zinc, of each, 20 
drm.; camphor, 20 grn. ; oil of peppermint, 20 
minims; ess. bouquet, V/& drm.; almond oil, 
a sufficiency. Mix. 

Black.— 1. Drop black (made by burning- 
camphor and washing the soot with spirit), 2 
drm. ; almond oil, 2 drm. ; cocoanut oil, 6 drm. 
JViix, perfume and cast into sticks. 

2. Best lampblack t grm. 

Cacao butter 6 grm. 

Oil neroli 5 drops. 

Melt the cacao butter, add the lampblack, 
and while cooling make an intimate mixture, 
.adding the perfume toward the last. 

Nose Paste for Comic Characters.— 

Wheat flour 1 oz. 

Pulverized tragacanth 2 drm. 

Tint with carmine. 

Take as much of the powder as necessary and 
Iknead into a stiff paste with a little water and 
.apply to the nose, having previously painted it 
with spirit gum. 

To Make Grease Paints.— Take clarified suet 
and mix color required with it and pour into 
round moulds. 

Flesh Tint : Use white lead and chalk, equal 
parts, and vermilion to suit. Three tints are 
Tequired. Red, use vermilion ; blue, use ultra- 
marine; black, use finest drop black; white, 
use white lead. Perfume with bergamot. 

Veins, Blue for the.— Blue, wherewith to imi- 
tate the veins, is made with exceedingly fine 
levigated French chalk, sifted through a silk 
sieve, tinted to the proper shade with Prus- 
sian blue, then made into a paste with very 
thin gum water ; when dry it is put up in pots 
in the same way as rouge. After the complex- 
ion has been duly whitened with blanc, the 
veins are indicated with a little of the coloring 
applied with a pencil made of kid leather, the 
inside of the skin being made the outside of 
the pencil. Artistically used, the effect is 
pleasing and natural. | 

Vinaigre de Fard. — Powdered cochineal, 3 
drm. ; lake in powder, 3 oz. ; alcohol, 6 oz. ; dis- 
tilled lavender vinegar, 1 lb. After ten days, 
infusion with frequent stirring, decant and 
Ulter. 

Rubber. — Rubber Cement. See Cements. 

Rubber, Cement for. See Cements. 

Rubber, to Cut or Bore.— Dip the knife or 
cork borer in a solution of strong caustic pot- 
ash. 

Rubber (Old), to Digest.— Place the material, 
cut in small shreds, in a strong (boiler iron) air 
tight vessel, provided with a good safety valve, 
and introduce into it 4 or 5 parts of bisulphide 
of c&rbon for each part (by weight) of rubber. 
Close all the openings, and place the vessel over 
a suitable water bath, or, what is better, have 
a small steam coil inserted within the boiler. 
Heat for an hour at the boiling point of water. 
T'lis will insure the complete solution of the 
rubber. The vapor of the bisulphide is very 
inflammable; aad when mixed with air, it is ex- 
plosive when ignited. For these reasons, as 
fvell as because of the offensive odor of the sol- 
vent, the operation is best conducted in the 
open air, and with steam heat only. 

Dissolving Rubber.— The solution of India 
rubber or gutta percha in chloroform or ben- 
zole, frequently called for in photographic 
work, is usually attended with so many diffi- 
culties and drawbacks that in nine cases out of 
ten, says the British Journal of Photography, 
where the solution is required the experiment- 
alist usually purchases it ready made. Yet 
there need be no difficulty about the matter. 
First, pure rtrbber should be obtained. When 



vulcanized, it is perfectly insoluble. Secondly, 
pure solvents are necessary. Chloroform con- 
taining a large excess of alcohol and water will 
fail to act even upon the purest rubber. Again, 
under the most satisfactory conditions, the 
action is very slow, and the amount of rubber 
capable of being taken up is proportionately 
very small. The plan usually adopted is to 
place a large amount of shredded rubber in a 
bottle, which is then filled up with the solvent, 
and shaken at intervals a few times; and when 
the shreds do not dissolve like pieces of sugar 
the whole is thrown aside, and we are written 
to for an explanation of the failure. If a small 
quantity of rubber had been placed in the bot- 
tle, and the liquid added, it would have been 
observed graduaUy to swell out very considera- 
bly after the lapse of some time, and a mixture 
of the whole would be f acilitated by stirring 
with a glass rod or a splinter of wood. The 
rapidity with which the rubber absorbs the sol- 
vent will depend upon its condition; but the 
action is never very quick, nor is it in any way 
analogous to the dissolution of a crystal. 

One cause of the failure of chloroform to act 
upon the caoutchouc may arise from the pres- 
ence of alcohol in too great a proportion. 
Chloroform as sold almost always contains al- 
cohol in small quantity, owing to the fact that 
when none is present it cannot be prevented 
from decomposing spontaneously, more espe- 
cially in the light. It is, however, stated that 
when entirely protected from light absolute 
chloroform will not undergo any change. 

A solution of gutta percha in chloroform has 
a use which is not generally known. It forms, 
when carefully made and filtered quite bright 
the best possible material for obscuring glass 
for focusing screens. For fine microscopic 
work it is said by those whose opinions are of 
weight to be unequaled. 

Rubber, to Deodorize.— 1. Place the articles, 
covered with charcoal dust, in an inclosed 
vessel, let them remain for several hours at a 
temperature of 94° F. Clean the charcoal dust 
from the articles; they will be odorless. 

2. Caustic potash, j^ oz.; water, 1}4 pt.; dis- 
solve and heat to boiling. Put the goods into 
this for a few minutes, rinse thoroughly and 
dry. 

3. Both sides of the article should be covered 
with a thin layer of animal charcoal. Heat for 
three or four hours from 122° to 140° F. 

4. Equal parts of alcohol, 'SQ%, and linseed oil, 
shaken together thoroughly. Apply to the 
hose with a cloth. Stretch the hose a little, 
and rub until nearly dry. Repeat 3 or 4 times 
at intervals of several days. This treatment 
renders the hose gas tight. 

Rubber Hose, etc., to Soften. — 1. Dip in petro- 
leum, expose to the air, and repeat the opera- 
tion if necessary. 

2. Ammonia, 2 parts; water, 4 parts. Expose 
for a few minutes. 

3. If very hard, soften with vapor of carbon 
bisulphide, with the further application of 
vapor of kerosene. 

Joining Rubber.— Rubber is easily joined and 
made as strong as an original fabric, by soften- 
ing before a fire, laying the edges caref ully to- 
gether, without dust, dirt, or moisture between. 
The edges so joined must be freshly cut in the 
beginning. Tubing can be united by joining 
the edges around a glass cylinder, which has 
previously been rolled with paper. After the 
glass is withdrawn the paper is easily removed. 
Sift flour or powdered soapstone through the 
tube to prevent the sides from adhering from 
accidental contact. 

Rubber, to Fasten to Metal.— This may be done 
by employing a cement which fastens alike well 
to the rubber and to the metal or wood. Such 
cement is prepared by a solution of shellac in 
ammonia, best made by soaking pulverized 
gum shellac in ten times its weight of strong 1 
ammonia, when a shining mass is obtained, 
which in three or four weeks will become 



Rubber. 



490 



Rubber. 



liquid without the use of hot water. This soft- 
ens the rubber, and becomes, after volatiliza- 
tion of the ammonia, hard and impermeable to 
gases and fluids. 

Rubber, to Prepare for Printing on. — Sprinkle 
the article with farina before vulcanization. 

Rubber, to Preserve. — 1. Soak in the following: 
ammonia, 2 oz.; water, 6 oz. See also Preserv- 
ing. 

2. Try kerosene. 

3. Various articles and instruments made of 
rubber are apt, with time, to become dry, to 
crack, grow brittle, and lose their elasticity. 
Dr. Pol recommends the following simple mix- 
ture: Ammonia, 1 part; water, 2 parts; in 
which the articles should be immersed for a 
lej igth of time, varying from a few minutes to 
one-half or one hour, until they resume their 
former elasticity, smoothness and softness. 

4. Very elastic caoutchouc tubing gradually 
loses some of its elasticity. Later, the tubes 
break on stretching, even if previously laid in 
warm water, and finally they crack if pressed 
between the fingers. This change is put down 
to a very slow formation of sulphuric acid by 
the action of moist air on the sulphur contained 
in the caoutchouc. By frequent washing with 
slightly alkaline water, the action of the acid is 
prevented. Tubes washed five or six times a 
year remain perfectly elastic. 

Rubber, to Soften.— 1. Use the purified gum 
rubber, and soften it by contact with hot water 
or steam, and mould by pressure. Use pow- 
dered soapstone to prevent sticking. 

2. For articles of rubber which have become 
hard and brittle, Dr. Pol's receipt which is 
given under Preserving Rubber, will be found 
useful. English mackintoshes often lose their 
elasticity when brought into our climate, soon 
rendering them of no service. Frequent spong- 
ing with water is recommended. If any portion 
of the cloth leaves the rubber, it should be sent 
to a rubber manufacturer, as it is extremely 
difficult to cement. 

3. Very often a rubber hose will become 
hard, but this hardness can be removed by 
dipping in petroleum and allowing the hose to 
hang up for a couple of days. 

Rubber, Solvent for.— This new solvent con- 
sists of a mixture of methylated ether and 
petroleum spirit— the common benzoline used 
for burning in sponge lamps. This forms the 
most rapid and, perhaps, the best solvent ; the 
mixture is as much superior in power to either 
of its constituents singly as the ether-alcohol 
is to plain ether in its action on pyroxylin. A 
very thick solution can be made by dissolving 
60 grn. of good India rubber in 2 oz. of benzo- 
line and 1 oz. of sulphuric ether. If the India 
rubber be cut up fine and the mixture shaken 
occasionally, the solution will be complete in 
two or three hours, when it may be diluted to 
any required strength with benzoline alone. 
The India rubber should be as light colored as 
possible, and all the outer oxidized portions 
must be cut away. Shred the clean India 
rubber with a pair of scissors, and throw it at 
once into the solvent. 

Rubber Stamps.— The process of making rub- 
ber stamps being very simple, and the mate- 
rials and apparatus for carrying out the pro- 
cess being inexpensive, doubtless many would 
undertake this branch of business if the de- 
tails of manufacture were well known. The 
secrets of rubber stamp making have always 
been carefully guarded, thus practically limit- 
ing the business to those who have learned the 
trade in the regular way. The instructions 
given below are based upon the actual practice 
of the best makers, and written after actual 
experience in the business. 

The tools required for beginning the busi- 
ness are one or more fonts of regular printers' 
type, one or two chases, some printers' leads, 
and a small press. The chases are expensive, 
and as the type is only subjected to a moderate 
pressure, a cast iron chase may be used instead 



of one made of wrought iron, and even a wood 
chase may be made to answer, but this is not 
recommended. If a wooden chase is resorted 
to, it should be made from hard wood, such as 
oak or cherry, of one and one-half inch bars 
dovetailed together. If ordinary type is used, 
the chase may be one-half to five-eighths of an 
inch high. In one side and one end should be 
inserted two or more screws for clamping the 
type in the chase. Some printers' wooden 
furniture will be needed for filling in the chas< 
around the type; leads also are used for this 
purpose and for spacing between the lines. In 
each corner of the chase a short three-eighths 
inch iron rod is inserted. These rods form a 
guide for the matrix plate, which is perforated 
to receive them, and between the matrix plate 
and the rods are placed short spiral springs, as 
shown in the engraving. These springs are 
designed to prevent the composition, of which 
the mould is formed, from coming into con- 
tract with the type before the screw of the 
press is applied. The iron matrix plate is of 
the same size as the chase, and is provided with 
two longitudinal ribs. The under surface of 
the plate, including the ribs, should be planed. 
The rods which form the guides for the matrix 
plate must project from the chase at right an- 
gles, and must be well fitted to the holes in the 
plate. The ribs of the matrix plate are one- 
eighth of an inch high. 




Type setting is somewhat difficult for an 
amateur, but a little practice will soon give 
proficiency. The type, when set, reads back- 
ward, so that if it is desirable to see how the 
type will appear, a piece of print may be held 
to the light and viewed from the back side. 
When the form is made up it is placed in the 
chase and centered by means of the wooden 
furniture and leads, the leads being placed next 
to and between the rows of type. The form 
should be made up on a flat surface, such as a 
slab of marble or a level hard wood plank. As 
soon as the form is locked by means of the 
screws, the type is planed by laying over it two 
or three thicknesses of paper, placing on these 
a smooth flat block, and tapping the block with 
a mallet. As soon as the surface of the type is 
leveled, the screws in the chase are again tight- 
ened, and the form is ready to receive the im- 
pression. 

The type is now ready to receive the compo- 
sition of which the mould is formed. The fol- 
lowing is considered the best and most reliable 
formula for this composition : Finely powdered 
soapstone, 1 lb. 3 oz.; best dental plaster, 1 lb.; 
fine powdered China clay (kaolin), 1 lb. These 
materials are mixed dry, and sifted through a 
sieve having - a fine mesh. A quantity of the 
composition sufficient to form the mould is 
placed in a suitable vessel, and mixed with a so- 
lution formed by dissolving 5 oz. of dextrine in 



Rubber. 



491 



Rust. 



1 qt. of hot water. This is to be used cold, and 
can be prepared in advance. Enough of the 
dextrine solution is added to the composition 
to make a thick dough a little stiff er than 
putty. It should be thoroughly but very 
quickly mixed and kneaded, and should be 
smooth and free from lumps. It is to be spread 
out upon the matrix plate so as to nearly cover 
the entire space between the longitudinal ribs ; 
then by means of a brass edged ruler, a straight 
iron bar, or even a table knife, the top of the 
composition is smoothed and made level, em- 
ploying the longitudinal ribs of the matrix 
plate as guides. 

When the composition is level with the longi- 
tudinal ribs and perfectly smooth, the type is 
well moistened with benzine, and the matrix 
plate bearing the coating of composition is 
placed over the top of the form, the rods before 
alluded to forming the guides for the plate, 
and the plate is allowed to rest upon 
the springs. Then the form, together with 
the matrix, supported above the type in 
the manner described, is put in the press, 
and sufficient pressure is applied to carry 
the matrix plate down so as to cause the com- 
position to take a perfect impression of the 
type. The pressure is relieved, and the matrix 
plate is then removed and allowed to stand for 
about three minutes, when it is again put on 
the form above the type, in the manner before 
described, and then placed a second time in the 
press and again subjected to pressure, this time 
using a little more force. The distance to 
which the type penetrates the composition can 
be regulated by the printers' leads. 

The press used may be purchased from one 
of the rubber stamp supply houses, or an ordin- 
ary letter press may be brought into use, but 
it is absolutely essential that the plates of the 
press be parallel. Presses which will answer 
every purpose can be frequently picked up at 
the junk shops for a mere trifle. Many sub- 
stitutes for a press will suggest themselves, but 
in this, as in anything else, whatever is worth 
doing is Avorth doing well; therefore it is ad- 
vantageous to procure the best tools and ap- 
pliances on the start. 

In any event the press must be capable of 
standing a heat of 250? F. without warping. 

When the matrix is removed from the type 
the mould should be glossy in every part, and 
each letter should be clear cut and sharp. Small 
perforations are now made in the matrix, care 
being taken to not make them too near the im- 
pressions of the type. These are for vents for 
the escape of moisture. The plate is now heat- 
ed in an oven for about an hour and a half. 
The mould is sometimes apt to crack, but this 
is generally due to too nmch heat or to a lack 
of homogeneity in the composition. When the 
mould is thoroughly dry its face is smoothed 
with fine sandpaper, and the dust is blown 
from the letters by means of a bellows. 

The rubber used in making stamps is es- 
pecially prepared by manufacturers for this 
purpose. It is pure unvulcanized rubber pre- 
pared in a special way for vulcanization. 
Much of the trouble of amateurs in making 
rubber stamps arises from the use of vulcan- 
ized rubber, or of a wrong composition or 
thickness. The material should be obtained 
from reliable dealers in rubber stamp materials 
or from the rubber manufacturers who make 
a specialty of it. It is purchased in sheets 
which are readily cut to the required size; they 
should be a little larger than the impression of 
the type. 

To prevent the adhesion of the rubber to the 
mould, before the rubber is applied it is thor- 
oughly covered with powdered soapstone, the 
surplus being rubbed off. The press is heated 
to about 220° F., the temperature being regu- 
lated usually by a thermometer attachecU4©=the- 
press, but this may be dispensed with by ex- 
ercising due care in the process of vulcaniza- 
tion. A pair of Bunsen burners afford a ready 



means of securing an even and well regulated 
temperature. 

It is well to make a few small stamps first, to 
see that everything is working right. The 
rubber is pressed on the matrix; a piece of 
sheet tin is placed over the rubber; the mould, 
with the applied rubber, is placed in the warm 
press, and pressure is gradually applied, thus 
forcing the rubber into every part of the im- 
pression. The time required for vulcanization 
with a warm press is from three to five min- 
utes; sometimes the time is extended to ten 
minutes if the press is not sufficiently warm. 
If the press is overheated, the rubber will be 
burnt. This is mainly a matter of experience, 
and can be learned only by actual practice. 
When the rubber is nearly vulcanized, it has a 
bluish shade, and if it is pricked with a needle 
or awl, if the rubber is vulcanized no mark 
will be left on the removal of the needle; but 
if it is only semi-vulcanized, the needle will 
leave a perforation. By occasionally pricking 
the rubber, the time of exposure to the heat 
may be roughly determined. A second im- 
pression from the mould requires about double 
the time. When the rubber is vulcanized it is 
removed from the matrix by an even pull, and 
a sheet of stamps thus formed is immediately 
rubbed with powdered soapstone applied by 
means of a brush. The different stamps are 
then cut apart with scissors and mounted on a 
handle by means of shellac varnish. 

A good ink for rubber stamps is made by 
using 1 oz. of methyl violet (extra 3 B) in 1 qt. 
of hot glycerine. For the pad, use a piece of 
felt or cloth saturated with the ink and covered, 
with a piece of silk. 

Rubber Stamps, Ink for. See Inks. 

Rubber Tubing.— Hose, etc., to soften.— Draw 
through petroleum and hang up to dry. 

Rubber, Varnish for. See "Varnishes. 

Rubber, to Vulcanize.— Parkes' method is now 
sometimes adopted. The caoutchouc is im- 
mersed in a mixture of 30 parts of bisulphide 
of carbon and 1 part of chloride of sulphur. It 
is next placed in a room heated to 70° Fah., and 
when all the sulphide of carbon has been vola- 
tilized, the process is so far complete that 
it is only requisite to boil the material in a solu- 
tion of about 18 oz. of caustic potassa to 2 gal. of 
water, the vulcanized caoutchouc being next 
washed to remove excess of alkali. See also 
Rubber Stamp making above. 

Rupert's Drops. See Glass. 
Ruling Ink. See Inks. 

Russet Shoes, Dressing for. See Shoes. 

Tan Dressing for. 
Rust. See also Incrustations. 

First come receipts for rust preventives, 
then receipts for rust on iron and steel, fol- 
lowed by the removal of rust and miscellaneous 
rust receipts. 

Rust Preventives. — The following recipes 
are recommended for preventing rust on iron 
and steel surfaces. — Mechanics' 1 Own Book. 

1. Caoutchouc oil is said to have proved effi- 
cient in preventing rust, and to have been 
adopted by the German army. It only requires 
to be spread with a piece of flannel in a very 
thin layer over the metallic surface and al- 
lowed to dry up. Such a coating will afford 
security against all atmospheric influences and 
will not show any cracks under the microscope 
after a year's standing. To remove it, the ar- 
ticle has simply to be treated with caoutchouc 
oil again, and washed after twelve to twenty- 
four hours. 

2. A solution of India rubber in benzine has 
been used for years as a coating for steel, iron 
and lead, and has been found a simple means 
of keeping them from oxidizing. It can be 
easily applied with a brush and is as easily 
rubbed off. It should be made about the con- 
sistency of cream. 



Rust. 



492 



Rust. 



3. All steel articles can be perfectly preserved 
from rust by putting a lump of freshly burnt 
lime in the drawer or case in which they are 
kept. If the thing's are to be moved (as a gun 
in its case, for instance), put the lime in a mus- 
lin bag. This is especially valuable for speci- 
mens of iron when fractured, for in a mode- 
rately dry place the lime will not want renew- 
ing for many years, as it is capable of absorbing 
a large quantity of moisture. Articles in use 
should be placed in a box nearly filled with 
ttioroughly pulverized slaked lime. Before 
using them rub well with a woolen cloth. 

4. The following mixture forms an excellent 
brown coating for protecting iron and steel 
from rust: Dissolve 2 parts crystallized iron 
chloride, 2 parts antimony chloride and 1 part 
tannin, in 4 parts water and apply with a sponge 
or rag and let dry. Then another coat of the 
paint is applied, and again another, if neces- 
sary, until the color becomes as dark as desired. 
When dry, it is washed with water, allowed to 
dry again, and the surface polished with boiled 
linseed oil. The antimony chloride must be as 
nearly neutral as possible. 

5. To keep tools from rusting, take y% oz. 
camphor, dissolve in 1 lb. melted lard; take off 
the scum and mix in as much fine black lead 
(graphite) as will give it an iron color. Clean 
the tools and smear with this mixture. After 
twenty-four hours rub clean with a soft linen 
cloth. The tools will keep clean for months 
under ordinary circumstances. 

6. Put about 1 qt. fresh slaked lime, ^> lb. 
washing soda, y% lb. soft soap in a bucket; add 
sufficient water to cover the articles; put in 
the tools as soon as possible after use, and wipe 
them up next morning, or let them remain 
until wanted. 

7. Soft soap, with about half its weight 
of pearlash; 1 oz. of the mixture in about 1 
gal. boiling water. This is in every day use in 
most engineers' shops in the drip cans used for 
turning long articles bright in wrought iron 
and steel. The work, though constantly moist, 
does not rust, and bright nuts are immersed 
in it for days till wanted, and retain their 
polish. 

8. Melt slowly together 6 or 8 oz. lard to 1 oz. 
rosin, stirring till cool; when it is semi-fluid, it 
is ready for use. If too thick, it may be fur- 
ther let down by coal oil or benzine. Rubbed 
on bright surfaces ever so thinly, it preserves 
the polish effectually, and may be readily 
rubbed off. 

9. To protect metals from oxidation— polished 
iron or steel, for instance — the requisite is to 
exclude air and moisture from the actual me- 
tallic surface; wherefore, polished tools are 
usually kept in wrappings of oiled cloth and 
brown paper; and, thus protected, they will 
preserve a spotless face for an unlimited time. 
When these metals come to be of necessity ex- 
posed, in being converted to use, it is necessary 
to protect them by means of some permanent 
dressing; and boiled linseed oil, which forms a 
lasting film of covering as it dries on, is one of 
the best preservatives, if not the best. But in 
order to give it body, it should be thickened 
by the addition of some pigment, and the very 
best— because the most congenial — of pigments 
is the ground oxide of the same metal— or, in 
plain words, rusted iron reduced to an impal- 
pable powder, for the dressing of iron or steel 
— which thus forms the pigment of red oxide 
paint. 

10. Slake a piece of quicklime with just water 
enough to cause it to crumble, in a covered 
pot, and while hot add tallow to it and work 
into a paste and use this to cover over bright 
work; it can be easily wiped off. 

11. Olmstead's varnish is made by melting 2 
oz. rosin in 1 lb. fresh sweet lard, melting the 
rosin first and then adding the lard and mixing 
thoroughly. This is applied to the metal, 
which should be warm if possible and perfectly 
cleaned; it is afterward rubbed off. This has 



been well proved and tested for many years 
and is particularly well suited for planished 
and Russian iron surfaces, which a slight rust 
is apt to injure very seriously. 

12. Use f erroline or white zaf on lacquer. 

Rust Removers. -1. Cover the metal with sweet 
oil well rubbed in and allow to stand for forty- 
eight hours; smear with oil applied freely with 
a feather or piece of cotton wool, after rubbing 
the steel. Then rub with unslaked lime re- 
duced to as fine a powder as possible. 

2. Immerse the article to be cleaned for a few 
minutes until all dirt and rust is taken off, in 
a strong solution of potassium cyanide, say 
about y% oz. in a wineglassful of water: take 
out and clean it with a tooth brush with' some 
paste composed of potassium cyanide, Castile 
soap, whiting and water, mixed into a paste of 
about the consistence of thick cream. 

Iron and Steel, to Prevent the Rusting of.— 
1. Mix whiting and linseed oil together to form a 
paste. Put a coat on the iron. It is easily re- 
moved, and will prevent rusting. 

2. Thick lubricating petroleum, or solid par- 
affin applied to the slightly warmed iron, is one 
of the best preservatives; in some cases a 
transparent varnish of copal or shellac is pre- 
ferable. The main point is to clean the iron 
properly bef ore the application from all traces 
of rust, by means of brushing and a mineral 
acid, to wash it well, and to neutralize all re- 
maining traces of acid, with potash lye, or with 
lime or some other alkali; then clean and dry 
thoroughly, and apply your oil, paraffin or 
varnish. 

3. Boiled linseed oil will keen polished tools 
from rusting if it is allowed to dry on 
them. Common sperm oil will prevent them 
from rusting for a short period. A coat of 
copal varnish is frequently applied to polished 
tools exposed to the weather. Woolen ma- 
terials are the best for wrappers for metals. 

4. Iron and steel goods of all descriptions are 
kept free from rust by the following: 
Dissolve }£ oz. of camphor in 1 lb. of hog's 
lard, take off the scum, and mix as much black 
lead as will give the mixture an iron color. 
Iron and steel and machinery of all kinds, 
rubbed over with this mixture, and left with it 
on for twenty-four hours, and then rubbed 
with a linen cloth, will keep clean for months. 
If the machinery is for exportation, it should be 
kept thickly coated with this during the 
voyage. 

5. Antimony chloride, 9 parts; crystallized 
iron chloride, 9 parts ; 4^ parts tannin in 18 
parts water. Apply with a sponge or rag, let 
it dry, apply again if necessary, This mixture 
forms a brown coating on the article. When 
dry, wash with water ; let it dry, then polish 
with boiling linseed oil. 

6. A compound of grease and zinc filings is 
found to be an excellent preventative against 
rust for iron bolts inserted in wood. It is used 
to line the bolt hole. 

7. A correspondent sends us the following 
suggestions : " I have tried many things, but 
found nothing better than boiled linseed oil to 
protect instruments and tools (files, saws, guns, 
etc.) from rusting. It even works best with a 
kettle used for heating water for bathing. 
Wipe the metal with a cloth dipped in the oil, 
and let it dry, which will require only a few 
minutes. If it is unnecessary to have the iron 
bright and shining, you need not scour it before 
the application of the oil; this will combine 
with the rust and form a firm, durable coating. 

8. Rub over with a mixture of tallow or lard 
and thick white lead paint. 

9. To keep iron goods of any kind, and espec- 
ially those parts of machines which are made 
of steel or iron, from rusting, take % oz. of 
powdered camphor and melt it before the fire 
in 1 lb. of good lard. To give it a dark color, 
add as much fine black lead as is necessary to 
produce the desired effect. Clean the ironwork 
and smear it over with this preparation. After 



Rust, 



493 



Safety. 



this it should be allowed to remain untouched 
for twenty-tour hours, when the grease should 
be removed by wiping the ironwork with a soft 
cloth. 

10. Vaseline is an excellent preservative. Buy 
by the can and apply with a brush. 

Rusting, to Prevent Iron from, Underground.— 
Cottonseed or linseed oils, 1 lb.; coal tar, 1 lb.; 
sulphur, 1 lb.; heat separately ; mix thoroughly 
and heat to 300° F. for about one hour, at the 
end of which it becomes pasty. Heat the metal 
to which it is applied. 

For Preserving the Polish on Bright Surfaces.— 
1. Take 234 oz. resin; from 15 to 20 oz. lard. 
Melt slowly together, stirring until cool. The 
mixture is used when semi-fluid. It may be 
thinned by coal oil or benzine. Put on a 
bright surfaces, even thinly ; it will preserve 
the polish, and it can be readily rubbed off. 

2. Gutta percha, 8 lb.; mutton suet, 16 lb.; 
beef suet, 24 lb.; neatsfoot oil, 1]4 gal.; rape 
oil, % gal. Melt, and dissolve thoroughly; col- 
or with a little rose pink ; add oil of thyme 
or other perfume. When cold, rub on the 
surface of bright steel, iron, brass, or other 
metal requiring protection from rust. 

Screws, Prevention of Rust ing-in of .—Dip the 
screws in a thin paste, made of graphite and 
oil, before screwing them in place. 

Steel Wire, to Protect from Rust.— Try the fol- 
lowing : Dissolve y% oz. camphor in 2 oz. 90$ alco- 
hol, and mix this with 2 pt. fine sperm oil. Al- 
low the wire to remain in contact with this 
mixture, heated to 180° F., for half an hour ; 
then rub off excess with a soft cotton cloth. 

To Keep Small Steel Instruments from Rust- 
ing.— I. Clean frequently; after using clean 
with dry chamois leather and wipe off with an 
oiled rag. 

2. For this purpose the Lancet confidently 
recommends a mixture of equal parts of car- 
bolic acid and olive oil, smeared over the sur- 
face of the instruments. This plan is much 
used by medical officers in the navy, and is 
found to preserve the polish and brightness of 
the steel, however moist and warm the climate 
may be. ) 

Stoves from Rusting, to Prevent.— Apply kero- 
sene with a cloth. This will prevent stoves 
from rusting during the summer. Also an ex- 
cellent material to apply to all iron tools used 
about a farm. 

Tools from Rusting, to Keep.— Put J4 lb. of 
soft soap in a pail, and add 1 pt. freshly slaked 
lime; sufficient water to cover the articles. 
Place the tools in this mixture as soon as possi- 
ble after they are used. Wipe them the next 
morning. 

Apparatus for Coating Laboratory Tools. — 
Metallic tools and other articles, particularly 
those consisting of iron or steel, which are used 
in laboratories or other Avorkshops where acid 
vapors are of frequent occurrence, may be pro- 
tected from rust with a black shining coat, 
which resists acids and is but little affected even 
by a low red heat, in the following manner. 
Have a sheet iron box large enough to hold all 
the tools, etc., to be coated, and provided with 
a false bottom of wire netting. Underneath 
this is placed a layer of crushed coal (black- 
smith's coal), about 1 centimeter deep; then 
place the tools, which must be entirely free 
from rust, clean and polished, upon the wire 
net. The box is then covered and set on a 
strong fire, which causes the coal to give off 
tarry constituents, and the heat continued un- 
til the bottom of the box is at a red heat. V\ hen 
all evolution of gas has ceased,the box is allow- 
ed to become cold, and the tools are taken out, 
and will be found covered with a beautiful 
glossy coat. Tongs, shears, pincers, etc., so 
coated, keep in good condition for months, 
even in places where the air is constantly mixed 
with acid vapors.— Dr. Arendt. 

Rust, to Remove.— Iron articles thickly coated 
with rust may be cleaned by allowing them to 



remain in a nearly saturated solution of chlo- 
ride of tin, from 12 to 14 hours. 

2. Extracting Rust from Steel.— Immei'se the 
article to be cleaned for a few minutes until all 
dirt and rust is taken off in a strong solution 
of cyanide of potassium, say about ^ oz. in a 
wineglassful of water; take out and clean it 
with a toothbrush, with some paste composed 
of cyanide of potassium, Castile soap, whiten- 
eng and water; these last are mixed in a paste 
about the consistence of thick cream. 

3. To remove rust from small hollow castings, 
dip in dilute sulphuric acid (1 part commercial 
acid to 10 of water). Wash in hot lime water 
and dry in a tumbler in di*y sawdust. 

4. Immerse the articles in kerosene oil; allow 
them to remain for some time. This will loosen 
the rust so it will come off easily. 

5. To remove rust from steel, cover the metal 
with sweet oil well rubbed in; forty-eight 
hours after rub with finely pulverized unslaked 
lime. 

A nti-Rust.— Camphor, ^ oz.; dissolve in 
melted lard, 1 lb.; take off the scum and mix 
in as much black lead as will give it an iron 
color; clean machinery, and smear with com- 
pound; after twenty-four hours remove with 
soft linen cloth. 

Barjfs Process.— A patented process employed 
for the protection of the surfaces of iron from 
rust, effected by artificially coating them with 
a film of magnetic oxide. The iron is first 
heated to redness and steam passed over it. 
The iron decomposes the steam, liberating 
oxygen, which latter immediately attacks the 
iron, forming magnetic or black oxide, Fe 3 4 . 

Drawing Instruments, Removing Rust from. — 

1. Use fine emery paper and crocus cloth. 

2. Mix 10 parts of tin putty. 8 of prepared 
buck's horn and 25 of 90$ alcohol to a paste. 
Cleanse the articles with this, and finally rub 
with soft blotting paper. 

Grease for Anointing Gum Barrels,to Prevent 
Rust. — Make an ointment of corrosive subli- 
mate and lard. It is said that this will protect 
gun barrels from rust, on the seashore. 

Nickel Plated Articles, to Remove the Rust 
from. — Cover the stains with oil or grease for- 
a few days and then remove the rust by rub- 
bing with a little ammonia. If this does not re- 
move the rust, try very dilute hydrochloric 
acid. When dry polish with tripoli or whit- 
ing. 

Rust Cement. See Cements. 

Sachet Powders. See Powders. 

Sack.— (From sec, dry.) A wine used by our 
ancestors, supposed by some to have been 
Rhenish or canaiy, but, with more probability, 
by others to have been dry mountain or "vin 
d'Espagne, vin sec;" (Howell, Fr. and Eng. 
Diet., 1650.) Falstaff calls it "sherris sack," 
(sherry sack), from Xeres, a sea town of Cor- 
duba, where that kind of sack (wine) is made. — 
Blount. 

Saddening. — Making a color darker by 
means of a salt of iron. 

Safes, Filling for Fireproof. — Plaster 
of Paris or alum, being non-conductors of heat, 
is recommended as a filling. 

Safety Matches. See Matches. 



/> 




^ ::: w- 




Safety Valve.— Formulas for Computing thr 
Elements of Safety Valve— 



Sage. 494 

Let W=the weight. 
" L= distance between center of weight and 

fulcrum in inches. 
" w= weight of lever in pounds. 
** q— distance between center of gravity of 

lever and fulcrum in inches. 
" 1= distance between center of valve and 

fulcrum in inches. 
** V= weight of valve and spindle. 
" A=area of valve in square inches. 
" P= pressure at which the valve is to blow 

off, per square inch. 
Then the weight required to balance a given 

Sressure at any given distance on the lever will 
e by the formula : 



Salts. 



I 



W=|(PxA)-(v+ ( -^)}x^ 

When the weight is at hand and known, and 
the distance is required, then 



L={(PXA)-(V + ^X£>)} 



W 



The elements between the brackets to be com- 
puted first. To obtain the area of the valve, 
multiply the square of the diameter by 0*7854. 

Sage Tea.— Take- 
Dried leaves of sage y% oz. 

Boiling water 1 qt. 

Infuse for half an hour, and then strain. 
Sugar and lemon juice may be added in the 
proportion required by the patient. In the 
same manner may be made balm and other 
teas. 

These infusions form very agreeable and use- 
ful drinks in fever, and their diaphoretic pow- 
ers may be increased by the additon of the 
sweet spirits of niter or antimonial wine. 

Salad. Dressing.— See also Mayonnaise.— 
This is excellent both for salad and for sliced 
tomatoes in summer. Take the yelk of 1 fresh 
egg and mix it with 2 tablespoonf uls of olive 
oil very slowly, add 1]4 spoonfuls of mustard, 
3 spoonfuls of salt, a little pepper, and last of 
•all, 2 spoonfuls of vinegar. Beat the white of 
the egg to a stiff froth, and lightly stir in. 

Salicylic Acid.— 1. Meat, poultry and game 
— in hot weather— although apparently quite 
fresh, often prove to be slightly tainted and of 
bad smell. Such condition can be entirely reme- 
died, either by watering and washing the meat, 
-etc., in a lukewarm solution of salicylic acid (3 
to 4 teaspoonfuls of the acid to 1 quart of 
water), or by adding a small pinch of the dry 
acid during cooking, in the case of boiling the 
meat. To protect meat, etc., for several days 
against becoming high or tainted : Place it for 
20 or 30 minutes into an aqueous solution of 8 
<drm. of acid (10 teaspoonfuls) to 1 gallon of 
water. 

2. Rub the surface of the meat, etc., with 
dry salicylic acid, particularly about the 
bony and fatty parts, the meat to be cleaned 
before cooking. Although the raw meat treat- 
ed with the acid turns slightly pale on the 
surface, the interior does not undergo any 
change whatever. Meat treated with the acid 
requires less cooking to render it tender. 

3. Fish can also be preserved in a similar 
nanner. 

4. Pure Milk.— A third of a teaspoonf ul (or, if 
the temperature be high, a little more) of the 
solid acid per quart delays the curdling of the 
milk for 36 hours without interfering with its 
yielding cream. 

5. Butter washed with an aqueous solution 
(4 drm.= 5 teaspoonfuls of acid to a gallon of 
water), or kept in it or wrapped in cloths 
soaked in this water, keeps fresh for a very long 
time. Butter already rancid can be improved 
by a thorough washing and kneading with a 
stronger solution (8 drm. = 10 teaspoonfuls of 
acid per gallon of tepid water), followed by 
washing in pure cold water. The bad smell 



often arising in salted butter is entirely pre- 
vented by such an admixture of the acid. 

6. Jams of all kinds, jellies, juice, pickles, 
etc., treated in the usual way, but with the ad- 
dition of about ldrm. (or 1 teaspoonf ul) of acid 
to 4 pounds, will keep sound with absolute cer- 
tainty for an indefinite time, fermentation and 
spoiling being thus averted. Under exception- 
ally unfavorable circumstances, such as hot 
pantries, a little dry acid must, besides, be 
sprinkled on the surface underneath the cover 
of the vessel or pot. 

7. Beer. — An addition of ]4 oz. (10 teaspoonfuls) 
to about 36 gallons of beer will keep it from 
turning sour. 

8. Wine.— One-quarter oz. (5 teaspoonfuls) to 
about 36 gallons of wine— say a pinch per bottle 
—will prevent deterioration. 

9. New-laid eggs can be kept unaltered for a 
long time by being placed for half an hour into 
a cold saturated aqueous solution (8 teaspoon- 
fuls of the acid to a gallon of water), then al- 
lowed to dry in the air, and, as usual, stored in 
an airy, cool, and dry place. 

10. Cheese, washed with the solution and 
dried, will not turn mouldy and gray on the 
outside. Vessels, corks, etc., are very well 
cleaned and disinfected by being washed with 
an aqueous solution of the acid. This deserves 
special notice. Caution.— By any contact with 
metal, especially with iron, the salicylic acid 
will turn violet. 



Salts, 
som. 



See also Cheltenham and Ep- 



IAst of Names given in the Older Language of 
Chemistry to Various Compounds. — 



Old Name. 



Salt (ammoniacal, fixed) 
" (ammoniacal, se- 
cret) of Glauber 
*• (arsenical, neutral) 
of Alacqueer 

" (bitter, cathartic)... 

*• (common) 

" (digestive)of Sylvius 

'• (diuretic) 

" (Epsom? 

" (febrifuge) of Syl- 
vius 

'■ (fusible) 

" (f usi bl e) of urine — 

" (Glauber's) 

•' (marine) 

" (marine, argilla- 
ceous) 

*' (microcosmic) 

*' (nitrous ammonia- 
cal) 

" of amber 

" of benzoin 

" of canal 

" of colcothar 

* of egra 

" of lemons (essential) 

" of saturn 

" ofseidlitz 

" of seignette 

" of soda 

*' of sorrel 

" of tartar 

" of vitriol 

" of wisdom 

*' (perlate) 

" (polychrest of Gla- 

ser) 

*' (sedative) 

" (spirit of) 

" (su 1 p h u r e o u s) of 

Stahl 

" (wonderful) 

" (wonderful, perlate) 



Modern Name. 



Calcium chloride. 

Ammonium sulphate. 

Potassium hydrogen ar- 
senate. 
Magnesium sulphate. 
Sodium chloride. 
Potassium acetate. 
Potassium acetate. 
Magnesium sulphate. 

Potassium chloride. 
Ammonium phosphate. 
Sodium ammonium 

phosphate. 
Sodium sulphate. 
Sodium chloride. 

Aluminum chloride. 
Sodium ammonium 
phosphate. 

Ammonium nitrate. 

Succinic acid. 

Benzoic acid. 

Magnesium sulphate. 

Ferrosum sulphate. 

Magnesium sulphate. 

Potassium hydrogen ox- 
alate. 

Lead acetate.* 

Magnesium sulphate. 

Sodium potassium tar- 
trate. 

Sodium carbonate. 

Potassium hydrogen ox- 
alate, i 

Potassium carbonate. ' 

Zinc sulphate. 

Ammonio mercury chlo- 
ride. 

Disodium phosphate. 

Potassium sulphate. 
Boric acid. 
Hydrochloric acid. 

Potassium sulphite. 
Sodium sulphate. 
Disodium phosphate. 



Salves. 



495 



Salves. 



Calcareous Salts. — Temperatures at which 

they are deposited. — The temperatures at 

which calcareous matters are precipitated in 

boiler waters are as follows : 

Carbonates of lime, between 176° and 248° F. 

Sulphates of lime, between 284° and 424° F. 

Chlorides of magnesium, be- 
tween 212° and 25 1 ; F. 

Chlorides of sodium, between... 324° and 364° F. 

In order to free water from these salts, it 
must consequently be heated to the above tem- 
peratures. 

Salt, Pink (Double Chloride of Tin and Am- 
monium).— This salt is a compound of bichlo- 
ride of tin (perchloride) and sal ammoniac, or 
chloride of ammonium. It contains when pure, 
70 parts bichloride of tin to 30 parts sal ammo- 
niac. It is soluble in three times its weight of 
water at 60° F. If boiled in a state of concen- 
trated solution, it is not decomposed; but if 
dilute, the whole of the tin is deposited in the 
form of flakes of oxide. It is very valuable as 
a solvent for organic coloring matters, and is 
used both in printing and dyeing. 

Salts, Preston. — Composed of ammonium chlo- 
ride and freshly slaked lime. When the bottles 
are filled with this compound, rammed in very 
hard, a drop or two of very cheap otto is 
poured in the top before corking. 

Eau de Luce.— Tincture of benzoin, or tinc- 
ture of balsam of Peru, 1 oz.; Otto of lavender, 
10 drops ; oil of amber, 5 drops ; ammonia, 2 oz. 

Salts, Smelling.— 

1. Carbonate of ammonia (crushed 

small) 1 lb. 

Oil of lavender (Mitcham) 1 fi. oz. 

Oil of bergamot. 1 fl. oz. 

Oil of cloves 2 fl. drm. 

Oil of cassia 1 fl. drm. 

Rub them thoroughly together, sublime at a 
very gentle heat, into a well cooled receiver, 
and at once put the product into a well stop- 
pered bottle, or bottles. The sublimation may 
be omitted, but the quality of the product suf- 
fers. This is varied, in some samples, by sub- 
stituting 1 oz. of oil of lemon, or a little of the 
oils of rosemary and sweet flag (calamus aro- 
maticus), for the oils of cloves and cassia ; or 
by adding (after sublimation) a dash (2 or 3 
di ops per bottle) of essence of musk or essence 
royale. 

2. As before, but taking, as perfume- 
Oil of bergamot 2 fl. oz. 

Oil of verbena y% fl. oz. 

Otto of roses 1 to 2 drm. 

It is varied as No. 1. 

3. As No. 1, but using— 

Oil of bergamot %fl. oz. 

Oil of lemon % fl. oz. 

Essence de petit grain ... 3 fl. drm. 

Oil of cloves 1 fl. drm. 

Oil of cassia 1 fl. drm. 

Varied, as bef ore, at will. 

Inexhaustible Salts.— Liquid ammonia, 1 pt.; 
otto of rosemary, 1 drm.; otto English laven- 
der, 1 drm.; otto of bergamot, ^ drm.; otto of 
cloves, y% drm. Mix the whole together with 
agitation ia a very strong and well stoppered 
bottle. 

Salves.— Lip Salve.— 1. 

Spermaceti 40 parts. 

Lard perfectly pure and fresh. . .80 parts. 

White wax 20 parts. 

Oil of sweet almonds 5 to 10 parts. 

According to the season of the year, are 
melted together, the mixture colored with a 
sufficient quantity of alkanet, by digesting the 
root with the melted mass, and the latter then 
suitably perfumed, for instance, with— 

Oil bergamot 2 parts. 

OiLorange 3 parts. 

The mass is then poured out into moulds. It 
is customary to pour it into tin tubes, from 



which it is removed when cold, and then cov- 
ered with tin foil. 

2. Take of — 

Spermaceti 1 oz. 

Yellow wax 14 oz. 

Oil of almonds 2 oz. 

Oil of rose 12 drops. 

Melt with gentle heat, add alkanet root, q. s., 
to color, then strain, and lastly add the oil of 
rose. 

3. Lip Salve in Sticks. — 

Paraffin 6 drm. 

Cocoa butter 6 drm. 

White vaseline 1 oz. 

Eosin 1 grn. 

Otto of rose 5 drops. 

Melt the solids and add the vaseline. Dissolve 
the eosin in sufficient alcohol, and add to the 
mixture, also the perfume, and cast into suit- 
able sized sticks.— Zeit. Apoth. Verein. 

4. Cerat d'Amour (for the lips).— 

Spermaceti 2 oz. 

Oil of sweet almonds 4 oz. 

Milk of roses. 1 drm. 

Powdered roses 3 drm. 

Manipulate after the usual method. 

5. Salve for Chapped Lips and Hands. — Take 
2 oz. white wax, 1 oz. of spermaceti, 4 oz. of oil 
of almonds, 2 oz. of honey, J4 oz. of essence of 
bergamot, or any other scent. Melt the wax 
and spermaceti; then add the honey, and melt 
all together, and when hot, add the almond oil 
by degrees, stirring it till cold. 

6. Coral Lip Salves. — 

White wax 70 grm. 

Vaseline .100 grm. 

Alkannin , u*25 grm. 

Essential oil lemon 1 grm. 

Essential oil bergamot 1 grm. 

Essential oil of roses 0'5 grm. 

7. Olive oil benzoated ... . . 500 grm. 

White wax 300 grm. 

Cetacei 30 grm. 

Alkannin 1 grm. 

Essential oil jasmin 5 grm. 

Essential oil of roses 3 drops 

8. Camphor Cerate.— Take — 

Oliveoil y Q \h. 

White wax (pure).... M lb. 

Spermaceti 2 oz. 

Camphor. Yz oz. 

Mix, as directed under camphor balls. Used 
as an application to chaps, chilblains, abrasions, 
excoriations, etc.; also as lip salve in cold 
weather, as a hair cosmetic, and as a mild, 
stimulating and anodyne friction. 

9. Fisher's Lip Salve. — 

White wax . 2 oz. 

Lard 2 oz. 

Spermaceti J^ oz. 

Oil of sweet almonds 1 oz. 

Balsam of Peru M oz. 

Whitesugar Vz oz. 

Raisins 6 oz. 

Let the mixture simmer for two hours in a 
covered vessel, and then strain through 
linen. 

10. Creme de Psyche (for the lips).— 

White wax 1 oz. 

Spermaceti 1 oz. 

Oil of sweet almonds. . 5 oz. 

Mecca balsam 1 drm. 

Pulverized acetate of lead % drm. 

Prepare as for the pommade rosat, and add, 
while the mixture is warm, the balsam, and 
when it is cooled, the sugar of lead. 

11. Peruvian Lip Salve.— 

Spermaceti ointment % lb. 

Alkanet root 3or4 drm. 

Digest, at a gentle heat, until the first has 
acquired a rich, deep red color, then pass it 



Sandaracli. 



496 



Sauces. 






through a coarse strainer. When the liquid fat 
has cooled a little, well stir in, of — 

Balsam of Peru 3 drm. 

In a few minutes pour off the clear portion 
from the dregs, if any, and add, of— 

Oil of cloves ....20 to 30 drops. 

Lastly, before it cools, pour it into the pots 
or boxes. The product forms the finest and 
most esteemed lip salve of the shops. Two or 
3 drops of essence of ambergris, or of essence 
royale, improve and vary it. 

12. Rose Lip Salve.— As the above, but using 
only V/% drm. of balsam of Peru, and replacing 
the oil of cloves with a few drops of otto of 
roses, or sufficient to give the mixture a 
marked odor of roses. Some makers omit the 
balsam altogether. If uncolored, it forms 
white (rose) lip salve. 

13. White Lip Salve- 
Spermaceti ointment y% lb. 

Liquefy it by the heat of warm water, and 
stir in of — 

Neroli or essence de petit grain. . y% drm. 
as before. 

14. Fine Rose Lip Salve.— Almond oil, % lb.; 
spermaceti and wax, each 2 oz.; alkanet root, 2 
oz.; otto of roses, J4 oz. Place the wax, sperm- 
aceti oil, and alkanet root into a vessel heated 
by steam or water bath. After the materials 
are melted, they must digest on the alkanet 
root, to extract its color, for at least four or 
five hours; finally strain through fine muslin, 
then add the perfume just before it cools. 

Sandaracli, or Sandarac— Juniper resin. 
It occurs in small yellow drops, easily fusible 
in alcohol. It is largely used in making var- 
nishes and lacquers. It is obtained from the 
African arbor vital. 

Sand Belts, to Cement.— There is no 
cement that is equal to the best glue for sand 
belts. Common glue is poor stuff for any use. 
Use only the best quality of light brown glue, 
and select it yourself. By bending a few pieces 
in your hands, the weak, brittle glue will break 
easy and fly; the strong, tough glue will bend 
with difficulty, and finally splinter and not fly 
into pieces. 

Sand, Colored.— The coarser particles are 
sifted out from fine white sand, and it is colored 
in the f ollowing way : 1. Blue.— Sand, 159 parts; 
Berlin blue, 6 parts. Boil, stirring constantly. 
When the sand is colored take out and dry. 

2. Rose Colored Sand.— 150 parts white sand; 6 
parts vermilion. Mix thoroughly. 

3. Dark Brown Sand.— White sand boiled in a 
decoction of Brazil wood, then dried over heat. 

4. "Black Sand.— Fine quartz sand (freed from 
dust by sifting), }4 lb.; add to this 8 to 12 spoons 
of fat. Heat the sand before adding the fat, 
and continue the heat until there is no smoke 
or flame on stirring. Wash and dry. 

Sand Parting.— Burnt sand scraped from the 
surface of castings. 

Sandstone, Cement for. See Ce- 
ments. 

Sangaree.— One-third of wine in water 
with sugar and nutmeg to the taste. 

Frozen.— Nothing can be more refreshing at 
the dinner table in hot weather than claret or 
port wine made into sangaree with proportions 
of water, sugar and nutmeg as taste shall di- 
rect, then frozen, with the addition of a few 
whites of egg beaten to a froth. Send to table 
exactly as you would Roman punch. 

Sanitary Hints.— 1. Remember that pure 
air is food, and that polluted air is poison. 

2. Never allow the air to stagnate in your 
rooms or houses. 

3. Provide for the constant ventilation of 
your rooms. One of the best ways of doing 
this is keeping the window a little down from 
the top. 

4. Keep the vent always open. 



5. Thoroughly air all sleeping apartments, 
beds, and bed clothes during the day. 

6. Do not use, for drinking or cooking - , water 
which has long lain stagnant in cisterns or ves- 
sels. 

7. See that the water cistern is cleaned out 
regularly, say every month or two. 

8. See that there is no connection between 
the water cistern and the drain, and that the 
waste goes to the outside ot the house. 

9. Do everything in your power to keep 
closets and sinks cleanly and sweet. 

10. See that the private drains from closets 
are ventilated by pipe opening at the roof. 

11. See that the private drains from closet 
and sinks are properly trapped, in order that 
the poisonous gases from the sewers may not 
get into the house. 

12. The neglect of this precaution is a fruit- 
ful cause for many of the worse diseases, such 
as diphtheria, typhoid fever, etc. 

13. When you need to use disinfectants, as 
after fever, etc., remember that they do not 
radically cure the evil. The only remedy is the 
removal of the causes of impure air or water 
which have produced the evil. 

14. Avoid) the use of covered (or press) beds,, 
the most wholesome being a plain iron bed 
without any curtains. 

15. In a case of sickness all utensils, etc., 
should be kept scrupulously clean, and the pre- 
cautions suggested above as to maintaining a 
supply of pure air should be observed with re- 
doubled vigilance. 

Sarsaparilla. — 

1. Sassafras bark bruised 1 lb. 

Licorice root bruised 7 oz. 

. Water %y 2 gal. 

Oil of sassafras .' V/% drm. 

Oil of wintergreen 2 drm. 

Alcohol, 95^ 2 oz. 

Boil the sassafras and licorice in the water 
half an hour. Strain through flannel, then add 
the sirup. Dissolve the oils in the alcohol, and 
add them to the sirup. Agitate the mixture 
freely. 

2. Ayer's.— Ayer's formula for making sarsa- 
parilla.— 

Fluid extract of sarsaparilla. . .3 oz. 

Fluid extract stillingia 3 oz. 

Fluid extract yellow dock 2 oz. 

Fluid extract May apple 2 oz. 

Sugar 1 oz. 

Potassium iodide. 90 grn. 

Iron iodide 10 grn. 

Mix them. 

Sarsaparilla, Extracts and Essences 
of. See Extracts and Essences. 

Sarsaparilla Mead.— Boil }4 lb. of Spanish 
sarsaparilla four or five hours; strain off 1 gal. 
Add 8 lb. sugar, 5 oz. tartaric acid. 

Saturation.— A term used by chemists to 
express the condition of a body when it has 
taken up as much of a substance as it will hold 
(chemically) or be combined with. Substances 
vary greatly as regards their solubility, thus 
sugar is very soluble, while mercury bichloride 
is only sparingly soluble. Water is the great 
solvent, and when heated its dissolving power 
is greatly increased. 

Sauces.— 1. Anchovy. — Three or 4 anchovies 
chopped; butter, 3 or 4 oz,.; water, 2 oz.; vine- 
gar, 2 tablespoonfuls; flour, 1 tablespoonful; 
stir over the fire till it thickens, then rub it 
through a coarse hair sieve. 

2. Chetney Quihi.— Sharp apples pared and 
cored, tomatoes, salt, brown sugar and raisins, 
of each 8 oz.; red chillies and powdered ginger, 
of each 4 oz.; garlic and shallots, of each 2 oz.; 
pound well, add vinegar 3 qt. and lemon juice 1 
qt.; digest with frequent agitation for a month, 
pour off nearly all the liquor and bottle. Used 
for fish or meat, either hot or. cold, or to flavor 



Sauces. 



497 



Scars, 



stews, etc. The residue is the chetney, and 
must he put into pots or jars. It is used like 
mustard. 

3. Fish.— a. Port wine, 1 gal.; mountain, lqt.; 
walnut ketchup, 2 qt.; anchovies and liquor, 2 
lb.; 8 lemons; 36 shallots; scraped horseradish, 
134 lb.; flour of mustard, 8 oz.; mace, 1 oz.; 
cayenne, q. s.; boil up gently, strain and bottle. 

b. Twenty-four anchovies, 10 shallots; scraped 
horseradish, 3 spoonfuls; mace and cloves, of 
each 34 oz.; 2 sliced lemons; anchovy liquor, 8 
oz.; water, 1 pt.; Hock or Rhenish wine, 1 bot- 
tle; walnut ketchup, 34 pt.; boil to 234 lb., strain 
and bottle. 

4. Quin's.— a. Walnut pickle and port wine, 
of each, 1 pt.; mushroom ketchup, 1 qt.; an- 
chovies and shallots, chopped, of each 2 doz = ; 
soy, 3^ pt.; cayenne, 34 oz.; simmer for ten 
minutes, strain and bottle. 

b. Walnut pickle, mushroom ketchup and 
soy, of each 1 pt.; chopped cloves of garlic and 
anchovies, of each 1 doz.; cayenne and bruised 
cloves, of each 1 drm. As last. 

5. Sauce Superlative.— Port wine and mush- 
room ketchup, of each 1 qt.; walnut pickle, 1 
pt.; pounded anchovies, Si lb.; lemon peel, 
minced shallots and scraped horseradish, of 
each 2 oz.; allspice and black pepper, bruised, 
of each 1 oz.; Cayenne pepper and bruised 
celery seed, of each 34 oz. (or currie powder % 
oz.); digest fourteen days, strain and bottle. 

6. Tomato.— Bruised tomatoes, 1 gal.; salt, 34 
lb.; in three days press out the juice; to each 
quart add shallots, 2 oz.; black pepper, 1 drm.; 
ooil for thirty minutes, strain, add mace, all- 
sp.^e, ginger and nutmeg, of each 34 oz.; cori- 
ander seed and cochineal, of each 1 drm.; sim- 
mer gently for fifteen minutes, strain, cool 
and bottle. , 

7. Sauce Aristocrati que.— Green walnut juice, 
anchovies, equal parts; cloves, mace and pim- 
ento, bruised, of each 1 drm. to every pound of 
juice; boil and strain; then to every pint add 1 
pt. vinegar, 34 pt. of port wine, 34 Pt • of soy, 
and a few shallots. Let the whole stand for a 
few days and decant the clear liquor. 

8. Sauce au Roi.— Brown vinegar (good),3qt.; 
soy and walnut ketchup, of each 34 pt.; cloves 
and shallots, of each 34 doz.; Cayenne pepper, 1 
oz.; mix and let them stand for fourteen days. 

9. Sauce Piquante.— Soy, 1 part; port wine 
and Cayenne, of each 2 parts; brown vinegar 
16 parts; mix and let them stand for three or 
four days before bottling. 

10. Soy.— Boil until soft 2 qt. of the seeds of 
Dolichos soja (if this cannot be obtained use 
haricot or kidney beans). Add 2 qt. bruised 
wheat; keep in a warm place for one day; add 2 
qt. salt and 1 gal. of water. Keep for two or 
three months in a tightly covered stone jar. 
Then press out the liquor. The genuine soy is 
imported from China, but this is a good sub- 
stitute. 

Italian Tamara. —Coriander seed, 10 oz.; cloves 
and cinnamon, of each 10 oz.; anise seed, 5 lb.; 
fennel seed, 5 lb. Mix. 

To make Quin Sauce.— Walnut catsup, 2)4, 
gal.; mushroom catsup, 234 gal.; soy, 134 gal.; 
garlic, 134 lb.; sprats, 734 lb. Boil 15 minutes, 
strain and bottle. 

Harvey's Sauce— Quin sauce, 24 parts; soy, 8 
parts; cayenne, 34 part. 

Epicurean Sauce. — Indian soy, 3 oz.; walnut 
catsup, 12 oz.; mushroom catsup, 12 oz.; port 
wine, 3 oz.; bruised white pepper, % oz.; shal- 
lots, 434 oz.; cayenne, % oz.; cloves, % oz. Mac- 
erate for 2 weeks in a warm place, strain and 
add white wine vinegar to make 134 pt. 

Worcester$h1/re Sauce.— This is quite a com- 
plex condiment. It is made of wine vinegar, 
134 gal ; walnut catsup, 1 gal.; mushroom cat- 
sup, 1 gal.; Madeira wine, 34 gal.; Canton soy, 34 
gal.; moist sugar, 234 lb.; salt, 19 oz.; powdered 
capsicum, 3oz.; pimento, 134 oz.; coriander, 1J4 
oz.; chetney, V/ 2 oz.; cloves, % oz.; mace, % oz.; 
cinnamon, % oz.; asafcetida, 634 drm.; dissolve 
in 1 pt. brandy 20° above proof. Boil 2 lb. hog's 



liver for 12 hours in 1 gal. of water, add water 
continually so as to keep up the quantity of 1 
gal.; mix the boiled liver thoroughly with the 
water, strain through a coarse sieve, and aad 
this to the above mixture. It is self-evident 
that no chemical examination could ever de- 
tect the presence of half the above organic 
products. 
Savonnettes (Soaps). See Soaps. 

Saws- To Mend Broken Saws.— File to a 
powder pure brass, 3 parts ; pure silver, 2834 
parts ; pure copper, 134 parts. Mix thoroughly! 
Put the saw on an anvil, the broken edges in 
contact. Put a line of the above mixture 
along the seam, cover with powdered charcoal. 
Take a spirit lamp and a blowpipe, hold the 
coal dust in place, and blow just enough to melt 
the solder. Set the joint smooth with a ham- 
mer. File away the superfluous solder. 

To Remove Wire Edge.— After filing a saw, 
place it on a level board and pass a whetstone 
over the side of the teeth until all the wire 
edge is off them. This will make the saw cut 
true and smooth, and it will remain sharp 
longer. The saw must be set true with a saw 
set. 

Saws, to Straighten.— You can straighten 
band saws in the following manner : Put the 
saw on to the machine and under tension, just 
as it is to be used. Use a steel straight edge 
10 or 12 in. in length, to find the lumps or twists, 
which mark with chalk, so as to know where to 
hammer. Now hold the oval face of a mill- 
wright's or carpenter's hardwood mallet oppo- 
site the chalk marks and against the saw, and 
with a light, oval-faced hand hammer knock 
out the lumps. Commence carefully, do not 
strike too hard. Examine your saw often with 
your straight edge to see how you get along, 
and you will soon be able to take out twists 
readily and get your saw perfectly true. 

To Saw Wood Easily.— Moisten the saw with 
kerosene. 
Saxons. See Pyrotechny. 
Scalds. See Burns. 

Scalp, Tenderness of the.— This fre- 
quently arises from the practice of using very 
hot water on the head. It may be caused by 
the sudden change of temperature in sham- 
pooing from heat to cold. When the scalp is 
naturally tender, the head should be washed 
daily in cold water and friction used, care being 
taken not to abrade the surface. Afterward 
use rectified spirit, 1 oz. ; water, 3 oz., as a 
wash. See also Hair, tlie. 

Scars and Cicatrices, tlie Removal 
of.— The cicatrices, scars or marks left by va- 
rious diseases, burns or wounds of divers 
kinds, are often less obstinately permanent 
than is generally supposed, and from some 
facts which have lately come under our notice, 
we are inclined to think that their prevention 
or removal in many cases may be accomplished 
by some mild but effectual antiseptic. 

Among the exemplifications of the efficacy 
of the formula we are enabled to lay before 
our readers, is the case of a gentleman of our 
acquaintance, whose face was so severely burnt 
by the violent spurting of a quantity of 
melted lead (owing to a workman having in- 
cautiously dropped a wet pipe into it), that his 
eyes were only saved by pebble spectacles from 
utter destruction. 

At first, of course, carron oil was the sole 
application, and as for weeks afterward par- 
ticles of the granulated metal had literally to 
be dug out of the flesh, a deeply scarred coun- 
tenance was naturally predicted by all, except 
the patient himself. One mark of an almost 
imperceptible character alone remained after 
the expiration of six months, owing, as our 
friend says, to the whole face being bathed 
twice or three times a clay, as soon as the oil 
treatment could be discontinued, with a lotion 



Scents. 



498 



Sewer Gas. 



of the simplest character, as is readily seen by 
glancing: at its constituents. 

Lint soaked in the same solution and allowed 
to remain on some little time, will frequently 
mitigate the visible results of smallpox, and 
we have known one case of ringworm treated 
in this way to leave no scar whatever, while a 
sister of the latter patient, who had had the 
same disease in a lesser degree, but had not 
employed this lotion, still retains the evidences 
of the fact. 

The following is a convenient formula: 
Borax, y% oz. ; salicylic acid, 12 grn. ; glycerine, 
3 drm. ; rose water, 6 oz. Make a lotion.— Mag- 
azine of Pharmacy. 

Scents. See Perfumes. 

Scent Powders. See Powders. 

Scouring; Paste. See Cleansing, 

Scouring Soap. See Soaps. 

Scrap Books, Paste for. See Pastes. 

Scratch Brush, Fluid for.— Use thin 
starch water to which Has been added a trace 
of sulphuric acid. 

Screen (Lantern), to Render Trans- 
parent.— Coat your screen with a varnish 
made of Venice turpentine dissolved in a good 
quality of spirits of turpentine. A sizing of 
the best white glue with a little glycerine added, 
renders a screen quite translucent. 

Screw Cutting, Bule for Gearing up 
Engine Lathes for.— Read from the lathe 
index the number of threads per inch cut by 
equal gears and multiply it by any number that 
will give for a product a gear on the index; 
put this gear upon the stud, then multiply the 
number of threads per inch to be cut by the 
same number and put the resulting gear upon 
the screw. 

Example. — To cut 11^ threads per inch. We 
find on the index that 48 into 48 cuts 6 threads 
per inch, then 

6x4=24, gear on stud, 
and 11^x4=46, gear on screw. 

Any multiplier may be used so long as the 
products include gears that belong with the 
lathe. For instance, instead of 4 as a multiple 
we may use 6. 

Thus, 9x6=54, gear upon stud, 
and 11^x6=69, gear upon screw. 
See also Index of a Lathe. 

Screw, Rule for. — Disregarding friction, the 
rule is as follows : 



Weight j force. LUSdSX >, 



pitch 

Hence the relation will be the same for all 
screws having the same pitch. 

The Standard- Screw Threads. — Our United 
States, or Sellers, standard of screw threads 
and diai leters has been now many years before 
the mechanics of the country, and yet it is far 
from being erenerally adopted and used. The 
difficulty of procuring its general adoption has, 
perhaps unjustly, been attributed to the self- 
ishness of manufacturers, who prefer their 
own fractional threads in order that repairs 
and reduplications must come from them. 
There is a better reason, and possibly a juster 
cause ; it is the dissatisfaction Avith the system 
itself. In fact, it is hard to establish a uniform, 
absolute system in screw threads. Every me- 
chanic can readily see how different are the de- 
mands on a bolt on which the nut is set up to 
stay and on one that is to be used for adjust- 
ment. It makes a vast difference in setting 
up a nut on a bolt of two inches diameter 
with the standard pitch of four and a half to 
the inch and on another of the same diameter 
with a thread of six to the inch. 

But, beyond special needs, the standard is ob- 
jected to by many mechanics, because of the 
lack of proper relation (so they say) between 



the diameter and the pitch, particularly on di- 
ameters below one inch. The advance in diam- 
eters from one fourth of an inch to tne full 
inch is by sixteenths of an inch, and the 
pitches, beginning with twenty to the inch and 
ending with eight to the inch, are ten in num- 
ber. A three-eighths bolt is cut to a sixteen 
thread, which greatly weakens the bolt by its 
depth— much more so than an eight thread can 
weaken an inch bolt. Complaint is made that 
a half inch bolt with thirteen threads will twist 
in two before it will strip, and that a five- 
eighths bolt is ruined by cutting it eleven 
threads to the inch. 

Our standard is very similar to the English, 
or Whitworth standard, having twenty-one 
pitches for twenty-nine diameters, while the 
Whitworth has eighteen pitches to the same 
number of diameters. Up to one inch the re- 
lations of pitches and diameters are the same, 
with the exception of the half inch bolt, which 
by United States standard has a thirteen thread, 
but by the Whitworth has twelve. In estimat- 
ing the relative strength of bolt and pitch of 
thread, reference must be had to the form of 
thread. Beyond dispute the Whitworth is the 
strongest thread yet produced, as much above 
our modified sharp V-thread, called standard, 
as that is above the old V-thread itself, and 
more. Its rounding, or convex, bottom is 
never inducive to fracture. If it was not so 
costly to produce, it would take the place of 
our square bottom thread for all general pur- 
poses. Some of these objections against the 
standard will appear to have more than preju- 
dice for their foundation, at least for some 
uses, by a comparison between the threads and 
diameters and a consideration of the hundreds 
of different purposes to which they are to be 
applied. 

77. S. Standard. 

Diam y 4 % % & y 2 A Vs tt % if 

Pitch 20 18 16 14 13 12 11 11 10 10 

Diam % {% 1 1% 1H Ws m Ws M 

Pitch 998 7 7 6 6 5^ 5 

Diam..l% 2 2*4 2*4 2% 3 3J4 3J^ 3M 4 
Pitch.. 5 4^ 4^ 4 4 3)^3^ 3J4 3 3 

Sea Sickness. — There is no remedj' for this 
which will answer in all cases. Some people will 
always be sick. A dose of 30, 60 or 90 grn. of bro- 
mide of sodium three times a day is recom- 
mended. A recumbent position is best suited 
to the patient if ill. Every effort should be 
made to keep to the deck and a waterproof 
blanket will be found of use. Keep the 
bowels free and try to eat. Crackers, beef tea 
and olives are best relished. 

Seidlitz Powder. See Powders. 
Seidlitz Water. See Waters. 

Seed Lac.— Seed lac is said to be more solu- 
ble in alcohol than shellac, and therefore to 
make a clearer varnish. 

Seggars. —Boxes of a very refractory mate- 
rial used to contain valuable articles during the 
firing. The seggars for porcelain must stand 
an intense heat. 

Sensitizing. See Photography. 

Sepia. See Pigments. 

Serpents, Pharaoh's. See Pharaoh's 
Serpents. 

Sewer Gas, to Betect. — A suspected 
joint in a sewer or drain pipe may be tested by 
wrapping it with a single layer of white mus- 
lin, moistened with a solution of acetate of 
lead. As the gas escapes through the meshes 
of the cloth it will be blackened by the sul- 
phur compounds. 

2. It is usual to detect gas escapes by apply- 
ing a lighted taper or candle to the suspected 
place of leakage. This is dangerous, and many 
explosions have thus been occasioned. A safer 



Shafting. 



499 



Shoes. 



mode is as follows : Mix dark soap and water in 
the proportion of 2 lb. of the former to 5 or 
7 pt. of the latter. The sticky paste or liquid 
so obtained is ready to be applied by the brush 
to the gas pipe, when, if an escape is taking 
place, bubbles will readily be seen on the liquid; 
thus the positions of the gas escapes are indi- 
cated without any danger. 

Shafting, Springing of.— If a shaft 
springs in running, the trouble lies probably in 
either a too small diameter of the shaft for its 
weight and velocity, a set of unbalanced pul- 
leys, or an unequal strain on either side by the 
belts. 

Shakclo. See Alloys. 

Shampoo Liquors. See the Hair. 

Shaving Cream. See Creams. 

Shaving, Art of Easy. -The following is 
chiefly the substance of the instructions of the 
celebrated Mr. Mechi : 1. Never fail to well 
wash your beard with soap and cold water, and 
to rub it dry, immediately before you apply 
the lather, of which the more you use, and the 
thicker it is, the easier you will shave. 

2. Never use warm water, which makes a ten- 
der face. 

3. The moment you leave your bed (or bath) 
is the best time to shave. 

4. Always wipe your razor clean, and strop it 
before putting it away; and always put your 
shaving brush away with the lather on it. 

5. The razor (being only a very fine saw) 
should be moved in a sloping or sawing direc- 
tion, and held nearly flat to your face, care 
being taken to draw the skin as tight as possi- 
ble with the left hand, $o as to present an even 
surface and throw out the beard. 

6. The practice of pressing on the edge of a 
razor in stropping it soon rounds it; the pres- 
sure should be directed to the back, which 
should never be raised from the strop. If you 
shave from heel to point of the razor, strop it 
from point to heel; but if you begin with the 
point in shaving, then strop it from heel to 
point. 

7. If you only once put away your razor with- 
out stropping it, or otherwise perfectly cleaning 
the edge, you must no longer expect to shave 
well and easy, the soap and damp so soon rust 
the fine teeth and edge. 

8. A piece of soft plate leather should always 
be kept with razors, to wipe them with. 
Shaving Cream. — 

Curd soap 8 oz. 

Almond oil 2 oz. 

Glycerine 1 oz'. 

Spermaceti ^ oz. 

Carbonate of potassium J4 oz. 

Water .16 oz. 

I Cut the curd soap into shreds, and dissolve it 
by the aid of a water bath in 14 oz. of water. 
Dissolve the spermaceti in the almond oil, and 
while warm mix it with glycerine, potash, and 
remainder of the water; transfer to a warm 
mortar, gradually and steadily incorporate the 
warm soap solution, and continue to stir until 
a smooth paste is formed. With this incorpo- 
rate a suitable perfume. 

Shaving Paste.— This popular cosmetic 
may be prepared in various ways, but the fol- 
lowing formulas may be taken as representing 
the mode of manufacture : 

1. Take Naples soap, i lb.; Castile or Marseil- 
les soap, V6 lb.; honey, 3^ lb.; essence of amber- 
gris, oils of cassia and nutmeg, of each 20 to 30 
drops. Mix these ingredients well together in 
a mortar, adding a little rose water, until a per- 
fectly homogeneous paste is formed. 

2. Take of white or virgin wax, spermaceti, 
and almond oil, of each 2 oz.; melt over a water 
bath, and then add 3 oz. of Windsor soap pre- 
viously worked up into a paste with a little 
*ose water. Mix all well together and place in 
ajar, which should be kept well covered. 



3. White soft soap, 12 oz.; spermaceti and 
olive oil, of each iy% oz. Melt these ingredients 
all together, and stir until the mass is nearly 
cold ; perfume with any essential oil, or a mix- 
ture of perfumes, according to taste. 

Shaving Soaps. See Soaps. 

r^kay 111 ^ to Prevent Soreness from.— 

The following is frequently used : Take of po- 
tassium cyanide, 6grn. avoirdupois; glycerine, 
ji ; oz.; strongest camphor water, 2)4 oz.; mix. 
The foregoing is poisonous, and it must only be 
very cautiously used. The white powder or 
cake frequently used by barbers is magnesia, 
and can readily be procured from a druggist. 
Bay rum is also used. 

Shawls, to Clean. See Cleansing. 

Shellac, to Bleach. See Bleaching. 

Shellac, Cement. See Cements. 

Shellac, to Pulverize. — Inclose the 
shellac in strong cloth and beat with a hammer 
or iron pestle ; sift the fine particles out aud 
continue the operation until all is pulverized. 

Shells, to Color.— A little lac dye is boiled 
and left standing to settle, it is then dissolved 
in a solution of tin chloride. The shells having 
been well cleaned, are dipped in this until they 
become the proper color. 

Shells, to Silver. See Silvering. 

Sherbet, for Dispensing. — Vanilla sir- 
up, 1 qt.; pineapple sirup, 1 pt.; lemon sirup, 
1 pt. 

Sherry. See Wines, 

Sherry Cobbler.— Take 1 tablespoon su- 
gar; 2 or 3 slices of orange; 2 wineglasses sherry. 
Fill the tumbler with shaved ice and shake 
well. 

Shingles, to Fireproof. See Fire- 
proofing. 

Shirtings, Dressing for White.— For 175 

pt. of dressing take 111b. wheat starch, 21b. 3 
oz. stearine, and 6 lb. 9 oz. china clay. Boil up 
together and apply hot, and dry on the cylin- 
der. 

Shirts, to Wash. See Cleansing. 

Shoemaker's Ink. See Inks. 

Shoemaker's Wax. See Waxes. 

Shoes, Blacking for. See Blacking. 

Shoes, Buckskin, etc., to Restorethe Black, Vel- 
vety Appearance of .—First wet the surface well 
with strong alum water, and when nearly dry 
treat with a decoction of logwood boiled and 
filtered, to which is added a little acetate of 
iron. The skin will not be as soft as it origin- 
ally was. 

French Paste for Patent Leather.— Add. to 
some pure wax which has been melted in a 
water bath some olive oil, and then some lard. 
Mix thoroughly by stirring over a moderate 
fire. Add some oil of turpentine, then a little 
oil of lavender. This will form a paste which 
should be put in boxes. Apply with a linen 
rag. The paste keeps the leather soft and re- 
stores the gloss. 

Dressing for Tan Shoes.— 

Beeswax 1 part 

Oil of turpentine.... 4 parts. 

Cfieap Color for Shoe ami Harness Edges. — 
One-half gallon of soft water ; y 2 oz. extract 
logwood ; boil until the extract "is dissolved. 
After removing from the fire add 1 oz. cop- 
peras, 34 oz. gum arabic, 34 oz. bichromate of 
potash, all to be pulverized. 

Wliite Finish for Shoes- 
Best white bonnet glue 1 lb. 

Sulphate zinc, c. p 1J^ lb. 

Sulphate copper, ground 2 "lb. 

Pipe clay, bolted 1 lb. 

Sulphate magnesia 1 lb. 

Light yellow ocher 2 oz. 

Water 4 gal. 



: 



Shot. 



500 



Siccative. 



Mix and let it stand until all is dissolved, 
then bring to boiling- point and add 2 lb. oxalic 
acid and gum tragacanth, q. s. Iron or gum 
brush, in the usual way, and wax. If this is 
properly used, the red color will not work 
through. 

Shoes, to Harden the Soles of.—l. If a pair of 
new shoes, have the soles made warm by holding 
them near a fire or stove, and then varnishing 
them with copal varnish, drying them, warm- 
ing, and applying a second and third coat; the 
leather will become waterproof and very hard, 
lasting about twice as long as if not thus 
treated. 

2. Stockholm tar rubbed on the soles of shoes 
hardens the leather materially, renders it im- 
pervious to water, and makes it wear much 
longer than leather not thus treated. 

Shoes, to Remove the Smell of.— Try a strong 
solution of sulphate of iron, copperas, in 
water. 

To Give a Fine Smooth Appearance to the 
Soles of Shoes after Scraping.— Stearine, V/% 
parts, dissolved in 6 to 7 parts of benzine. Ap- 
ply to the soles, and when dry, polish with a 
linen cloth. 

Treeing Shoes, Composition for. — Dissolve gum 
tragacanth in water, then add a little ink to 
make it black, and finally a small quantity of 
neatsf oot oil It must be quite thin, or else, if 
thick, it is liable to cake. Take of— 

Gum shellac ^ lb. 

Alcohol 2 qt. 

Dissolve and add— 

Camphor V/% oz. 

Lampblack 2 oz. 

Shoes, Varnish for. See "Varnishes. 
Shoes, to Waterproof. See Waterproof- 
ing. 
Shot Metal. See Alloys. 

Show Bottles, Colors for, Druggists. 

— Amber. — Dragon's blood, in coarse powder, 1 
part; oil of vitriol, 4 parts. When thoroughly 
dissolved, dilute with cold distilled water till 
the required tint is obtained. 

Blue.—l. Copper sulphate, 2 oz.; sulphuric 
acid, y% oz.; water, 20 oz. 

2. A solution of soluble Prussian blue in ox- 
alic acid and diluted to the right shade. 

3. Solution of indigo in sulphuric acid, dilu- 
ted with water. 

Crimson. — 1. Iodine and iodide of potash, of 
each 30 grn.; hydrochloric acid, 1 drm.; water, 
lgal. 

2. Alkanet root, 1 oz.; oil of turpentine, 20 
ox. 

Green. — 1. Sulphate of copper, 1 drm.; bichro- 
mate of potash, 30 grn.; strong liquor of am- 
monia, 2 oz.; water, 1 gal. 

2. Copper sulphate, 2 oz.; sodium chloride, 4 
oz.; water, 1 pt. 

3. Solution of verdigins (distilled) in acetic 
acid, diluted with water. 

4. Dissolve blue vitriol in water, and add ni- 
tric acid until it turns green. 

5. For dark green, chromium sulphate. 
Magenta.— Acetate of rosaniline dissolved in 

water. 

Olive. — Dissolve equal weights of iron sul- 
phate and sulphuric acid in water and add 
copper nitrate, q. s. to strike the color. 

Orange. — 1. Dissolve bichromate of potash in 
water and add a little sulphuric acid. 

2. Dissolve gamboge in liquor of potassa; 
dilute and add a little water. 

Pink. — 1. To a solution of cobalt nitrate or 
chloride, in water add sesquicarbonate of am- 
monia* q. s. to dissolve the precipitate at first 
formed. 

2. From madder (washed with cold water), 
1 oz.; sesquicarbonate of ammonia, loz.; water, 
3 pt., 12 fl. oz.; digest with agitation, for 
twenty -four hours; then dilute with more 
water and filter. 

I 'urple.—l. Sulphate of copper, 2 drm.; water, 



2 oz.; French gelatine, 1 drm.; boiling water, 2 
oz.; solution of potassa, 2 pt. Dissolve the copper 
salt in the water, and the gelatine in the boil- 
ing water. Mix the two solutions and add the 
liquor of potassa. Shake the mixture a few 
times during ten hours, after which decant and 
dilute with water. 

2. A solution of copper sulphate, 1 oz., in 
water, 1 qt., with the addition of 1J4 oz. sesqui- 
carbonate of ammonia. 

3. To the last add a sufficient quantity of 
the first pink, above, to turn the color. 

4. To an infusion of logwood, add carbonate 
of ammonia, q. s. 

5. Lead acetate, 3 oz.; cochineal, 1 drm.; water, 
q.s. 

6. Add sulphate of indigo, nearly neutralized 
with chalk, to an infusion of cochineal till it 
turns purple. 

Bed.— 1. Solution of perchloride of iron, 10 
drops; sulphocyanide of potassium, 10 grn.; 
water, 1 gal. 

2. Dissolve carmine in ammonia and dilute 
with water. 

3. Dissolve cochineal in a weak solution of 
ammonia : or in 

4. Sal ammoniac, and dilute with water. 

5. Add 4 oz. sulphuric acid to 1 gal. water, 
and digest 8 oz. red rose leaves in the solution 
for twenty-four hours. 

6. Dissolve madder lake in sesquicarbonate 
of ammonia, and dilute with water. 

Violet.— Mix together solutions of nitrate 
of cobalt and sesquicarbonate of ammonia, 
adding a sufficiency of ammonio-sulphate of 
copper to strike the required color. 

Yellow. — 1. A solution of sesquioxide of iron 
(ferric oxide), }4 lb., in 1 qt. hydrochloric acid, 
diluted with water. 

2. To a strong decoction of French berries 
add a little alum. 

3. A simple solution of potassium chromate 
or potassium bichromate. 

4. A solution of equal parts of niter and po- 
tassium chromate. 

5. A solution of potassium bichromate.- 

Shrinkage in Castings. See Casting. 

Shrub.— A species of concentrated cold 
punch. — Prep. 1. Brandy Shrub. — a. Brandy, 1 
gal.; orange and lemon juice, of each 1 pt.; 
peels of 2 oranges; do. of 1 lemon; digest for 
twenty-four hours, strain, and add white sugar 
4 lb., dissolved in water, 5 pt. 

b. Brandy at proof, 34 gal.; essential oils of 
oranges and lemons, of each 1 oz., dissolved in 
rectified spirit, lqt.; good lump sugar, 300 lb., 
dissolved in water, 20 gal. ; mix well by rummag- 
ing, and gradually and cautiously add of a 
solution of tartaric acid in water or of Seville 
orange juice, q. s. to produce a pleasant but 
scarcely perceptible acidity; next rummage 
well for fifteen minutes, add water to make the 
whole measure exactly 100 gal., and again 
rummage well for half an hour; lastly, bung- 
down loosely; in ten or twelve days it will 
usually be sufficiently brilliant to be racked. 
This is 66 u. p. 

2. Rum Shrub.— As the last, but substituting 
rum for brandy. 

3. Punch Shrub.— Concentrated punch, made 
with equal parts of spirit and water. Used to 
make punch. 

4. Lemonade Shrub.— Concentrated lemon- 
ade. Used to make lemonade or lemon sher- 
bet. 

5. Shrub, West India.— Take 1 gal. of Ja- 
maica spirits, 6 lb. of refined sugar, and 1 qt. of 
lime juice. Dissolve your sugar in the lime 
juice, and then mix it well with the spirits, 
after which put it into a demijohn to settle and 
become mellow. This will make excellent 
punch. 

Siccative. — Those oils which thicken and 
dry into transparent flexible substance, form- 
ing a kind of skin, are said to be drying or sic- 
cative. 






Sideraphite. 



501 



Silvering. 



Sideraphite. See Alloys. 
Sienna, Raw, See Pigments. 
Silk, to Clean. See Cleansing. 

Silk, Oil Bath for.— In order to render 
silk which has been dyed black more lustrous 
and shining-, Mr. A. Gillet recommends the use of 
the following- bath: Two parts soda crystals are 
dissolved in 100 parts water, the obtained solu- 
tion being of 2° P>. Olive oil is added to this 
bath until the oil begins to remain at the top of 
solution. Soap can be added. The addition of 
the citric, tartaric or acetic acid to this bath is 
not recommended, as any acid would only di- 
minish the alkaline strength of the bath. If it 
is required to remove the white reflection the 
silk has acquired in the above bath, the silk can 
be washed in water containing citric, tartaric, 
or acetic acid . 

Silk, to Dye, See Dyeing. 

Silk, to Restore tlie Liuster of, Lost in 

Dyeing.— Grate a dozen large potatoes into 
1 gal. soft water, agitate briskly for a few min- 
utes, and let stand for twenty-four hours to 
settle carefully; draw off clear liquid, sponge 
fabric thoroughly. Press very strongly in one 
direction, with hot irons, between fine clothes, 
kept moist. 

Silver. See also Niello, 

Silver. See Alloys, j 

Silver Amalgam. See Amalgam. 

Silver, Burnishing.— Remove all dirt with 
powdered pumice stone, then brush all parts 
with strong soap suds ; wipe with a linen cloth 
and burnish. Use soap water as a lubricant. 

Silver, to Clean. See Cleansing. 

Dead White on Silver Articles.— The article 
should be heated to a cherry red, or dull red, 
allowed to cool, then placed in a pickle of 2j^ 
parts sulphuric acid to 50 parts water. Let it 
remain in the pickle one or two hours. If 
the surface is not right, rinse, and repeat the 
operation. When whitened enough, remove 
from the pickle, rinse well in hot water, and 
dry in warm boxwood sawdust. 

Frosting and Whitening Silver, Pickle for.— 
Water, 6 oz.; sulphuric acid, V/% drm. Heat 
and immerse the article in the pickle, until it 
is frosted. Wash well, dry with soft linen, or 
in fine boxwood sawdust. Less acid may be 
used for whitening only. 

To Frost Polished Silver.— Make a solution of 
% oz. cyanide of potassium in J4 pt. of water. 
Apply to the silver with a brush. Hold the 
silver with pliers made of lancewood or box- 
wood. Very poisonous. 

Silver, German. See Alloys, 

Silver, Nitrate. See Photography (Silver 
Nitrate). 

j Silver, to Oxidize. See Oxidizing. 

Pink Tint upon Silver.— Fearn recommends 
the following for producing a fine pink tint on 
silver. Dip the cleaned article for a few sec- 
onds in a strong hot solution of chloride of 
copper, then rinse and dry it, or dip it in 90% 
alcohol, and ignite the spirit. 

Silver, to Platinize.— Place some platinum in 
a small quantity of aqua regia or nitrohydro- 
chlorlc acid, and keep it in a warm place for a 
few days, when it will have dissolved. As soon 
as it has dissolved, evaporate the liquid at a 
gentle heat until it is as thick as honey, so as 
to get rid of the excess of the nitiic and hydro- 
chloric acids. Add a little water, and it is 
ready for use. A dozen drops of this solution 
goes a long way in platinizing silver. The ope- 
ration is performed in a small glass or beaker, 
covered with a watch glass to keep in the 
flumes, and placed in a little sand in a saucer to 
equalize the heat. 

Silver, to Plate with. See Electro- Uletal- 
lurgy. 



Silver, to Polish., See Polishing. 

Silver, to Recover.— Place in the open air or 
under a hood with a good draught; add a small 
quantity of salt, then dilute sulphuric acid until 
no further precipitate forms; allow to settle, 
wash the precipitate with clean hot water, mix 
it with a small quantity of water acidified with 
sulphuric acid, and a few fragments of pure 
zinc ; collect and wash the reduced silver, sep- 
arate the remaining fragments of zinc; dry 
and melt with a little borax glass. 

To Separate Silver from Copper.— Mix equal 
parts sulphuric acid, nitric acid, and waier. 
Boil the metal in this mixture until it is dis- 
solved. Throw in a little salt to cause the sil- 
ver to subside. 

Silver Tree.—l. Nitrate silver, 2 drm. 

2. Quicksilver, 1 drm. Dissolve No. 1 in 34 pt. 
of filtered water, and set the glass vessel con- 
taining the solution on the chimney piece, 
where it is not likely to be disturbed. Now 
pour in No. 2; in a short time the silver will be 
precipitated in the most beautiful arborescent 
form, resembling real vegetation. 

Silverware, to Preserve.— Silverware may be 
kept bright and clean by coating the articles 
(warmed) with a solution of collodion diluted 
with alcohol. 

Silverware, to Polish. See Polishing; 

Silver Wash. — Mix 1 part chloride of silver 
with 3 parts pearlash, l^j parts common salt, 
and 1 part whiting, and rub the mixture on the 
surface of brass or copper, previously well 
cleaned, by means of soft leather or a cork 
moistened with water and dipped into the pow- 
der. When properly silvered, the metal should 
be well washed in hot water, slightly alkalized, 
and then wiped dry. 

Silver, to Whiten. — Many different methods 
have been used. An old method is to dip the 
work in a thick solution of borax, then place 
it in a copper annealing pan, sprinkle it over 
with charcoal dust, and place the pan and its 
contents upon a clear fire. Heat until red hot, 
then withdraw and allow to cool. The work is 
next boiled in dilute sulphuric acid, and if the 
right color is not obtained, the process is re- 
peated one or more times. The lower stand- 
ards require five or six operations to eftect 
the proper degree of whiteness. 

Another plan is to dip the work in a mixture 
of 4 parts powdered charcoal and 1 part niter, 
well mixed with water. The work is heated 
until the coating is thoroughly dry, when it is 
removed from the fire, allowed to cool, and 
boiled out in a solution of bisulphate of potash. 
After two or three operations a beautiful dead 
white color is the result. It is then washed in 
soda and water containing a little soap, or 
scratched and burnished if required bright. The 
process is completed by drying in warm box- 
wood sawdust. 

Gee's method of whitening consists of mak- 
ing the work red hot, and boiling in dilute sul- 
phuric acid (1 part of acid to 40 parts of water). 
The process is repeated, if necessary, until the 
requisite color is obtained. This method is not 
suitable for very common work, Avhich re- 
quires a thin deposit of pure silver by the elec- 
tro method, or by chemical decomposition of 
certain silver salts applied in the form of a 
paste, instead of: subjecting it to the above 
whitening process. The articles may also be 
dipped in solutions containing silver, when sil- 
ver is deposited on their surface. This is termed 
a simple immersion process. 

Silvering. See also Electro-Metallur- 
gy. 

Brass,to Silver.— Take 1 part chloride of silver 
(the white precipitate which falls when a solu- 
tion of common salt is poured into a solution 
of nitrate of silver of lunar caustic), 3 parts of 
pearlash, 1 of whiting, and \\i of common salt, 
or 1 part chloride or silver and 10 parts of 
cream of tartar, and rub the brass with a moist- 
ened piece of cork dipped in the powder. 



Silvering. 



502 



Silvering. 



J% 



Silvering Brass.— The first essential is that the 
metal be chemically clean, which is best done 
by the use of dilute nitric acid, followed by a 
wash with clean water, and then with dilute 
aqua ammonia, drying- in sawdust. If the 
metal be then rubbed with chloride of silver 
dissolved in water, and then washed and again 
dried in sawdust, the result will be fine. It 
should, however, be immediately lacquered in 
order to preserve the surface. 
I Copper, Silvering Powder for Coating.— Nitrate 
of silver, 60 grn.; common salt, 40 grn.; cream 
tartar, 7 drm. This will be ready for applica- 
tion when mixed and moistened with a little 
water. 

Silvering with a Dead Luster. — Mix 7 oz. white 
lead and 1 oz. white litharge, with linseed oil 
varnish. Mix this mass with an oil varnish. 

Desilvering.— The f ollowing is a liquid which 
will dissolve silver without attacking copper, 
brass, or German silver, so as to remove tne 
silver from silvered objects, plated ware, etc. 
It is a mixture of 1 part of nitric acid with 6 
parts sulphuric, heated in a water bath to 160° 
at which temperature it operates best. — - 
■ilver ing Glass.— 1.— a. Reducing Solution.— 
In 13 oz. of water dissolve 12 grn. Rochelle 
salts, and boil. Add, while boiling, 16 grn. ni- 
trate of silver, dissolved in 1 oz. of water, and 
continue the boiling for ten minutes more ; 
then add water to make 12 oz. 

h. Silvering Solution.— Dissolve 1 oz. nitrate 
of silver in 10 oz. water ; then add liquid ammo- 
nia until the brown precipitate is nearly, but 
not quite, all dissolved ; then add 1 oz. alcohol 
and sufficient water to make 12 oz. 

To Silver.— Take equal parts of a and h, mix 
thoroughly, and lay the glass, face down, on 
the top of the mixture while wet, after it has 
been carefully cleaned with soda and well 
rinsed with clean water. 

Distilled water shoul be used for making 
the solutions. 

About 2 drm. of each will silver a plate 2 in. 
square. The dish in which the silvering is done 
should be only a little larger than the plate. 
The solution should stand and settle for two or 
three days before being used, and will keep 
good a long time. 

' 2. Draper's Method.— Dissolve 560 grn. Ro- 
chelle salts in 3 oz. water. Dissolve 800 grn. 
nitrate of silver in 3 oz. water. Add silver so- 
lution to 1 oz. strong ammonia until brown ox- 
ide of silver remains undissolved. Then add, 
alternately, ammonia and silver solution care- 
fully until the nitrate of silver is exhausted, 
when a little of the brown precipitate should 
remain; filter. Just before using mix with the 
Rochelle salt solution, and dilute to 22 oz. 
Clean the mirror with nitric acid or plain col- 
lodion and tissue paper. Coat a tin pan with 
beeswax and rosin, equal parts. Fasten a stick 
% in. thick across the bottom. Pour in the 
silvering solution. Put in quickly the glass 
mirror, face downward, one edge first. Carry 
the pan to the window and rock the glass slow- 
ly for y% hour. Bright objects should now be 
scarcely visible through the film. Take out the 
mirror; set it on edge on blotting paper to dry. 
When thoroughly dry, lay it, face up, on a 
dusted table. Stuff a piece of softest thin 
buckskin loosely with cotton. Go gently over 
the whole silver surface with this rubber in 
circular strokes. Put some very fine rouge on 
a piece of buckskin, laid flat, on the table, and 
impregnate the rubber with it. The best 
stroke for polishing is a motion in small cir- 
cles, at times, going gradually round on the 
mirror, at times across, on the various chords. 
At the end of an hour of continuous gentle 
rubbing, with occasional touches on the flat, 
rouged skin, the surface will be polished so as 
to be perfectly black in opaque positions, and, 
with moderate care, scratchless. It is best, be- 
fore silvering, to warm the bottle of silver so- 
lution and the mirror in water heated to 100° 
Fah. 



3. Siemens' Method. — I or a long time alde- 
hyde has been employed in the glass silvering 
process suggested by Liebig, but some diffi- 
culties of manipulation have led practical men 
to prefer other reducing agents. R. Siemens 
has modified the operation and greatly simpli- 
fied the reducing of the silver. Dry ammonia 
gas is passed through aldehyde to produce 
aldehyde ammonia; 2*5 grm. of aldehyde am- 
monia and 4 grm. nitrate of silver to 1 liter of 
water is the proper porportion to take. The 
nitrate of sliver and. aldehyde ammonia are 
separately dissolved in distilled water, mixed 
and filtered. The object to be silvered must 
be thoroughly worked to free it from fat, and, 
if it be a globe or bottle, the liquid is poured in 
as high as it is desired to form the deposit. As 
soon as the heat which must be applied shows 
50° C. the separation of the silver begins and 
soon spreads itself all over the whole surface. 
At first, when the coating is very thin, it looks 
dark, but soon assumes a metallic luster; when 
it is a brilliant white it is time to remove the 
fluid contents, as the mirror is apt to be in- 
jured by too long contact with the aldehyde. 

Flat objects are laid upon the mixture in the 
usual manner. In Germany, where aldehyde 
ammonia can be purchased at a reasonable 
cost, this process is highly prized. By making 
his own salt in the manner described above, 
the chemist in this country can also avail him- 
self of the method. The simplicity of Siemens' 
process commends it to favor. 

4. Petitjean's Method. — Up to 1840 mirrors 
were silvered exclusively by means of an amal- 
gam, a process most destructive to the work- 
men employed. An important step was ef- 
fected by an English chemist, Drayton, who 
conceived the idea of coating mirrors with a 
thin layer of silver, obtained by reducing an 
ammoniacal solution of nitrate of silver, by 
means of highly oxidizable essential oils. This 
process was subsequently modified by several 
chemists, but only became really practical 
when M. Petitjean substituted tartaric acid for 
the reducing agents formerly employed. The 
glass to be silvered is laid upon a horizontal 
cast iron table heated to 104° F. The surface is 
well cleaned, and solutions of silver and tar- 
taric acid, suitably diluted, ai*e poured upon 
it. The liquid, in consequence of a well- 
known effect of capillarity, does not flow over 
the edges, forming a layer a fraction of an inch 
in thickness. In twenty minutes the silver be- 
gins to be deposited on the glass, and in an 
hour and a quarter the process is complete. 
The liquid is poured off the glass, washed with 
distilled water, dried, and covered with a var- 
nish to preserve the silver from friction. 

The advantages are evident. Mercury, with 
its sanitary evils, is suppressed; there is a gain 
in point of cost, as 60 to 75 grains of silver, 
costing about 20 cents, suffice for 10*75 square 
feet, which, under the old system, would re- 
quire V/% pounds of tin and the same weight of 
mercury. A few hours suffice to finish a glass 
on the new system, while the old process re- 
quired twelve days as the minimum. On the 
other hand, the glasses thus silvered have a 
more yellowish tint; portions of the pellicle of 
silver sometimes become detached, epecially if 
exposed to the direct action of the sun, and, 
despite the protecting varnish, the silver is 
sometimes blackened by- sulphureted hydro- 
gen. M. Lenoir has happily succeeded in over- 
coming these defects by "a process alike simple 
and free from objections on sanitary grounds. 
The glass, silvered as above, is washed and 
then sprinkled with a dilute solution of the 
double cyanide of mercury and potassium. 
The silver displaces a part of the mercury 
and enters into solution, while the rest of the 
silver forms an amalgam whiter and much 
more adhesive to glass than pure silver. The 
transformation is instantaneous. The amount 
of mercury fixed does not exceed 5 to 6 per 
cent. The glass thus prepared is free from the 



Silvering. 



503 



Silvering. 



yellowish tint of pure silver. It is also less at- 
tacked by sulphur vapors and the rays of the 
sun, in which last request it is superior to mir- 
rors silvered by the old process.— Bulletin de la 
Societe cT Encouragement pour V Industrie Na- 
tionale. 

5. First take 80 grn. of nitrate of silver 
(either lunar caustic or the crystallized salt), 
and dissolve it in 10 oz. of water, preferably 
distilled or rain water. To this add 2 oz. of 
alcohol and 2 oz. of aqua ammonia. The ammo- 
nia is added to the solution drop by drop, until 
the precipitate at first formed is dissolved. The 
solution is then allowed to settle for three or 
four hours, when it is ready for use, and forms 
solution No. 1. Then take 6 oz. of water and 
dissolve it in 24 grm. of nitrate of silver, and 
add to the same 30 grm. of arsenite or tartrate 
of copper, and then add, drop by drop, suffi- 
cient aqua ammonia to dissolve the precipitate 
of oxide of silver at first formed, and the ar- 
senite or tartrate of copper, after which add 2 
oz. of alcohol. Then make a separate solution 
of 48 grm. of potassa in 16 oz. of water. This 
last-mentioned solution is brought to a bciling 
temperature in an evaporating dish, after 
which the solution of nitrate of silver and ar- 
senite or tartrate of copper is added, drop by 
drop, to the boiling solution of potassa, and the 
boiling is continued for about an hour, or until 
a white film collects on xhe surface, after which 
it is allowed to cool and filter, when it is ready 
for use, and forms solution No. 2. 

In depositing the alloy upon the glass take a 
suit: ble quantity of filtered water, preferably 
rain or distilled water, and add to it equal parts 
of solutions Nos. 1 and 2, and mix the whole 
thoroughly, and apply this solution in any con- 
venient manner to the glass to be coated, and 
the deposition immediately commences, and is 
allowed to continue, say for about ten minutes, 
until the metal in solution is entirely exhaust- 
ed, when the glass will be covered with a coat- 
ing of the alloy, having a brilliant reflecting 
surface adj oining the glass. 

In order to increase the durability of the 
coating, it is preferable to deposit a second 
coating upon the first, which is done by repeat- 
ing the operation before the first coating is dry, 
and after the coating is completed generally 
cover the whole with a heavy coat of asphal- 
tum varnish, although this is not absolutely 
necessary, as the metaUic alloy is sufficiently 
hard to stand ordinary wear without it. 

By the above-described process an alloy hav- 
ing all the qualities of hardness and durability 
of the ordinary alloys of copper and silver is 
deposited upon the glass, and the degree of 
hardness may be varied or modified by varying 
the proportions of the different ingredients 
employed. Other salts of copper besides the ar- 
senite or tartrate may be employed in con- 
junction with the nitrate of silver. — By A. 
Laval, St. Louis, Mo. 

6. Martin's. 

A. 

Avoirdupois Wght. 

Nitrate of silver 175 grn. 

Distilled water 10 oz. 

B. 

Nitrate of ammonia 262 grn. 

Distilled water 10 oz. 

C. 

Pui-e caustic potash 1 oz. 

Distilled water 10 oz. 

D. 

Pure sugar candy y% oz. 

Distilled water 5 oz. 

Dissolve and add — 
Tartaric acid 50 grn. 

Boil in a flask for ten minutes, and when cool 
add— 

Alcohol 1 oz. 

Distilled water, q. s., to make up to 10 oz. 



For use take equal parts of A and B. Mix 
together also equal parts of C and D, and mix 
in another measure. Then mix both these 
mixtures together in the silvering vessel, and 
suspend the mirror face downward in the solu- 
tion. 

7. H. J. Burton's. 

A. 

Nitrate of silver 25 grn. 

Distilled water . 1 oz. 

B. 

Potash (pure) 25 grn. 

Distilled water 1 oz. 

C. 

Solution A 1 part. 

Solution B 1 part. 

Ammonia to just dissolve the precipitate. 
Solution A to just cause a discoloration. 

D. 

Loaf sugar 2,700 grn. 

Distilled water 20 oz. 

Nitric acid 2 drm. 

Alcohol (strong) 10 oz. 

Distilled water to make 80 oz. 

For use — 

Solution C 1 oz. 

Solution D 1 drm. 

Solution C is subject to slow decomposition; 
solution D, on the contrary, improves by keep- 
ing. 

8. Solution 1. — Nitrate of silver, 1 oz.; water, 
10 oz. 

Solution 2.— Caustic potash, 1 oz.; water, 10 oz. 

Solution 2.— Glucose, % oz.; water 10 oz. 

The above quantities are those estimated for 
250 square inches of surface. Add ammonia to 
solution No. 1 till the turbidity first produced 
is just cleared. Now add No. 2 solution and 
again ammonia to clear; then a little solu- 
tion, drop by drop, till the appearance is 
decidedly turbid again. Then add No. 3 solu- 
tion and apply to the clean glass surface. A 
film was obtained in forty-three minutes at a 
temperature of 56° F. 

Mr. Common's plate of glass was rather a 
large one. It was 37 inches in diameter and 
4^4 inches thick, and weighed four hundred- 
weight. —By A. A. Common, F.B.A.S. 

Glass Baits, to Silver.— Lead and tin, of each 2 
oz.; bismuth, 2 oz.; mercury, 4oz. Melt together 
in order given. Have the globe perfectly clean 
and dry. Warm it, melt the amalgam and pour 
it in and roil it about until the glass is coated. 
Too high a heat in use will spoil them. 

Amalgams for Silvering Glass Globes. — 



Lead. 


Tin. 


Bismuth. 


Mercury. 


1 
1 


1 
1 


1 

1 


1 

2 



The lead and tin are melted first;, after which 
the bismuth is added. The dross is scraped off 
and the mercury added, when the whole mix- 
ture is well stirred. Leaves of Dutch metal are 
sometimes added, according to the color which 
it is desired to impart to the globes. 

To Silver Glass Globes.— The Druggists , Cir- 
cular gives this formula for the purpose : 

Nitrate of silver , 1 oz. 

Distilled water 3 oz. 

Alcohol 3 oz. 

Ammonia, sufficient, or about.. . 1 oz. 

Grape sugar 2 oz. 

Dissolve the nitrate of silver in the water, 
add ammonia in a quantity just sufficient to 
redissolve the precipitate formed at first, add 
the alcohol, allow it to rest four or five hours 
and filter. The grape sugar is dissolved separ- 
ately in 1 oz. of water, and added to the silver 
solution at the moment of using. The glass 



Silvering. 



504 



Silvering. 



globes being perfectly cleaned, the solution is 
poured into them, and the globes are turned on 
all sides in front of a moderate fire, so that the 
liquid touches every part alike. The coating 
is done in a few minutes, when the excess of 
liquid is to be removed and the globe washed 
with distilled water first, and lastly with alco- 
hol. The success of the operation depends in a 
great degree on the cleanness of the surface of 
the glass to be silvered; the slightest speck of 
dust or grease spot is sure to show. A good 
way to claan the globes would be to wash them 
with a warm solution of soda, then with dilute 
nitric acid, and lastly with alcohol, care being 
taken not to touch with the fingers any part of 
the globes which is intended to be silvered. 

Silvering Plate Glass.-? A formulae introduced 
by Dr. Henry Draper for silvering is the fol- 
lowing : In 3 oz. water dissolve 1*4 oz. Rochelle 
salt, and, when dissolved, filter. A second so- 
lution containing 1% oz. nitrate of silver to 4 
oz. water should be added cautiously to 1 oz. 
liquor ammonias, until a brown precipitate re- 
mains; then add fresh ammonia, and again, 
alternately, silver solution and ammonia, until 
the whole of the 4 oz. of silver solution has 
been used, and the mixture has still some of 
the brown oxide in suspension. This solution 
should be filtered, and when wanted for use, 
mix the two solutions together and add 12 oz. 
water. The plate glass, having been thoroughly 
cleaned, must be laid, face downward, on the 
solution, and in from twenty to thirty minutes 
the plate will be silvered. Of course, if you 
wish to silver a large plate, use more solution; 
or you may use the following : Distilled water, 
6 oz.; nitrate of silver, 2^£ drm., to which add 
ammonia carefully, until the precipitate is re- 
dissolved. Make a second solution containing 
% oz. caustic potash to 16 oz. water. Add this 
to the first solution, when a brown precipitate 
will be formed, which must be redissolved by 
the addition of the requisite quantity of ammo- 
nia, added carefully. Now add m, pt. water; 
to this add nitrate of silver until an insoluble 
precipitate is formed. The solutions may then 
be kept ready for use. When about to use it, 
mix with it one tenth of its volume of a solution 
containing 1 oz. milk sugar to 10 oz. water. 
The great essential is to have the glass perfectly 
clean, otherwise the silvering will be patchy. — 
W. J.Lancaster, in English Mechanic. Improved. 
See silvering glass receipt, No. 2. 

Cast Iron, to Silver.— 1. To silver cast iron, 15 
grn. nitrate of silver are dissolved in 250 grn. 
water, and 30 grn. cyanide of potassium are ad- 
ded; when the solution is complete, the liquid is 
poured into 700 grn. water wherein 15 grn. com- 
mon suit have been previously dissolved. The 
cast iron intended to be silvered by this solu- 
tion should, after having been well cleaned, be 
placed for a few minutes in a bath of nitric 
acid of 1*2 sp. gr. just before being placed in 
the silvering fluid. 

2. A new process for silvering articles of iron 
is thus described. The article is first plunged 
in a pickle of hot dilute hydrochloric acid, 
whence it is removed to a solution of mercury 
nitrate, and connected with the zinc pole of a 
Bunsen element, gas carbon or platinum 
serving as the other pole. It is rapidly cov- 
ered with a layer of quicksilver, when it is re- 
moved, washed, and transferred to a silver 
bath and silvered. By heating to 300° C. (572° 
Fah.) the mercury is driven off, and the silver 
firmly fixed on the iron. To save silver the 
wire can be first covered with a layer of tin. 
One part of cream of tartar is dissolved in 
eight parts of boiling Avater, and one or more 
tin anodes are joined with the carbon pole of a 
Bunsen element. The zinc pole communicates 
with a well cleaned piece of copper, and the 
battery is made to act till enough tin has de- 
posited on the copper, when this is taken out 
and the ironware put in its place. The wire 
thus covered with tin chemically pure, and 



silvered, is said to be much cheaper than any 
other silvered metals. 

Ivory, to Silver.— Take a small piece of nitrate 
of silver, and pound it in a mortar. Add some 
soft water to it, mix thoroughly and put in a 
bottle. Place the ivory article to be silvered in 
this solution, allow it to remain until it is of a 
deep yellow color. Put it then in clear water 
and place in the sun. If desired to draw any 
figure or name upon the ivory, it may be done 
with a camel's hair pencil, dipped in the solu- 
tion. Wash well with water after the drawing 
has become a deep yellow, and put in the sun- 
light, occasionally wetting with clean water.. 
Rub it after it has turned a deep black color, 
and it will change to a brilliant silver. 

2. Make a weak solution of nitrate of silver,, 
immerse the ivory in it, and allow it to remain, 
until the solution gives it a deep yellow color. 
Immerse in clear water, and expose it in the 
water to the sun. It becomes black in about 
three hours The black surface becomes bril- 
liant silver by rubbing. 

Silver Leaf, Varnished.— Use first, prepared 
ox gall; next, isinglass; then, alum, to kill the 
former; finish with hard white lac. 

Metals, Silvering of. -Small articles may easi- 
ly be coated with silver by dipping them first 
into a solution of common salt, and rubbing 
with a mixture of one part of precipitated 
chloride of silver, two parts of potassa alum, 
eight parts of common salt, and the same 
quantity of cream of tartar. The article is 
then washed and dried with a soft rag. 

Plaster, to Silver.— Ordinary plaster models 
are covered with a thin coat of mica powder, 
which perfectly replaces the ordinary metal- 
lic substances. The mica plates are first clean- 
ed and bleached by fire, boiled in hydrochloric 
acid, and washed and dried. The material is 
then finely powdered, sifted, and mingled with 
collodion, which serves as a vehicle for apply- 
ing the compound with a paint brush. The 
objects thus prepared can be washed in water, 
and are not liable to be injured by sulphureted 
acids or dust. The collodion adheres perfectly 
to glass, porcelain, wood, metals, or papier 
mache. 

Plating Pastes.— 1. Nitrate of silver, 2 parts; 
salt, 2 parts; cream of tartar, 14 parts. Pulverize 
and mix. 

2. For thin plating dissolve in 10 or 12 drops 
of water and add nitrate of silver, 2 parts; cya- 
nide of potassium, 6 parts. Rub on the object. 

3. One oz. of nitric .acid is put in a glazed 
earthen vessel and placed over a slowly heating 
fire, and as it boils instantly the pieces of real 
silver are thrown in and dissolved immediately. 
When this is done a large handful of salt is 
put in, which will kill the acid. Then the paste 
is made by the means of common whiting. 
Clean the article to be plated and apply the 
paste with water and wash leather. Will keep 
for years. 

Plating (Liquid Wash).— Dissolve 1 oz. crys- 
stals of silver nitrate in 12 oz. soft water, then 
dissolve in the water 2 oz. potassium cyanide. 
Shake the whole together and let it stand 
until it becomes clear. Have readv some half 
ounce vials and -fill them half full of Paris 
white or fine whiting and then fill up the bot- 
tles with the liquid and it is ready for use. The 
silver coating is not as tenacious to tho article 
as when electrolytically deposited. This is 
very poisonous and shoukl be handled with 
great caution — if at all. 

Ribbons, Silvering of.— Make a solution of 
nitrate of silver and add a little gum to it, so 
that the liquid will not run. Then with a cam- 
el's hair pencil or a new pen, draw any sort of 
ornamental figure on the silk. After the draw- 
ing is dry, hold the ribbon over a vessel con- 
taining water, zinc and a little sulphuric acid. 
In a short time the silver will be reduced and. 
adhere quite strongly to the fabric. 

Arabesques, wreaths, etc., executed in this 



Similor. 



505 



Skin. 



manner have a pretty appearance.— Chronique 
Industrielle. 

Silvering by Cold Rubbing.— Make paste by 
thoroughly grinding in a porcelain mortar, out 
of the light- 
Water 3 to 5 oz. 

Chloride of silver 7 oz. 

Potassium oxalate 10)4 oz. 

Salt (common table) 15 oz. 

Sal ammoniac 3% oz. 

Or— 

Chloride of silver 314 oz. 

Cream of tartar . . 7 oz. 

Salt (commou) 10)4 oz. 

Water, to form a paste. 

Keep in a covered vessel away from the light. 
Apply with a cork or brush to the clean metal- 
lic (copper) surface, and allow the paste to dry. 
When rinsed in cold water the silver presents a 
fine frosted appearance, the brightness of 
which may be increased by a few seconds 1 im- 
mersion in dilute sulphuric acid or solution of 
potassium cyanide. The silvering bears the ac- 
tion of the wire brush and of the burnishing 
tool very well, and may also be oxidized. 
Should a first silvering not be found sufficiently 
durable after scratch-brushing, a second or 
third coat may be applied. This silvering is 
not so adhering or white on pure copperas 
upon a gilt surface. 

For the reflectors of lanterns the paste is 
rubbed upon the reflector with a fine linen pad; 
then, with another rag, a thin paste of Spanish 
white or similar substance is spread over the 
reflector and left to dry Rubbing with a fine 
clean linen rag restores the luster and white- 
ness of the silvered surface. 

The paste is sometimes mixed directly with 
the whiting and left to dry, or until nearly dry, 
then rubbed down as described. 

Silvering Sh ells.— Grind silver leaf in gum 
water to the required thickness, and apply to 
the inside of the shell. For gold color grind 
gold leaf in gum water. 

Silver Size, Preparation of.— Put in a pan i% 
oz. Spanish chalk, V% oz. Venetian soap, ^ oz. 
beeswax, and 9 oz. finely pulverized fat pipe- 
clay; roast thoroughly. Rub fine with the 
whites of 40 eggs. Form the mass into small 
balls, dry upon a glass plate. To apply the 
size, ti-iturate a piece with water, then put in a 
glass and. dilute with water. Brush the frame 
with the dissolved size and let it dry before ap- 
plying another coat. 

Writing on Silver. See Inks. 

Yellow on Silver.— Immerse the silver articles 
in a hot solution of concentrated cupric chlo- 
ride. 

Similor. See Alloys. (Mannheim Gold.) 

Sirups. See Syrups. 

Size.— Obtained from glue, from the skins 
of animals, but is evaporated less and kept in a 
soft state. 

Bronzing Asphaltum.— Drying oil and tur- 
pentine make an excellent size for this pur- 
pose. 

Anti-Mildeiv Size.— (Whitehead.)— The mate- 
rials employed for sizing yarn, woven fab- 
rics, etc., may be rendered proof against mildew 
by the addition of a little mustard oil, or other 
vegetable oil, possessing antiseptic properties. 
About 4 oz. of oil to 1 gal. of size is usually suf- 
ficient. 

Black Gold Size— Triturate, 1 oz. gold size 
with enough lampblack to form a dense color. 
Thin with turpentine. 

Sizing and Dressing Cotton, Wool, Straw, etc. 
—Glycerine for Sizing and Dressing.— 1. For 
white goods : Glycerine, 5 parts; starch, 3H$ 
parts. 

2. Glycerine, 3 parts; sulphate calcium, 7)4 
parts; kaolin, 13^ parts. 

Cotton, Size for.— Beef bones, boiled in water 
for some hours with rock salt and a little alum, 
yield a size which can be used in the prepara- 
tion of cotton and silk goods. 



Oil Size.— Grind yellow ocher or burnt ocher 
with boiled linseed oil, and thinned with tur- 
pentine. 

Currier's Size.— Sizing, 1)4 qt.; soft soap, 1*4 
gill; stuffing, 1)4 gills; sweet milk, % pt.; boil the 
sizing in water to a proper consistency, strain 
and add the other materials. Mix thoroughly. 

Gold Size.—l. (Oil size). Drying or boiled oil 
thickened with yellow ocher or calcined red 
ocher, and carefully reduced to the utmost 
smoothness by grinding. It is thinned with 
oil of turpentine. Improves by age. Used for 
oil gilding. 

2. (Water size). Parchment or isinglass size 
mixed with finely ground yellow ocher. Used 
in burnished or distemper gilding. 

3. Place boiled oil in a stone pot and place on 
a gentle fire, and allow the heat to rise almost 
to the point of ignition, then set fire to it, and 
let it burn until it is thick, then put on the 
cover to extinguish the flames. Now strain 
through silk and thin Avith turpentine. 

4. The following is highly recommended: 
Heat slowly 8 oz. best drying oil and just before 
it comes to a boil add 2 oz. gum animi, boil 
until of the consistence of tar, then strain 
through silk. A little finely ground vermilion 
may be added if desired; thin with turpentine. 
Dilute with oil of turpentine. 

5. Gold size is prepared from }4 lb. linseed oil 
with 2 oz. gum animi; the latter is reduced to 
powder and gradually added to the oil while 
being heated in a flask, stirring it after every 
addition until the whole is dissolved; the mix- 
ture is boiled until a small quantity, when taken 
out, is somewhat thicker than tar, and the 
whole is strained through a coarse cloth. When 
used, it must be ground with as much vermil- 
ion as will render it opaque, and at the same 
time be diluted with oil of turpentine, so as to 
make it work freely with the pencil. 

Ivory Size or Jelly.— Boil ivory dust or ivory 
shavings in water." This forms a beautiful size 
or jelly. 

Japanners'' Gold Size.— Quarter lb. lead ace- 
tate, 4 lb. gum animi, \% gal. turpentine, 1 gal. 
drying oil. Boil the gum in the oil for four 
hours, add the other materials and strain. 

Painters 1 Size. — Boil raw oil in a pan till a 
black smoke emits therefrom; then set it on a 
fire, and, after burning for a few minutes, 
cover the pan to put out the blaze; pour the 
oil while warm into a bottle in which some pul- 
verized red lead and'litharge have been intro- 
duced. Stand the bottle in a warm place for two 
weeks, shaking often. It will then be ready to 
decant and bottle. 

Parchment Size.— This consists of gutta 
percha softened and extended in ether. It 
furnishes a preservative coating for pictures, 
cards, etc. Any extraneous matter is easily 
removed by means of a damp cloth. Easily ef- 
f aceable charcoal or chalk drawings are fixed 
if this solution be distributed over their sur- 
face in fine spray. The ether evaporates and 
leaves the gutta percha, which forms an ex- 
tremely thin but protective coating over the 
design.— Science Record, 1874. 

Sizing for Sign Work.— One of the best mor- 
dants or sizing for sign work is made by expos- 
ing boiled linseed oil to a strong heat in a pan ; 
when it begins to smoke, set fire to the oil, 
allow it to burn a moment, and then suddenly 
extinguish it by covering the pan. When cold 
it will be ready for use, but will require thin- 
ning with a little turpentine. 

Skin, The. See also Cosmetics, and the 
numerous cross references given under Cos- 
metics. 

Beautifying the Shin.— In the work on diseases 
of the skin, edited by Professor Von Ziemssen, 
Dr. Heinreich Auspitz, of Vienna, makes the 
following observations upon this subject: 

1. A healthy integument is not necessarily 
beautiful. Even ii all requirements concern- 
ing diet, residence, atmospheric and climatic 
- conditions, etc., are carried out, the complex- 



Skill. 



506 



Skin. 



ion is often extremely bad. The general con- 
dition of health has no influence upon the beau- 
ty of the complexion, though it has upon the 
health of the skin. 

2. Cleanliness is a sine qua non of the beauty 
of the complexion, though it does not play a 
great part in the health of the skin. 

3. Water is serviceable to the skin in only 
moderate amounts and at moderate tempera- 
tures. Very cold or warm baths, when used to 
excess, diminish the elasticity of the skin and 
its power of resistance to external irritants. 

4. Distilled and so-called soft waters are more 
suitable for washing, and less irritating tban 
hard water. 

5. The hard soda soaps are usually preferable 
to the soft potash soaps for toilet purposes. 
The quality of soaps depends upon the quality 
of their constituents and the thoroughness of 
their saponification. Good soaps must not con- 
tain free alkali or any foreign irritating sub- 
stance. The addition of moderate quantities 
of perfumes does not materially change the 
quality. 

6. Simple, finely ground powders, such as 
starch, magnesia, etc., are entirely innocuous, 
and often act as a useful protection against ex- 
ternal irritants. 

7. Frequent application of alcohol abstracts 
the water of the skin, makes it dry and brittle, 
and impairs its nutrition. This is also true of 
glycerine. All toilet washes containing alco- 
hol to any considerable extent should be 
avoided. 

8. This is true to a still greater extent of other 
additions to washes, such as corrosive subli- 
mate, mineral acids, certain metallic salts, etc. 

9. Camphor acts merely as a bleaching 
powder. This is also true of benzoic resin, sul- 
phur flowers, and substances containing tan- 
nic acid. 

10. The use of sweet-smelling oils and fats 
should be employed to a greater extent than is 
now done for toilet purposes. 

11. This is particularly true with regard to 
the growth of the hair. The nutrition of the 
scalp should be increased by the rational ap- 
plication of fat (for example in the form of oil 
baths, by means of the application at night of 
a sponge soaked in oil upon the scalp) and the 
greater use of simple pomades. These should 
be applied to the roots of the hair, rather than 
the shafts. 

12. Substances should be avoided, or sparing- 
ly used, which abstract water from the skin 
and the roots of the hair. 

Face, Blotched.— Rose water, 3 oz.; sulphate of 
zinc, 1 drm. Mix; wet the face with it; gently 
dry it, and then touch it over with cold cream, 
which also dry gently off. 

Hands, to Clean.— Put % lb. dauber's salt, J4 
lb. chloride of lime, and 8 oz. water into a little 
wide-mouthed bottle, and when required for 
use pour some of the thick sediment into a 
saucer and rub it well over the hands with a 
nail brush. 

Hands, Glycerine Jellies for the.— The Pharm. 
Era gives the following formulas : 

1. Tragacanth 60 grn 

Glycerine 2 oz. 

Water 4 oz. 

Extract of rose 6 drops. 

£. Gelatine 2 drm. 

Glucose 1 oz. 

Glycerine 6 oz. 

Water. 3 oz. 

Oil of rose 5 drops. 

Hands, to Keep Soft- 
Use before retiring.— 

Glycerine 1 oz. 

Bay rum 3 oz. 

Oil cajeput ^ drm. 

Oilbergamot J^ drm. 

Mix well. 

Take 4 parts glycerine* 5 parts yelk of egg; 



mix thoroughly and rub on after washing the 
hands. A little lemon juice will also assist to 
whiten the hands. 

Hands, to Whiten the.— Take a wineglassful 
of eau de cologne and another of lemon juice; 
then scrape two cakes brown Windsor soap to 
a powder and mix well in a mould. When 
hard, it will be excellent for whitening the 
hands. 

Irritable Skin.— Irritable skin must be pro- 
tected as much as possible from the changes of 
temperature. In warm weather, lotions of salt 
and water, or of alum and water should be 
used. If the parts are tingling or feel congest- 
ed, a lotion of hydrocyanic acid, 1 drm.; water, 
1 oz.; may be used occasionally. What is 
wanted most of all to remedy in a physiological 
manner this condition is a very powerful as- 
tringent, which will not stain or injure the 
skin. Unfortunately no such drug is at present 
known. 

Perhaps the best substitute for this desidera- 
tum, beside those mentioned, are— 

1. Sulphate of iron 1 drm. 

Water 1 oz. 

Or, make a mixture of crushed ice and salt, 
both powdered very fine ; place this in a muslin 
bag, suspended in a cool place over a vessel. 
When a sufficient quantity of liquid has 
dropped into the latter, add powdered alum— 1 
part to 4 of liquid. This is a cold astringent. 
It should be kept in a stone bottle, and in a cool 
place. 

2. Crushed ice 4 parts. 

Common salt 4 parts. 

Powdered alum — 2 parts. 

Sulphate of iron may be substituted for the 
alum ; or— 

3. Common salt 1 part. 

Nitrate of potash 1 part. 

Hydrochlorate of ammonia 1 part. 

Water— sufficient to dissolve the powders. 

This too, is a very cold application, and may 
be kept in the same manner as the preceding. 

An easy method of cooling and softening the 
heated skin is to bathe it in milk in which ice 
has been dissolved, or the milk may be iced in a 
refrigerator; either of these, too, may have 
alum dissolved in them, as directed above. 

The following is a simple astringent prepara- 
tion : 

4. Tannin 1 drm. 

Infusion of catechu 1 oz. 

Decoction of oak bark 1 oz. 

It should, however, not be used to pale skins, 
as it leaves a temporary stain, but it will be 
found of service when the skin is of such a 
dark color that this becomes of no consequence. 

Skin, Marks on the. — Discoloration. — Res- 
idents in hot climates who are of a dark com- 
plexion often find, after having been in England 
for a few years, that the face skin becomes 
mottled in appearance, patches of light alter- 
nating with patches of dark color. Treatment : 
Apply nightly to the dark patches 

Emulsion of bitter almonds 1 pt. 

Oxymuriate of mercury 2J^ grns. 

Sal ammoniac 1 drm. 

Or touch them with crystals of saltpeter 
moistened with water. 

Noevus, commonly called mother's marks or 
port wine mark, is caused by the dilatation 
and increased growth of the small blood vessels 
of the skin. This may be arterial, venous or 
capillary. In size naevi vary from a pin's 
head to nearly the whole extent of the face. 
No patient should himself operate on a naevus 
greater in circumference than a small pea. The 
simplest method of removal is by means of 
concentrated nitric or hydrochloric acid. A 
match or similar piece of wood should have 
one end bitten out into a form of brush; this 
should be dipped into the acid, and one large 



Skin. 



50T 



Skins. 



drop placed on the nasvus, the skin around 
which should be thickly covered with lard. 
The acid should be brought into contact with 
the whole extent of the nasvus. Then, over the 
scab formed, may be laid the following paste : 

Carbonate of bismuth 1 part. 

Glycerine 1 part. 

Extract of belladonna 1 part. 

Hydrocyanic acid 1 part. 

The use of the acid causes a good deal of pain, 
but it is a very effectual method of removal. 

A certain amount of inflammation is sure to 
follow any operation on a nasvus, but when the 
latter is of small extent this is seldom of a vio- 
lent character and the formula given will prove 
a sufficient remedy. After three days the paste 
may be gently washed off with warm water, 
and the following preparation gently but ef- 
fectually rubbed into the scab, over which a 
thickish layer should be afterward placed and 
the whole covered by court plaster. Common 
cream, 1 part; white wax. 2 parts; glycerine, 
1 part ; spermaceti, 1 part. The scab should 
now be allowed to fall off without further in- 
terference. Another method of removing 
nasvi is to keep them constantly moistened 
with a very dilute acid solution. One oz. dilute 
nitric acid to 4 oz. water. If an operation be 
objected to, and the patient wishes to hide the 
deformity, the following will be found a harm- 
less effectual paint. If properly made it should 
dry like enamel and not crack: Wood char- 
coal, 1 part; carmine, 1 part; chalk, 10 parts; 
glycerine, 3 parts; flexible collodion, 8 parts; 
rectified spirits, 2 parts^ The color of this may 
be varied by the relative amounts of carbon, 
chalk and carmine used. Another and a simpler 
method is to powder the nasvus, say of a 
white color, and then apply a layer of flexible 
collodion. The nasvus should be moistened 
before the powder is applied. 

Shin, Pallid. — This is generally only a local in- 
dication of a general condition, and that condi- 
tion is debility. There may be no apparent 
physical weakness, but, nevertheless, the sys- 
tem lacks that tone which is essential to the 
proper performance of those bodily functions 
the integrity of which constitutes health. 
Anasmiais often present. The causes may, at 
their commencement, be : 1, dissipation, study, 
or any excessive demand on the nervous cen- 
ters; 2, loss of blood or other vital fluids; 3, in- 
sufficient supply of food or oxygen. In any 
case the nervous centers become affected. As 
local measures for the treatment of pallid skin, 
cold bathing may be recommended, followed 
by friction with a soft towel. The following 
may be used for the cheeks: Dilute liquid am- 
monia, 1 oz.; glycerine, 2 oz.; water, 4 oz. This 
should be applied once daily for about three 
minutes, being well worked into the skin, 
afterward a soft towel should be used for three 
or four minutes. If any irritation follows, the 
glycerine may be doubled in Quantity. 

Thin Skin. — Sometimes the epidermis is so 
thin that blisters arise from the slightest irri- 
tation. Treatment : Bathe the skin with— 

Rectified alcohol 2 parts. 

Glycerine 1 part. 

Water 2 parts. 

This is to thicken and harden the epidermis. 

Redness of Skin.— Red spots, with ray-like 
blood vessels seemingly issuing from their cen- 
ters, are a species of nasvus, and may be treated 
in the same way. Sometimes great numbers 
appear on the cheeks; they are then very 
small, and frequently connected over the 
whole surface of the skin by red lines, which 
mark the course of dilated blood vessels. This 
condition is most frequently seen in patients 
suffering from heart or lung disease, and is due 
to impeded circulation and consequent con-" 
gestion of the blood vessels. Let the face be 
washed twice daily in warm water, and after- 
wards well rubbed. Dry friction with a soft 
towel should be freely practiced. The follow- 



ing will be of service if applied once daily: 
Chloride of lime, 1 oz.; warm water, 12 oz. 
Redness may be due to plethora of full blood- 
edness. The whole skin of the face is then of 
a reddish tint, and subject to flushing; the 
eyes are moist. The patient frequently sub- 
ject to fits of profuse perspiration and attacks 
of nose bleeding. 

Treatment: This must be constitutional. 
Locally, the following cooling washes may be 
used as often as desired : 

1. Carbonate of soda 1 part. 

Prepared chalk 1 part. 

Borax 1 part. 

Glycerine 3 parts. 

Oatmeal water. 6 parts. 

Drunkards and gluttons very frequently 
suffer from enlargement or hypertrophy of 
the nose. The latter condition is commonly 
known as cauliflower or carbuncle nose. 
In addition, most of those who are much ad- 
dicted to the pleasures of the table exhibit a 
physiognomy characterized by a full, plethoric, 
purplish color of skin; these individuals are 
commonly said to be bloated. 

Treatment: Rich living must be forsworn, 
and a plain, nutritious dietary substituted. 
Constitutional treatment will also be necessary. 
With regard to cauliflower nose, the best 
treatment is the surgeon's knife ; but if this is 
objected to, the patient must rely on internal 
remedies, with the following local application : 

2. Iodide of potassium 30 grn. 

Bromide of potassium 30 grn. 

Extract of belladonna 80 grn. 

Lard 1J4 oz. 

This may be applied nightly, being well rub- 
bed into the skin of the enlarged parts. Fre- 
quent bathing in cold water and subsequent 
dry friction will assist in promoting absorp- 
tion. 

The unsightly appearance of the skin may be 
improved by using. 

3. White wax 1 part. 

Borax 1 part. 

Prepared chalk 2 parts. 

Juice of bitter almonds 1 part. 

Oatmeal water 2 parts. 

4. Glycerine 8 parts. 

Starch 1 part. 

Chalk 4 parts. 

Carbonate of soda 2 parts. 

Oatmeal water 3 parts. 

These may be freely used. 

Skins. Skins, to Dye. See Dyeing. 

Sheepskin Mats, to Prepare. See Mats. 

Skins, to Prepare for Fur.— Mix bran and soft 
water sufficient to cover the skins. Immerse 
the latter and keep them covered for twenty- 
four hours; then remove, wash clean, and care- 
fully scrape off all flesh. To 1 gal. of water 
(hot) add 1 lb. of alum and y± lb. of salt. When 
dissolved and cool enough to admit entrance 
of the hand, immerse the skins for twenty-four 
hours, dry in the shade, and rub. Stir the 
liquor again, immerse the skins for twenty- 
four hours, dry, and rub as before ; immerse 
for twenty-four hours in oatmeal and warm 
water, partially dry in the shade, and finally 
rub until entirely dry. This leaves the skin 
like white leather, and fit for immediate use. 

Skins, to Preserve (as a Mole Skin). — Suppos- 
ing the skins are dry, they should be softened 
throughout by soaking in pure water; soft 
water is best, but any ordinarily pure water 
may be used, and care must be taken that the 
skins are thus soaked only a sufficient time to 
soften them. Then clean off any bits of flesh 
that may remain on the flesh side, rinse all 
well, shake off the loose water, and gently 
stretch out and tack on a board, flesh side up. 
Then sprinkle with a mixture of powdered 
alum and salt, about % alum and % salt, enougn 
to just cover every part. As the skin dries it 



Slate. 



508 



Soaps. 



takes up the mixture, but if any be left on the 
surface the second day, sprinkle on a little 
more water, otherwise put on more alum and 
salt, and sprinkle. Two to three days should 
be sufficient for such small skins, the idea be- 
ing to give the skin all of the alum and salt it 
will take up, while in a moist condition. This 
tawing* process makes the hair firm, a gentle 
rubbing and beating softens the flesh side, and 
it is preserved from decay, although tawed 
skins are never calculated so stand much wet- 
ting. This process is well adapted for all small 
skins, although those which are heavier re- 
quire more time, and the flesh sides are some- 
times folded together, and the skins rolled up. 
When the skins are f reshly taken off, no soak- 
ing is needed, but more care is then called for 
in thoroughly washing off and cleaning them, 
and the first application of salt and alum 
should be in the proportions of one half each. 
It requires the judgment of a tanner to deal 
with skins in a dry state which may have be- 
come partly damaged before drying, and it 
requires special knowledge also to tell whether 
a dry skin is so damaged. 

Skins, to Remove the Odor of. — Scrape off as 
much of the flesh and fat as possible with a 
blunt knife, and immerse then for forty-eight 
hours or more in the following solution : Salt, 
4 lb.; alum, 1 lb..; water, just sufficient to dis- 
solve. On removing wash in a weak solution 
of soda and water. 

Skills, to Tan. See Tanning'. 

Slate, Artificial Writing.— Fine sand, 41 
parts ; lampblack, 4 parts ; boiled linseed or cot- 
ton seed oil, 5 parts. Boil thoroughly together. 
Reduce the mixture by adding spirits of tur- 
pentine, so that it may be easily applied to a 
thin piece of pasteboard. Give three coats, 
drying between each coat ; finish by rubbing- 
smooth, with a piece of cotton waste, soaked 
in spirits of turpentine. Makes excellent mem- 
orandum books, etc. Use a slate pencil. 

Slate Work.— In the best work, slates 
are secured by copper nails. Iron nails dipped 
in boiled oil to prevent their corroding may 
be used. The nails should have large heads, 
thin and flat, so that they may not prevent the 
slates from lying close. Every slate should be 
secured with two nails; and in fastening, care 
should be taken not to bend or strain the 
slates, or they will crack and fly under sudden 
changes of temperature. 

Slate Roofs.— A square of slate or slating 
is 100 superficial ft. The lap of slates varies 
from 2 to 4 in. The pitch of a slate roof should 
not be less than 1 in. in hight to 4 in. in 
length* 

Slating for Blackboards. See Paints. 

Slip.— A mixture of clay and water. 

Smallpox Pitting. — This may be pre- 
vented by covering the pystules with flexible 
collodion. To remove the pitting Avhere it has 
occurred follow these directions: Wash the 
face every day for some minutes in hot water, 
then rub the face with a soft towel until it is 
aglow. Every morning use the following- 
wash '. 

Dilute spirit of ammonia, 1 part ; glycerine, 
2 parts; water, 3 parts. Once daily rub the 
following into the skin: Subnitrate of bis- 
muth, 6 parts; powdered silica, 5 parts; cal- 
cium fluoride, T tj 5 of a part ; prepared lard, 7 
parts; spermaceti, 5 parts; olive oil, 2 parts. 
This should be freely rubbed over the Avhole 
surface of skin affected. Before retiring to 
rest, the ridges between the pits may be 
painted with a strong solution of iodide of 
potassium. 

Smelling Salts. See Salts, Smelling. 

Snuff Scents. — Of the substances used, 
singly and combined, to scent snuff, the follow- 
ing may be mentioned as the principal : 

1. Tonquin beans and their oil or essence. 



2. Ambergris, musk, civet, and their es- 
sences. 

3. Leaves of orchis f usca. 

4. Root and oil of calamus aromaticus. 

5. Powder and essence of orris root. 

6. Cedar wood, rhodium wood, sandal wood. 

7. Essences, essential oils, or ottos of berga- 
mot, cassia, cedra, cinnamon, cloves, lavender, 
lemon, orange flowers (neroli), rhodium, rose 
geranium, roses (otto), etc. 

In practice, a sufficient quantity of the pow- 
der, essence", or oil, having been well mixed 
with a little of the snuff, the perfumed mix- 
ture is added to the whole quantity of snuff to- 
be scented, and the mass is well stirred up and 
turned over. It is, lastly, passed or rubbed 
through a sieve to insure the perfect diffusion, 
of the scent through the whole mass. 

8. Oil of lemon, separately qualified with a. 
little oil of cassia, cloves, nutmegs, etc. 

9. Oil of bergamot , 2 oz. 

Neroli l^j drm. 

Otto of roses \^ drm. 

Oil of rhodium ]/q drm. 

10. Oil of bergamot 2 oz. 

Oil of lemon 1 oz. 

Oil of lavender (English) y% oz. 

Oil of verbena. . 1 drm- 

11. To the last add- 



Oil of cloves. 



oz. 



12. Essence of tonquin bean 2 oz. 

.Essence of vanilla ^ oz. 

Essence royale 1 drm. 

Oil of cinnamon 1 drm. 

Otto of roses (or oil of rhodium) \ ^ r "™T 

13. Essence of ambergris 114, oz. 

Essence of musk V/% oz. 

Liquor of ammonia (0*880-2) 1 fl. drm 

Many other like combinations are kept. A 
few drops will scent several ounces of snuff. 
Diluted with ten to twenty times their bulk of 
rectified spirit, they form delightful scents 
(bouquets) for the handkerchief, etc. 

Soaps and Soap Making.— On the Manu- 
facture of Soap in Small Quantities without 
Boiling.— Mr. W. J. Menzies, in the course of a 
paper on the above subject, printed in the 
Chemist and Druggist of August 4, gives the 
following practical recipe : 

Take exactly 10 lb. of double refined 9 
caustic soda powder (Greenbank), put it in 
any can or jar with 45 lb. (4^ gal.) of water, stir 
it once or twice, when it will dissolve imme- 
diately and become quite hot; let it stand until 
the lye thus made is cold. Weigh out and place 
in any convenient vessel for mixing, exactly 
75 lb. of clean grease, tallow, or oil (not mine- 
ral oil). If grease or tallow be used, melt it 
slowly over the fire until it is liquid and just 
warm — say, temperature not over 100° F. If 
oil be used, no heating is required. Pour the 
lye slowly into the melted grease or oil in a 
small stream continuously, at the same time 
stirring with a flat wooden stirrer about three 
inches broad; continue gently stirring until 
the lye and grease are thoroughly combined 
and in appearance like honey. Do not stir too 
long, or the mixture will separate itself again. 
The time required varies som3what with the 
weather and the kind of tallow, grease, or oil 
used; from fifteen to twenty minutes will be 
enough. When the mixing is completed, pour 
off the liquid soap into any old square box for 
a mould sufficiently large to hold it, previously 
dampening the sides with water so as to pre- 
vent the soap sticking. Wrap up the box well 
with old blankets, or, better still, put it in a 
warm place until the next day, when the box 
will contain a block of 130 lb. of soap, which 
can afterward be cut up with a wire. Kemember 
the chief points in the above directions, which 
must be exactly followed. The lye must be 
allowed to cool. If melted tallow or grease be 
used, it must not be more than warm. The ex- 



Soaps. 



509 



Soaps. 



act weights of double refined 98% powdered 
caustic soda and tallow or oil must be taken; 
also the lye must be stirred into the grease, not 
.grease or oil added to the lye. If the grease or 
tallow used be not clean or contains salt it 
must be rendered, or purified, previous to use, 
that is to say, boiled with water, and allowed 
to become hard again to throw out the impui'i- 
ties. Any salt present will spoil the whole 
operation entirely, but discolored or rancid 
grease or tallow is just as good as fresh for 
soap making purposes. 

If the soap turn out streaky and uneven it 
has not been thoroughly mixed. If very sharp 
to the taste too much soda has been taken. If 
soft, mild and greasy, too little soda has been 
used. In either case it must now be thrown 
into a pan and brought to a boil with a little 
more water, In the first case boiling is all that 
is necessary; in the other instances a very 
little oil or a very little more of the 
double refined powdered caustic soda must 
be added to the water. These things will 
never happen, however, if the directions 
are exactly followed, and after the soap has 
been made several times with the experience 
thus gained the process is extremely easy and 
the result will be always a good batch of 
soap. Beef tallow makes the hardest soap, 
mutton fat a rather softer soap; of oils, cotton 
seed is the cheapest and best, but the soap is 
much softer, lathering very freely indeed. Or- 
dinary household fat or dripping will make 
a nice soap and in many places can be obtained 
at a very trifling cost, and in exchange for goods 
sold. Such grease, however, must be carefully 
examined for salt, which it often contains. It 
will be evident that any smaller quantity of 
soap can be made at a time, according to the 
above directions, by taking the ingredients in 
exact proportion. It is not advisable to make 
more than double the quantity prescribed, as 
it is difficult to work more by hand. By making- 
successive batches, however, a single person 
can make two tons of soap in a day simply with 
apparatus (pans, etc.) obtainable in any house- 
hold. 

.By adding a few drops of essential oil just 
when the mixing is completed a toilet soap is 
produced. Oil of mirbane (artificial almond oil) 
is the cheapest, but the perfume is not nearly so 
pleasant as real almond oil, citronella or oil of 
cloves. If made with clean grease or fallow or 
light colored oil, the soap produced is quite 
white. 

Sometimes a little coloring matter will make 
the soap sell better, although of no better 
quality. Half an ounce of bichromate of potash 
ash dissolved in the lye will give a green; 1 lb. 
palm oil melted with the tallow or oil, a yellow 
color; or a good brown can be got by burning 
^a lb. of sugar in a saucepan until black, then 
dissolving it in a pint of water, and adding it to 
the melted tallow before mixing. 

A very cheap and good jelly soft soap can be 
made with the above soap. Take 5 lb. of the 
hard soap, crush it down or cut it up into 
as small pieces as possible; put this into 
a pan or boiler with 10 gal. of water if a 
strong hard tallow soap; if an oil soap only 
half the quantity of Avater (five gallons^ just 
bring it to a boil, and stir well, to thoroughly 
dissolve all the pieces of hard soap; pour or 
ladle it into any can, tub or barrel that is tight, 
and leave it to cool for two or three days. This 
will give about 80 lb. of jelly soft soap, at an 
exceedingly small cost. Of course, if made 
from colored and scented hard soap it will be 
a colored and scented jelly soap. This is a good 
way of working up the scraps and bits of soap 
after cutting up. It can be sold with a good 
profit at a very "low figure and often as a sub- 
stitute for regular soft soap. It is a very differ- 
ent article, however, to a real potash soft soap, 
which should invariably be used for washing 
woolens. It is possible to produce this real 



potash soft soap in the cold by a somewhat 
similar process to the above. 

Boiling Soap.— The Paste.— This operation is 
to produce a preliminary combination of fat 
and ley. Some soap makers use during the 
whole operation a ley of the same strength, 
while others commence with a weak ley, then 
use one of middle strength, and finish with a 
strong one. In the fir=t case, a ley is employed 
of 10° to 15° B. In the second, of 7° to 10°, 15° 
to 18°, and 18° to 25° B., successively. In some 
cases, as for red oil soap, very strong leys are 
employed, say of 25° to 30° B.; usually the fat is 
first put in the pan and then the le}^ is added. 
For the paste operation no leys should be used 
containing foreign salts, such as are found in 
inferior kinds of soda, for it is then very diffi- 
cult to form a union of the fats with the ley, 
and no good sud is obtained. But when the 
soap has been separated from the ley by salt, 
leys containing salt may be used. In saponify- 
ing red oil, salty leys may also be employed 
from the beginning. It is imperative in all op- 
erations that the ley should be caustic, because 
carbonate of soda will not unite with fat. For 
transforming 100 lb. of fat into soap, about 14 
lb. of caustic soda are necessary, but generally 
more is employed, because the soda used is 
never a pure hydrate of soda. The quantity of 
ley taken is also differently regulated by the 
manufacturers. Some add the whole amount 
of ley at the commencement, others add it 
gradually in small quantities. This last mode 
is preferable. From time to time, in order to 
test it, a drop of the paste should be put on the 
tip of the tongue, when, if there is still free al- 
kali in it, a burning sensation will be produced, 
in which case the boiling must be continued 
until the soap gives a sweetish taste. More ley 
should then be added, under constant stirring, 
until the entire quantity is consumed. At this 
stage the contents of the kettle are trans- 
formed into a homogeneous, clear liquid, in 
which neither ley nor fat can be discovered. If 
the liquid is perfectly clear, it shows that the 
right proportion of fat and ley has been ap- 
plied. Should saponification progress too 
slowly, a weak ley of from 1° to 2° B. may be 
added, and soap scraps will facilitate the com- 
bination of the fat with the alkali. By heating 
with an open fire, it sometimes happens that a 
portion of the paste, when it thickens, sticks 
to the bottom of the vessel and burns. This is 
indicated by a black smoke passing off here 
and there with the vapor. When this occurs, 
the fire should forthwith be reduced, and some 
gallons of the strongest ley added to prevent 
further mischief. By this means a slight sep- 
aration of the soap from the ley is occasioned, 
and the contact between the former and the 
metallic surface destroyed. In all cases the 
paste operation is complete, when, on taking 
out the stirring rod, the paste no longer drops 
from it, but slides down in long threads. 

Cutting Up the Pan.— This is done by stirring 
into the ingredients of the soap kettle either 
soda ley containing salt, or a solution of salt, or 
dry salt. The separation is founded upon the 
insolubility of the soap in brine or strong caus- 
tic leys, whereas weak leys would dissolve it. 
Of all soaps the cocoa nut oil is the most re- 
markable, for, being dissolved by a brine solu- 
tion, it is peculiarly serviceable for washing in 
salt water, whence its name, marine soap. This 
soap becomes so hard, that when separated 
from the glycerine, it cannot be cut with a 
knife, and consequently the salting operation 
should not be performed, but the soap boiled 
in strong ley with one water. The following is 
the method by which the salting operation is 
effected : One workman gradually adds the 
brine or dry salt, while another agitates the 
paste with a stirring rod from below upward. 
This is done under gentle boiling. It is essen- 
tial to add the salt in the right proportion; the 
whole amount requisite should not be stirred in 
at once, but in portions of about one sixth. 



Soaps. 



510 



Soaps. 



After half of it has been dropped in, the soap 
should be allowed to boil for about ten min- 
utes before any addition is made. According 
to concentration, 12 to 16 lb. of salt are neces- 
sary for 100 lb. of fat, to separate the formed 
soap from the surplus of water, The separa- 
tion is perfect when the aqueous portion is ob- 
served to run off from the curdy mass; when a 
sample is taken with a spatula, it is not of an 
adhesive character while hot; and when, on 
placing some in the palm of the hand, and rub- 
bing it with the thumb, it hardens into firm 
scales. The termination of the process is also 
indicated when the surface splits up into sever- 
al fields, seperated from each other by deep 
furrows, in which there is not the fresh and 
soft appearance of froth, but of dry slabs. The 
fire should be extinguished when the soap, 
hitherto covered with froth and bubbles, sud- 
denly sinks, and the froth breaks up into 
roundish massive grains, distinctly separated 
from each other and from the saline solution. 
The salting being completed, let the mass re- 
main quiet for several hours, and then the un- 
der ley may be drawn off by the faucet. 

Clear Boiling.— This operation is to obtain 
hardness, consistency, and complete neutrality 
of the soap. Commence to boil the paste gently 
with tolerably strong leys. Some manufactur- 
ers proportion the quantity of ley to be used, 
and having put in the first, boil for eight hours 
or so, then draw off the ley, put in the second, 
boil again, draw off, and so on. Should the 
soap, during the intervals, become too liquid, 
which may happen if a too weak ley has been ap- 
plied, some handf uls of salt must be added, or 
the soap boiled with a weak ley containing salt. 
After each addition of ley, there should be, in 
taking up a portion by the spatula, some diffi- 
culty in running off the ley. Should this not be 
the case, water must be added, whereupon a 
quicker union of the alkali with the fat will be 
obtained. The process is terminated when 
large, regular, and dry scales appear on the sur- 
face, and when these give elastic, brilliant, 
white scales, and are easily pulverized by rub- 
bing them in the palms of the hands. The soap 
should then be covered, left for some time, and 
eventually removed in the ladles. 

Of the principal varieties are : 

Almond Soap.— A toilet soap made of almond 
oil and soda. 

Castile Soap, Spanish Soap, Marseilles Soap.— 
Soap chiefly imported, made of olive oil and 
soda. It occurs both in the white and mottled 
state; the former being said to be the purest; 
the latter the strongest. It is the hard soap 
(sapo, sapo durus) of the pharmacopoeias. It 
is chiefly used in medicine and the toilet. 

Curd Soap.— Made of tallow or suet (chiefly) 
and soda. 

Mottled Soap (commercial).— Made of refuse 
kitchen fat (chiefly) and soda. 

Naples Soap.— Made of olive oil and potash. 

Olive Oil Soap.— Castile soap (vide supra). 

Palm Soap, Palm Oil Soap, Violet Soap (com- 
mercial).— Made of palm oil and soda. It has an 
agreeable odor of violets. 

Soft Soap.— 1. (Commercial). A dark, strong, 
fetid soap, made of whale, seal, or cod oil, tal- 
low, and potash. 

2. Soft Olive Oil Soap, Medicinal or Toilet 
Soft Soap.— Soap made of olive oil and potash. 
It is yellowish white, inodorous, and of the 
consistence of thick honey. It is the soft soap 
(sapo mollis) of the pharmacopoeias. 

3. White Soft Soap. —Soap made of lard and 
potash. Only used in cosmetics and as a toilet 
soap. 

Toilet Soaps.— Any of the preceding milder 
soaps, taken singly or mixed, and variously 
scented and colored. 

Yellow Soap, Rosin Soap.— Made of tallow, 
rosin, and soda. Palm oil, when cheap, often 
replaces the tallow, or a portion of it. 

Agricultural Soap (whale oil soap).— Soda lye 
30° B., \y& part: whale oil foot, 3 parts. Make 



by the cold process. Used for destroying in- 
sects on plants. 

White Alabaster Soap.— Stearin, 6^ lb.; cocoa 
nut oil, 11 lb.; glycerine, && lb.; lye of 38° B., 
9 lb.; alcohol of 96^, 13 lb. The stearin and co- 
coa nut oil should be saponified by heating with 
the lye to 178° F., then the alcohol should be 
added. When these combine, add the glycerine. 
After the soap becomes clear, let it cool to 133° 
F., when it may be put in the frames. Perfume 
with 2 oz. oil of bergamot, y% oz. oil of gera- 
nium, 7 drm. oil of neroli, f^ oz. oil of lemon. 

Almond Soap.— Oil of almonds by weight, 21 
oz.; solution of caustic soda (sp. gr. 1*334) by 
weight, 10 oz. Add the lye to the oil in small 
portions, stirring frequently. Leave the mix- 
ture for some days at a temperature of from 
64° to 68° F., stirring occasionally, and when it 
has acquired the consistence of soft paste, put 
it into moulds till sufficiently solidified. It 
should be exposed to the air for one or two 
months before using. 

Bitter Almond Soap.—l. Pure white soap, 10 
kilos.; oil of bitter almonds, 120 grm. Not col- 
ored. 

2. Or, white tallow soap, 56 lb.; oil of almonds, 
34 lb. For inferior kinds, nitro benzol is em- 
ployed instead of oil of almonds. 

3. Best white tallow soap, y% cwt.; essence of 
bitter almonds, 10 oz.; as soap a la rose. Very 
fine. 

4. White curd soap 100 lb. 

Oil of bitter almonds 20 oz. 

Ambergris. — 1. Curd soap, 7 lb.; oil of cara- 
way, 34 oz -; essence of bergamot, y^ oz.; essence 
of ambergris, 34 oz. 

2. Crease perfumed with ambergris and 
musk, 25 lb.; jasmine pomade, 10 lb.; rose 
pomade, 10 lb.; gum tragacanth, 3 oz.; caus- 
tic soda ley, 33° B., 25 lb. Color light brown 
with caramel. The musk and ambergris have 
to be added to the grease some weeks before 
making, frequently melting and stirring. 

Ammoniated Soap.— The subjoined formula is 
given by the Journal of the Society of Chemical 
Industry. A soap is first formed in the usual 
way from the following ingredients : Stearic 
acid 8 parts, cocoanut oil 4 parts, potash and 
soda, of each 1 part; water, 6 parts. The soap 
when cold is cut into shavings, which are then 
placed in a retort, in which they are subjected 
to the action of gaseous ammonia at a pressure 
of 15 lb. per square inch, until the soap has be- 
come thoroughly impregnated with it. 

Antimonial Soap.— Pure white Castile soap in 
powder, V/% oz.; golden sulphide of antimony, 
2 dr.; solution of caustic potassa, 6 dr. Dissolve 
the sulphide in the potash and add to the 
soap; then triturate in a mortar until a stiff 
paste is formed. It should have a grayish white 
color. 

Antiseptic Soap (for preserving birds, ana- 
tomical preparations, animals, etc.)— 1. Curd 
soap, 4 lb.; carbonate of potash, ^ lb.; arsenic, 
1 lb.; camphor, }4 lb. Dissolve the soap with a 
very little water, and add the other ingredients 
powdered and mixed together. 

2. Laurent's. — Put in a bottle 1 oz. powdered 
soap; 4 drm. arsenite of potassa; 4 drm. sul- 
phate of alumina; 4 drm. pulverized camphor; 
add 12 oz. alcohol. Let the mixture stand 
twenty-four hours; then add 6 drops oil of 
thyme and cork the bottle carefully. 

Arsenical Soap.— Becoeur's.— 1. Arsenic, 5 oz.; 
camphor, 634 drm.; white soap, 5 oz.; carbonate 
of potash, 15 oz.; air slaked lime, 5 oz.; made 
into a stiff paste with a little water. Used in 
preparing the skins of birds and other small ani- 
mals. 

2. Arsenical soap is used by bird and animal 
stuffers to preserve the skins from the attacks 
of insects. It is prepared by the following for- 
mula: White soap, arsenious acid, and lime 
slaked by air, ot each 4 oz.; carbonate of soda, 
12 oz.; powdered camphor, % oz. The whole of 
these ingredients are worked up into a paste,. 



Soaps. 



511 



Soaps. 



with pestle and mortar, a small quantity of 
water being added during the mixing. 

3. Arsenical Soap, Cosmetic— Arsenicated 
soap.— 

Arsenite of soda ^drm. 

Soft water (hot) V/% oz. 

Dissolve, add the solution to- 
White Windsor soap (melted) ... 1 lb. 

Mix thoroughly, and form the mass into small 
cakes. The whole process should be performed 
in glass, porcelain or stoneware. Used by some 
ladies in fashionable life, under the idea that it 
promotes the softness, clearness, and general 
beauty of the skin. Sometimes the solution is 
beaten up with the soap (in shavings), instead 
of being added to it in the melted state, with or 
without the addition of 1 to 2 drm. of pow- 
dered camphor. / 

Arsenical soap is not recommended for toilet 
purposes. 

Beef Marrow Soap.— To 500 lb. beef marrow 
add 250 lb. caustic soda lye of 36° B., stir con- 
stantly and gently, and heat the mass till it be- 
comes soluble in water. In this state dilute 
with 2,000 parts boiling water, and pour in 1,000 
parts brine (containing 180 parts common salt), 
with constant stirring. After allowing some 
time for repose, pour into the frames, and 
leave for a day or two to set thoroughly. 

Benzoin Soap. — 

White curd soap 40 lb. 

Tincture of benzoin 54 oz. 

The soap must be in the form of a very stiff 
paste, otherwise the tincture of benzoin will 
render it rather soft. Brown ocher may be 
used as the coloring agent. 

Bergamot Soap.— Cocoa nut oil, 4 lb.; lard, 1 
lb.; soda lye of 40°, 2^ lb.; perfume with berga- 
mot oil, 1 oz.; oil of geranium, 2% drm. 

Soap Berry.— The fruit of a West Indian 
plant, sapindus saponaria. It is said to have a 
much greater cleansing power than the best 
soap. 

Bismarck Soap.— Cocoa nut oil, 13 lb.; castor 
oil, 2 lb.; soda lye of 40° B., 7 lb. Perfume with 
cinnamon oil, 1% oz.; oil of cloves, 23^ drm.; oil 
of sassafras, 4 drm.; oil of bergamot, 2^ drm.; 
oil of lemon, % oz. Color with Bismarck brown 
to a dark color. 

Black Soap, or Farrier's Soap, is a coarse kind 
of soft soap, made from fish oils and caustic 
potash; sometimes tar is added. Besides the 
substances above named, iodine, bromide, creo- 
sote, and many other chemical substances have 
been employed for making what are sometimes 
termed skin soaps, but they are all prepared 
much in the same way as above indicated. 

This is properly a crude soft soap made of 
fresh oil, tallow, and potash; but the following 
mixture is usually sold for it : Soft soap, 7 lb.; 
train oil, 1 lb.; water 1 gal.; boil to a proper 
consistence, adding ivory black or powdered 
charcoal to color. 

Boracic Soap.— The marked cleansing powers 
of borax have been long recognized, as well as 
its utility in restoring health and vigor to the 
diseased epidermis. The soap has already been 
considerably employed as a toilet remedy for 
itching, freckles and eruption, as well as for 
securing a clear and healthy complexion. At 
the same time it forms a splendid shampooing 
soap, cleansing the hair from excess of fat, 
from dandruff, etc., in a thorough and ex- 
peditious manner. 

Borax Soap.—l. Mr. Rowbottom produces 
borax dry soap, or soap powder, by adding bor- 
ax to the usual carbonated or silicated ash or 
alkali, or other substance used in the manufac- 
ture of dry or powder soaps For borax soft 
soaps he adds a solution of borax to the ingred- 
ients usually employed for making ordinary 
soft soaps before or during the manufacture, 
or he dissolves by heat any ordinary soft soap 
in the borax solution, and incorporates the 



same, after which the mass is allowed to cool 
in the usual manner. 

2. Borax (in fine powder) 1 oz. 

Honey or Windsor soap (recent).. 1 lb. 

Mix by either beating them together in a 
mortar or by a gentle heat. Used to whiten 
and soften the skin, prevent chaps, etc. It is 
an excellent soap for raw or tender parts re- 
quiring washing, and will lather with hard 
water. Like other soaps of the kind, it should 
not be left or dipped in the water. 

Borax Soap Powder.— 

Curd soap in powder 5 parts. 

Soda ash . 3 parts. 

Silicate of soda 2 parts. 

Borax, crude 1 part. 

Each ingredient is thoroughly dried and all 
mixed together by sifting. 

Borax Soft Soap.— 

White fats 100 lb. 

Soda ley, 15° B 100 lb. 

Potash ley, 10° B 60 lb. 

Solution of borax, 10° B 15 lb. 

The soda ley is added to the melted grease 
and heated till it forms a clear liquid or is com- 
bined, when the potash ley and borax solution 
are added. It should be a semi-solid trans- 
lucent paste, and is usually sold in quart cans. 
Bouquet. — Savon au Bouquet. — 1. This soap is 
prepared from the following: White curd 
soap, 601b.; olive oil soap, 40 lb.; perfume with 
oil of bergamot, 13 oz.; oil neroli, 1% oz.; oil of 
cloves, sassafras and thyme, each, 1*4 oz. Color 
with brown ocher, 22 lb. 

2. Best tallow soap, 30 lb.; ess. of bergamot, 4 
oz.; oils of cloves, sassafras and thyme, of each 
1 oz.; pure neroli, 3^oz.; finely powdered brown 
ocher, 7 oz. Mix as last. Very fine. 

3. White tallow or lard soap 10 kilos. Perfume 
with oil of bergamot, 15 grm.; neroli, 15 grm.; 
sassafras, 10 grm.; thyme, 10 grm. Color with 
100 grm. brown ocher. The oil of neroli may 
be replaced by oil of lavender, and oil of 
cloves, 10 grm., may also be added. 

4. White curd soap (finest) 7^ lb. 

Olive oil soap 2)4 lb. 

Oil of bergamot 1 oz. 

Oil of cassia 1% drm. 

Oil of cloves 1\4 drm. 

Oil of sassafras lj^j drm. 

Oil of thyme \% drm. 

Neroli (or essence de petit grain) 1 drm. 
Ocher (brown, levigated) 2 oz. 

And proceed as for almond soap (ante). 
Highly and agreeably fragrant. It may be 
varied by substituting English oil of lavender 
for the neroli. Some makers color it with 
burnt sugar instead of ocher. 

Bran Soap.— -Add to good soap from 2 to 4 % of 
bran. 

Bubbles, Soap.— This receipt is given by Prof. 
Josiah P. Cooke : 1. Procure a quart bottle of 
clear glass and some of the best white Castile 
soap (or, still better, pure palm oil soap). Cut 
the soap (about 4 oz.) into thin shavings, and, 
having put them into the bottle, fill it up with 
distilled or rain water, and shake it well to- 
gether. Repeat the shaking until you get a 
saturated solution of soap. If on standing, the 
solution settles perfectly clear, you are pre- 
pared for the next step; if not, pour off the 
liquid and add more water to the same shav- 
ings and shake as before. The second trial will 
hardly fail to give you a clear solution. Then 
add to two volumes of soap solution one vol- 
ume of pure concentrated glycerin.— The New 
Chemistry, p. 29. Grand soap bubbles can be 
blown with this preparation. 

2. Take olive oil soap (genuine white Castile), 
cut it into thin shavings, and dry thoroughly. 
Dissolve these shavings in alcohol until the 
alcohol is saturated. The solution should show 
a specific gravity of 0*88. 

Mix glycerine with water until it shows a 



Soaps. 



512 



Soaps. 



density of 17*1° Baume. To 6 - 102 cubic inches 
of solution 3, add 1*52 cubic inches of solution 2, 
and boil until the alcohol is all expelled— until 
the temperature rises above 212°. Cool and 
turn into a graduated flask, and add water 
to make the volume 6 - 102 cubic inches. Filter, 
if necessary, to remove oleate of lime. 

3. Cut up Castile soap into fine shavings, place 
one part in a clean bottle with 40 parts of rain 
water, and let it stand for a day with repeated 
shakings. Let it settle a few hours and pour 
off the clear solution; if necessary, filter 
through flannel. 

4. Dissolve some finely cut Castile soap in 
water, and add a little glycerine. If distilled 
water is used, take 50 grm. of the soap to H 
liter of water; when settled add one-half the 
amount of glycerine. 

Camphor Soap.—l. Tallow curd soap, 50 lb.; 
oil of rosemary, 234 lb.; camphor, 234 lb. Pow- 
der the camphor by triturating it with some 
almond oil, and sift. When the soap is ready 
to put in the frame add the camphor and rose- 
mary oil. 

2. Spermaceti 4 oz. 

Melt it by a gentle heat, add of — 

Camphor (cut small) 2 oz. 

And when dissolved, add the mixture to- 
White curd soap .. 6J^lb. 

Carbolic Acid Soap.—l. Half palm soap, 20 lb.; 
starch, 1 lb.; carbolic acid in crystals, 1 oz.; oil 
of lavender, 2 oz.; oil of cloves, 1 oz. The car- 
bolic acid is added to the soap in a melted state 
and thoroughly incorporated. 

1. This is also made Into soap containing a va- 
riable amount of the agent up to 25 per cent. 
The latter, specially suitable for surgeons' use, 
can. be prepared by mixing in a warm mortar 
75 parts of powdered stearin soap with 25 parts 
of pure carbolic acid and pressing the product 
in toilet soap forms; it lathers well and only 
slowly dissolves. A soap containing even so 
much carbolic acid can be used without any 
injurious results for the hands, though, of 
course, it is not advisedly adapted for general 
use. 

Castile, White.— 1. Olive oil, 40 parts ; ground 
suet, 30 parts; tallow, 30 parts. 

2. Olive oil, 30 parts; lard, 30 parts; palm nut 
oil, 40 parts. 

3. Oilve oil, 30 parts; cotton seed oil, 30 parts; 
tallow oil, 40 parts. 

4. Palm oil (bleached), 50 parts; sesame oil, 20 
parts; tallow, 30 parts. 

Castor Oil Soap.— This soap, prepared as be- 
low, is said, by Mr. Hammer, to answer best 
for, preparing soap liniment (linimentum sa- 
ponis co.). — 

Saponify 2 pt. of castor oil with 6 oz. of 
caustic potash and 2 pt. of water, by heating 
until a transparent mixture is obtained; then 
add a saturated solution of 8 oz. of chloride of 
sodium, stir until cool, allow to subside for a 
day, decant the liquid portion, cut in pieces, 
and dry for use. 

Chemical. — Powdered fuller's earth, }4 oz.; 
just moisten with spirits of turpentine; add 
salts of tartar, 3^ oz.; best potash, i^ oz.; work 
the whole into a paste with a little soap. It is 
excellent for removing grease spots. 

Chinese Soap.— Saponify 60 lb. cocoanut oil 
with 30 lb. of lye of 38° to 40° B. Perfume with 
oil of Portugal, 1% oz.; oil of bergamot, 234 oz.; 
oil of lemon, 1% oz.; tincture of musk, 6 oz.; 
oil of patchouli, 3% drm. 

Chlorinated Soap.— Powdered Castile soap, 11 
oz., and dry chloride of lime, 1 oz., are beaten 
into a mass with sufficient rectified spirit, hold- 
ing in solution oil of verbena or ginger grass, 34 
oz. The mass is then formed into flat tablets, 
and wrapped in thin sheet gutta percha. 

Cinnamon Soap. — 

White curd soap 60 lb. 

Palm oil soap 40 lb. 



Color with 2 lb. of yellow ocher and perfume 
with— 

Oil of cinnamon 14 oz. 

Oil of sassafras 23^ oz. 

Oil of bergamot. 23^ oz. 

2. Pure palm soap, 5 kilos.; tallow soap, 5 
kilos. Perfume with oil of Chinese cinnamon, 
80 grm.; sassafras, 20 grm.; bergamot, 30 grm. 
Color with 80 grm. yellow ocher and 20 grm. 
burnt sienna. For inf erior descriptions, oil of 
cassia is used instead of oil of cinnamon. 

3. Best tallow soap, 30 lb.; best palm oil soap, 
20 lb.; essence of cinnamon, 7oz.; essence of 
sassafras and bergamot, of eachl34oz.; finely 
powdered yellow ocher, 1 lb. Mix as soap a 2a 
rose. Very fine. 

4. White curd soap (finest) 6 lb. 

Palm oil soap (finest) 3J^ lb. 

Olive oil soap 1 lb. 

Oil of cinnamon. ..." V/% oz. 

Oil of bergamot J4 oz. 

Oil of sassafras 34 oz. 

Oil of lavender (English) 1 dru 

Yellow ocher (levigated) 34 lb. 

Citron Soap.— Curd soap, 6 lb ; otto citron 
zestes, % lb.; otto of verbena (lemon grass), % 
oz.; otto of bergamot, 4oz.; otto of lemon, 2oz. 

Cocoanut Oil Soap. — Put 50 lb. cocoanut oil 
and 50 lb. caustic soda lye of 27° Baume into a 
soap kettle; boil and mix thoroughly for 1 or 2 
hours, until the paste gradually thickens; then 
diminish the heat, but continue stirring till the 
cooling paste assumes a white, half solid mass; 
then transfer quickly to the frames. A mix- 
ture of equal parts of cocoa nut oil and tallow 
will make a very fine filled soap. Cocoanut oil 
mixed with almost any fats, if they are not in 
too large proportions, will produce filled soaps. 

Cod Liver Oil Soap.— 2 oz. cod liver oil; caustic 
soda, 2 drm.; water, 5 drm.; dissolve the soda in 
the water and mix it with the oil. 

Cold Cream Soap.— Spermaceti soap, 25 lb.; 
white soap, 373^ lb.; caustic potash, 6°, 1}4 lb.; 
gum tragacanth, 23^ oz.; oil of almonds, % lb. 
Shred the soap, put in the hopper of the mill, 
dissolve the gum in a little water, and mix 
with the lye and oil. Add this to the soap, and 
grind. Perfume with oil of bitter almonds, 134 
oz.; oil of cloves, 134 oz.; oil of bergamot, 6J4 oz. 

Savon de Crimec— White curd soap, 16 lb.; 
palm soap, 4 lb.; color with vermillion, 23^ drm.; 
brown, ocher, 1 oz.; ivory black, y%, oz. Per- 
fume with oil of thyme, mint, rosemary, each 
1 oz.; oil of lavender, 2y% drm.; oil of cloves, 134 
drm.; tincture of benzoin, V/% oz. 

Cream Soap.— Take white, soft, lard potash 
soap, recent, but moderately firm, and beat in 
small portions at a time, in a marble mortar, 
until it forms a white homogeneous mass; add 
sufficient essential oil of almonds, supported 
with a little oil of bergamot, or of cassia, put 
in during the pounding. 

Croton Soap .—From croton'oil and liquor of 
potassa equal parts; triturated together in a 
warm mortar until they combine. 

Dawson's Patent Composite.— Strong potash 
lye, 75 lb.; tallow, 75 lb.; cocoa nut oil, 25 lb. 
Boil until the compound is saponified in the 
usual manner. 

To make thirty pounds of the new composi- 
tion, take 2 gal. boiling soft water in a kettle, 
add 3^ lb. sal soda, 2 oz. borax, 2 tablespoonfuls 
spirits turpentine, and 1 teaspoonful linseed 
oil. Stir this mixture until the borax and soda 
are dissolved; then add 15 lb. of the above soap, 
made from lye, tallow and cocoa nut oil ; and 
continue the boiling with stirring for fifteen 
minutes, until the whole is Incorporated and 
dissolved. Now add 2 oz. spirits of hartshorn 
and stir. It may be scented with any essential 
oil or odor, and colored, if desired; then run off 
and moulded into cakes fit for toilet use. It is 
a good soap for chapped hands, and free from 
any disagreeable odor. 

Disinfecting Soap (Jeye's Improved).— Gas tar 
is distilled and the light oil rejected; 16 parts 



Soaps. 



513 



Soaps. 



of the heavier oil, 32 parts of cocoa nut oil, and 
16 parts of caustic soda at 35° B. are saponified 
in a jacketed pan, with or without the addition 
of rosin, and sodium sulphate and carbonate. 

Dogs, a Soap for Washing, and other animals 
is sometimes made by mixing Stockholm tar 
(wood tar) with melted soap. The tar should 
first be dissolved in pyroxylic spirit (wood 
naphtha). 

Egg Yelk Soap.— Cocoa nut oil, 8 lb.; tallow, 
8 lb.; yelks of 50 eggs added to olive oil, q. s. to 
make 4 lb.; soda lye, 38° B., 8| lb. Perfume with 
oil of lemon, 2 oz.; oil of cloves, }4 oz.; oil of 
sassafras, 134 oz. Color pale yellow. Good for 
the complexion. 

Eichhaum' l s Soap.— In order to make a soap 
from strongly smelling fish fats, /F. Eichbaum 
takes 400 kilos, of the fat, 25 kilos, raw palm oil, 
250 kilos, lye of 12° B., and warms up. A further 
similar amount of lye of 15° B. is added, and the 
thoroughly mixed mass allowed to boil till 
clear and free from scum, more lye being added 
when necessary. The mass is then poured in a 
thin stream through 20° lye, 50 kilos, powdered 
rosin are added gradually, and then 40 kilos, lye 
of 20°, and the mass boiled. When ready, the 
soap is salted in the ordinary way. The addi- 
tion of the rosin is said to lessen the fishy smell 
considerably. 

Elder Flower Soap.— 

Half palm soap 100 lb. 

Dextrine 3 lb. 

Perfume with— 

Oil of bergamot 8 oz. 

Oil of lavender. 2 oz. 

Oil of thyme 2 oz. 

Oil of cloves 1 oz. 

Oil of cassia J^ oz. 

Oil of almonds 3*£ oz. 

Color light green. 

Erosive Soap.— To remove stains and grease 
frtom clothing.— Two lb. good Castile soap, y% 
lb. carbonate of potash, dissolved in }& pt. hot 
water. Cut the soap in thin slices, boil the 
soap with the potash until it is thick enough to 
mould Into cakes; add alcohol, y& oz.; camphor, 
y% oz.; hartshorn, ^ oz.; color with y% oz. pul- 
verized charcoal.— Science Record, 1875. 

Flowers of Erin.— White curd soap, scented 
with oil of roses, 1 drm.; spirits of violet, 3*6 fl. 
oz.; spirits of jasmine, % fl. oz.; spirits of pat- 
chouli, 34 fl. oz.; spirits of vanilla, 34 A. oz. 
Tinged green or rose. 

Fabrics, Soap for Removing Stains fro m — 

1 2 

Fatty acids .... 50'0 .... 40'0 

Potash 11-5 .... 9-5 

Water. 38'5 ... 50'5 

The soap should contain a slight excess of al- 
kali, but no resin (which hardens the fabrics), 
starch or silicate should be present, 

3. This is prepared from a good white soap, 
cut into thin shavings. For 6 lb. of the soap 
take one ox gall, and the whites of four eggs, 
and mix all the ingredients in a mortar, adding 
2 lb. powdered alum. When the whole has been 
well incorporated, the mass is to be kept in a 
damp place for twenty-four hours. It is said 
that this soap finds much favor with scourers 
for removing grease, etc. 

Essence of Soap.— Under this title various 
preparations are made; but they are all solu- 
tions of soap in warm alcohol, with, generally, 
the addition of a small quantity of potash. 
Soaps made from vegetable oils are preferred, 
because they remain clear and liquid when cold, 
whereas those prepared from animal fats be- 
come solid in cooling. Dussauce gives the fol- 
lowing formula for preparing this soap : 

White Marseilles soap 6^ oz. 

Alcohol at 85° 1 qt. 

Potash . , 6 drm. 

Cut the soap into fine shavings, and put them 
into a bottle holding about 3^ gal. (a Winchester 



bottle would suit admirably); add the alcohol 
and potash, and heat gently, without boiling, 
over a water bath; stir with a glass rod. When 
the solution is complete, take it out of the 
water bath, and add the essences. A very 
sweet perfume may be given to this prepara- 
tion by adding to it- 
Oil of geranium iy> drm. 

Oil of verbena 2j| drm. 

To color yellow, add 2)4 drm. saffron. 

This essence continues limpid at the ordinary 
temperature. To use it, pour a little into y 2 
tumbler of water and stir quickly. 

Essence de Savon Yienne. — 

White soap 3 oz. 

Carbonate of potash 1 drm. 

Alcohol at 95° 18 oz. 

Lavender water 6 oz. 

Digest and filtei\ 

Essence de Savon Corinthe.— Dry white soap, 
10 oz.; alcohol at 80°, 1 qt.; potash, 2 oz.; essen- 
tial oil, a few drops. Digest. Any perfumed 
toilet soap may be converted into an essence; 
but doubtless the white Castile soap would form 
the most elegant preparation, besides being the 
most emollient. 

Essence de Savon de Corinthe.— 

Alcohol 30° B 1 qt. 

Dry white soap j 9 oz. 6 

( drm. 

Potassa j loz. 7 

( drm. 

Essential oil, for perfume j some 

I drops. 
Rasp the soap, put it in a vessel with the al- 
cohol and heat together over a water bath, to 
perfect solution. Perfume with any desired 
essential oil. Add animal charcoal and filter 
when the whole is cold. Thus is obtained a 
liquid, marking 30° B., which lathers readily 
with water. 

Essence de Savon d'ltalie, a la Rose.— 

White soda soap 10 parts. 

Alcohol,34° B 34 parts. 

Rose water 34 parts. 

Digest at a mild heat and filter. If orange 
flower water is substituted for rose water, an 
essence of corresponding odor is obtained. 

Eukesis or Essence of Soap (for shaving).— 
Shaving cream, 9 oz.; liquor potassa, 3 drm.; 
sweet oil of almonds, % oz.; alcohol, 60°, l^ 
pt.; oil of pimento, % drm.; oil of almond (es- 
sential), 13^ drm.; oil of bergamot, 3 drm. 

Extract of Soap.— Soap, 14'3 parts; anhydrous 
soda, 30 parts; water, 55 parts. Manufactured 
from soda crystals and soda soap. 

Family Soap. —Soda lye of 30° B., 2,500 parts; 
cocoa nut oil, 3,125 parts. Perfume with oil of 
cassia, 5 parts; oil of bergamot, 5 parts; oil of 
lemon, 2>£ parts; sassafras, 23^ parts. 

Savon aux Fleurs cVItalie— White tallow soap, 
20 lb.; perfume with oil of citronella, 13^ oz.; 
oil of geranium, 3^ oz.; oil of verbena, 1 oz.; oii 
of mint, 23^ drm. Color with brown ocher, 
23^ oz. 

Floating Soaps.— Floating soaps can be pre- 
pared according to various methods, of which 
two will suffice— the preparation from fresh 
materials and the preparation from trimmings 
from cocoa nut oil soap. This latter will pro- 
bably give a very welcome opportunity to 
many manufacturers to advantageously dis- 
pose of the heaps of trimmings often left over. 

The following is a formula for preparing a 
white floating soap from fresh materials. The 
color of the soap will of course depend largely 
on the quality of the oil used : 

Cocoa nut oil 88 lb. 

Soda lye, 38° B 46-2 lb. 

Potash lye, 25° B 2'2 lb. 

Melt the cocoa nut oil in the usual manner, 
filter into capacious jacketed kettle, or one 
placed in a water bath, and heat to about lSU 



Soaps. 



514 



Soaps, 



F„ Then add the lye, stir well for about ten 
minutes, and then cover up the kettle. Allow 
to saponify and then thoroughly stir again. 
The soap will now have the appearance of fine 
woolly grains. 

In the foregoing process but little fire or 
steam is necessary. Twenty-two pounds of 
well warmed calcium chloride solution of 20° B. 
and 88 lb. of hot water are now gradually added, 
with constant stirring to the curd in the kettle. 
The soap is worked up thoroughly to complete 
solution, but very little heat is required, as it is 
not necessary to make the soap boil. 

After obtaining complete solution take a lye 
cylinder full of the soap solution from the 
kettle, allow it to cool to 77° F., and sink a lye 
hydrometer in the liquid, when this will indi- 
cate a density of 50° B. This particular degree 
will yield a floating soap having a medium 
weight. 

The soap solution is then allowed to cool to 
77° F., and a stirring kettle filled about ^ 
full with the cooled soap. This aqueous fluid 
mass is then stirred vigorously until trans- 
formed to a stiff foam and is then put into the 
flames at once. 

The prescribed temperature of 77° F. must be 
carefully adhered to, for if heated to a higher 
temperature, say 100° F., or over, much more 
time will be required to work up the liquid 
into a permanent foam, and through the long 
stirring the foam would be so puffed out that 
the resulting soap would be too light. On the 
contrary, if allowed to cool too much, the soap 
obtained will be too heavy, because the forma- 
tion of the foam takes place too rapidly, and 
the soap is not allowed sufficient time to swell 
in the kettle. 

Floating soap should not be dried in a warm 
room nor in a drying oven, as, if this is done, 
the soap will shrink a great deal and become 
fissured. It is better to allow the entire block 
as it comes out of the form to stand for sev- 
eral weeks in an airy light place, then cut into 
tables, allow them to dry for several days, and 
then cut up into bars or cakes. 

Another process, that of making floating 
soap from trimmings, is quite simple. For 
instance, place 220 lb. of the trimmings or 
scraps from cocoa nut oil soap in a jacketed 
kettle or on a water bath. To dissolve this 
about 33 lb. of potassium chloride solution of 
20° B., and about 132 to 154 lb. of water should 
be added to the scraps in the kettle, the quan- 
tity of solution and water required being of 
course dependent on the degree to which the 
scraps have dried out. 

Considerable heat is applied at first and the 
scraps diligently broken up to facilitate their 
solution. Strips and cubes of soap should have 
previously been passed through a planing ma- 
chine. When very old dry scraps are used, it 
will frequently prove very difficult to effect 
their solution. In this case solution can be 
accelerated by strewing over the above quan- 
tity of soap from 2 to 4$£ lb. of salt. 

The trimmings of cocoanut oil soap men- 
tioned in the above process should not be from 
filled soap, as such, filled for instance with water 
glass and soda crystals, are not suitable for 
floating soap. The material used for filling 
renders the soap brittle and coarse, and when 
cut and planed the surfaces of the bars and 
cakes do not become smooth. When used in 
too large quantities, salt causes the same re- 
sult in floating soaps. These filling solutions 
have also an influence when measuring the 
degree of density of the soap solution.— Chem. 
Trade Journal. 

2. Good oil soap, 14 lb.; water, 3 pt. Melt to- 
gether by aid of steam or water bath, and as- 
sidiously beat together until the mixture has at 
least doubled its volume. The capacity of the 
pan for 14 lb. of soap should be about 18 gal. 
Frame and cool. The thickness of the soap in 
the frames should not be more than 6 or 7 
in. In about a week or less it will be ready for 



cutting. Perfume as desired. Color with J^ tol 
drm. of vermilion per lb. 

3. Good oil soap, }4 cwt.; water, ^ gal. Melt 
by the heat of a steam or water bath in a pan 
furnished with an agitator, which must be as- 
sidiously worked till the soap has at least 
doubled its volume, when it must be put into 
the frames, cooled and cut into pieces. Lathers 
well and is very pleasant. Any scent may be 
added. 

4. Olive oil or almond oil soap 5 lb. 

Soft water 134 pt. 

Expose them, in a bright copper pan, to a 
steam or water heat, and assiduously beat and 
agitate the mixture until it has more than 
doubled its volume, then pour it into a cold 
frame, cool it quickly, and, when hard, cut it in- 
to bars or cakes. It may be colored and scented 
at will. Floats on water, and lathers freely, but 
will not bear soaking or much wet, as it rapidly 
softens. 

Frangipani. — Curd soap previously colored 
pink, 7 lb.; civet, 34 oz.; otto of neroli, )4, oz.; 
otto of santal, 1^ oz.; otto of rose, 34 oz.; otto 
of vitivert, y% oz. 

French Formulae for Soaps.— The following 
formulae represent some of the fatty combina- 
tions used in different localities in France in the 
manufacture of soap : 

1. Oliveoil ...675 lb. 

Earth nut oil 675 lb. 

Lard 900 lb. 

2,250 lb. 
This produces a white, odorless soap. 

2. Bleached palm oil 1,575 lb. 

Oil of sesame 450 lb. 

White tallow 225 lb. 

2,250 lb. 
Produces a very hard soap, of good quality, 
but not so white as the above. It turns slightly 
yellow by keeping. 

3. Oliveoil.... 450 lb. 

White tallow 1,350 lb. 

Earth nut oil 450 lb. 

2,250 lb. 
This is considered to form a very good soap, 
and superior to that of Marseilles, but unfor- 
tunately it has a faint smell of tallow, which 
restricts its use in domestic economy. 

4. Olive oil 675 lb. 

Cocoa nut oil 225 lb. 

Lard 675 lb. 

Tallow 675 lb. 

2,250~ lb. 

This formula makes a good white soap, but 
the presence of cocoa nut oil gives the soap a 
disagreeable odor, although it improves its 
lathering properties. 

Fulling Soap, or soap for cleansing and scour- 
ing woolen fabrics, is a soft soap of the com- 
position of— 

1. Fatty acids, 50*0; potash, 11*5; water, 38*5. 

2. Fatty acids, 40*0; potash, 9*5; water, 50*5. 
It should contain a slight excess of alkali, 

but no rosin, starch or silicate. 

3. For use in woolen manufacture a geunine 
potash oil soap has been found in practice su- 
perior to all others. Resin gives harshness to 
the fiber of the wool, so" must not be used. 
Soda also injures the suppleness of the wool, 
and should be discarded. The natural lubri- 
cant of wool, called suint, is a kind of pot- 
ash soap, containing a bare trace of soda, Sili- 
cates also must not be used ; if present they 
are decomposed in the process of fulling, and 
deposit free silica, which grates on the fiber 
and injures its luster. 

Fuller's Earth Soap.— Curd soap, 103^ lb.; 
marine soap, 33^ lb.; fuller's earth (baked), 14 
lb.; otto of French lavender, 2 oz.; otto of ori- 
ganum, 1 oz. 



Soaps. 



515 



Soaps. 



Gall Soap.—l kilo, of galls is stirred in 25 
kilos, of melted cocoa nut oil, and saponified, 
•cold, with 22J/ 2 kilos, of soda lye (38° B.). Color 
with 350 grm. ultramarine green. Perfume 
with 75 grm. lavender oil and 75 grm. cummin 
oil. 

Glycerine Soap.—l. Melt any mild soap, and 
mix glycerine intimately with it, in the 
proportion of ^ 5 to & of the weight of the 
soap, to form plain glycerine soap. 

Perfume with oil of bergamot or rose gera- 
nium, mixed with a little oil of cassia, to which 
sometimes a little oil of bitter almonds may be 
added. 

2. Tallow (mutton) ./. . .44 lb. 

Cocoa nut oil 44 lb. 

Castor oil ...22 lb. 

Glycerine (pure) 22 lb. 

Caustic lye, 40° B 27 lb. 

Alcohol 96° ..48-4 lb. 

Water 9'9 lb. 

Melt the grease at 104° F., and add the alkali 
by slow degrees, keeping the heat low to pre- 
vent evaporation, and stir constantly. When 
the lye has become absorbed, after three or 
four hours' stirring, add the alcohol, which 
should be warmed ; stir until it becomes clear, 
then add the glycerine, and when mixed, the 
water and perfume. 

3. Liquid Glycerine Soap.— Oleic acid, 187 lb.; 
cocoa nut oil (best), 33 lb.; potash lye, 35° B., 
114 lb.; glycerine, 10 lb. The ingredients are 
saponified at a gentle heat, and sufficient alco- 
hol at 95° added to make the soap clear. 

4. Transparent Glycerine Soap.— Twenty lb. 
fresh tallow and 10 lb. best cocoa nut oil are 
heated at 167° F. On the other hand, 15 lb. of 
solution of caustic soda, 40° B., or sp. gr. 
1*384, 121b. of 96% alcohol, 15 lb. of glycerine, 6 
lb. of brown sugar, and 2 lb. of water are mixed, 
likewise heated to 167° F., and the mixture 
gradually mixed with the former, under brisk 
stirring. Saponification takes place in this 
manner, without the necessity of boiling. The 
reaction is accompanied by a considerable in- 
crease in bulk. It may then be covered, and 
after it has become a little cooler, it may be 
scented ; finally, it is transferred to moulds, 
which must be so placed that the soap can con- 
geal quickly.— New Remedies. 

Grease, to Preserve. — To preserve soap grease, 
fill a cask half full of good strong lye and drop 
all refuse grease therein. Stir up the mixture 
once a week. 

BordhardVs Herb Soap.— 

Olive oil soap 30 lb. 

Palm oil soap , 20 lb. 

Dextrine 2 lb. 

Perfume with — 

Oil of rosemary. 2 oz. 

Oil of lavender 1}4 oz. 

Oil of thyme V/ % oz. 

Oil of sage 1 oz. 

Oil of magnolia , 1 oz. 

Oil of peppermint 1 oz. 

Color blue. 

Honey Soap.— White Marseilles soap, 4 oz.; 
honey, 4 oz.; benzoin, 1 oz.; storax, % oz. Mix 
well in a marble mortar. When thoroughly 
mixed, melt over a water bath, pass through a 
fine sieve, and run into moulds. Divide into 
cakes. 

The article commercially vended under this 
name rarely contains any honey. It may be 
prepared as follows : 

Palm oil soap and olive oil of each 1 part, 
curd soap 3 parts; melt together. 

Perfume with oil of verbena, rose geranium 
or ginger grass. 

2. Or, a neat yellow soap is mixed with 5% 
sodium carbonate, or silicate (59^° B), the 
whole crutched, and perfumed with oil of cit- 
ronella. 



IcMhyolis another preparation, which, hav- 
ing earned a great reputation in the same class 
of remedies, has also been largely used as soap, 
containing 5$ of the sodium sulphichthyolate. 
In this form ichthyol displays effectively its 
great power over affections due to or associated 
with a dilated condition of the vascular system. 
The soap is particularly prescribed in the treat- 
ment of eczema and rosacea. It has been found 
to exert a marked beneficial influence upon 
redness of the skin, and particularly the con- 
dition known as red nose. The latter property 
is also ascribed to a soap containing camphor 
(about 5$), which is a mild stimulant to the 
skin. 

Iodine Soap. — 1. Make a solution of 1 part of 
iodine of potassium in 3 parts of water ; to this 
add, of pounded Castile soap, 16 parts; melt in 
a porcelain vessel by the aid of a water bath. 

2. Castile soap (sliced), 1 lb.; potassium iodide, 
1 oz.; dissolved in 3 fl. oz. of water; melt them 
together in a porcelain vessel over a water bath. 

3. Ten kilos, cocoa nut oil, 5 kilos, lye (38° B.), 
and 1^ kilos, of potassium iodide, dissolved in 
y% kilo, of water. 

Labor Saving Soap.— To make it, take 2 lb. 
sal soda, 2 lb. yellow bar soap, 10 qt. water, or 
in like proportion. Cut the soap into thin 
slices and boil all together two hours and then 
strain through a cloth into a tight box or tub; 
let it cool and it is fit for use. Do not let it 
freeze. 

To use it, put the clothes to soak the night 
before you wash. The next morning put your 
water into your kettle or boiler. To every 
two pails of water, add about one pound of the 
soap. As soon as the water with its dissolved 
soap begins to boil, wring out the clothes from 
the water in which they had been at soak dur- 
ing the night, and put them into the boiling 
water without any rubbing. Let them boil one 
hour, then suds and rinse them and they will 
be clean and white. They will need no rubbing 
except a little on such places as are soiled, and 
for that no wash board will be required. The 
clothes should be rinsed in two waters. 

Colored and woolen clothes must not be 
boiled as above, but may be washed in the suds 
weakened with water. The clothes will last 
longer by the use of this soap and much labor 
will be saved. 

Six pounds of sal soda, 6 lb. bar soap, and 30 
qt. water will make about 50 lb. of the soap. 
The soda costs about eight cents a pound and 
the bar soap eight cents a pound. 

A pint measure will hold a pound of the labor 
saving soap. This will save the trouble of 
weighing every time. 

Lard Soap. — This soap is prepared by the 
cold process as follows: Melt 112 lb. lard by 
gentle heat and add half the lye prepared by 
dissolving 56 lb. caustic soda to mark 36° B. 
Agitate well without allowing the mixture to 
boil, and when it is thoroughly incorporated 
the remainder of the lye is gradually intro- 
duced. The temperature is kept under 149° F. 
When the paste has sufficient consistence and 
has no greasy feel when pressed between the 
fingers, it may be pressed into frames. The de- 
sired perfume is added while the soap is in the 
pasty state. In about two days it will have be- 
come sufficiently solid to be cut into tablets 
and pressed. This soap is very hard and of a 
brilliant whiteness. 

Laundry Soaps. — Soap to Clean Clothes 
Without Rubbing.— Take 2 lb. sal soda, 2 lb. 
yellow bar soap and 10 qt. water. Cut the soap 
in thin slices, and boil together 2 hours; strain, 
and it will be fit for use. Put the clothes in 
soak the night before you wash, and to every 
pailful of water in which you boil them add 1 
lb. soap. They will need no rubbing, but mere] j r 
rinsing. 

Soap Leaves are prepared by passing contin- 
uous paper sheets over rollers through a hot 
solution of soap, the excess of soap attached to 
the surface being scraped off. The paper is 



Soaps. 516 



Soaps. 






then passed over drying cylinders and from 
thence to a cutting machine. 
Lemon Soap.— 

White soap. ...... 50 lb. 

Starch 2 lb. 

Perfume with — 

Oil of lemon 4 oz. 

Oil of bergamot 2 oz. 

Oil of lemon grass 2 oz. 

Oil of cloves 1 oz. 

Color light yellow with cadmium yellow. 
Lettuce Soap. — 

Lard with lettuce .20 lb. 

Cassia pomade 10 lb. 

Spermaceti 5 lb. 

Castor oil 5 lb. 

Palm oil (bleached) 10 lb. 

Caustic ley, 36° B 26 lb. 

Gum tragacanth , , 3 oz. 

Perfume with — 

Oil of bergamot 6 oz. 

Oil of thyme 2 oz. 

Oil of valerian 1 oz. 

Oil of cloves 1 oz. 

Color, light green. The lard with lettuce is 
made by melting the lard with its own weight 
of lettuce leaves, keeping it at the melting 
point, about 90° F., for some hours or until the 
leaves have parted with their color and juice. 
Then steam off for use. 

Lily Soap.— Wax soap, 1,500 parts ; starch, 150 
parts ; oil of bergamot, 8*4 parts ; oil of sandal 
wood, 34 part ; oil of geranium, 334 parts ; oil 
of cassia, % part ; tincture of musk, \y% part ; 
tonka bean, 1% part; tincture of storax, 5 
parts. 

Liquid Soaps (Kingzett's).— Kingzett prepares 
liquid soaps for employment as insecticides by 
dissolving rosin or crude turpentine in alcohol, 
and saponifying with potash. To this is added 
an alcoholic solution of a fatty acid soap and 
various disinfectants. Or, crude turpentine, 
or rosin may be dissolved in sanitas oil, or 
rosin spirit, or rosin oil, and then saponified by 
caustic alkali solution of sp. gr. 1*300. Cam- 
phor is added to insure a permanently liquid 
product, and this may be medicated by addi- 
tion of thymol, etc. Or, petroleum spirit, or 
thymol, may be used instead of, or in conjunc- 
tion with, the sanitas oil mentioned in the last 
patent. 

Lubricating Soap. — Tallow, 1}4 part ; crude 
palm oil, 3 parts ; solution carbonate of soda, 
15°, m part ; melt. 

Macquer's Acid Soap. — Castile soap, 4 oz.; 
soften by heat and a little water ; add oil of 
vitriol, q. s., continually triturating the mass 
in a mortar. Detergent. Used where alkalies 
would be prejudicial. 

Savon a la Marechale. — Lard with musk, 10 
lb.; lard with amberette, 10 lb.; pomade (aux 
fleurs) cassia, jasmine and rose, of each 10 lb. ; 
olive oil, 1 lb.; white wax, 2 lb.; gum traga- 
canth, 2 lb.; caustic ley, 36° B., 28 lb. Saponify 
carefully and color with a little caramel (burnt 
sugar). 

Marine Soap.— Fuller's earth,40 parts; calcined 
soda ash, 40 parts; cocoa nut oil soap, 80 parts, 
Used for washing in sea water. 

Marshmallow Soap. — 

1. White curd soap and palm oil 

soap, of each 40 lb. 

Color with — 

Yellow ocher 4 oz. 

Orange mineral 4 oz. 

Gamboge 1J4 oz. 

Perfume with — 

Oil of lavender. 10 oz. 

Oil of lemon 2 oz. 

Oil of neroli 2 oz. 

Oil of verbena 10 oz. 

Oil of mint ; 3 oz. 



Or, the following : 

Oil of Portugal 6 oz. 

Oil of thyme 4 oz. 

Oil of lavender 1J4 oz, 

Oil of cinnamon 2 oz. 

Oil of cloves 3 oz. 

This soap may be colored rose wich vermil- 
ion, or be left as a white soap if desired. 

2. Palm soap, 25 lb.; half palm soap, 25 lb.; 
perfume with oil of peppermint, J4 oz.; oil of 
lavender, 3 oz.; oil of lemon grass, 2 oz.; oil of 
petit grain, J4 oz. 

Medicinal.— See also Carbolic, Salol, Ichthyol 
Sulphur, Boracic and Mercurial soaps. 

A series of medicinal soaps is made containing 
such essential oils as are possessed of antiseptic 
virtues. Among these may be mentioned win- 
tergreen, pine and eucalyptus oils, while also 
thymol and terebene might be placed in the 
same class. The first three may, perhaps, be 
considered more as hygienic toilet than medi- 
cinal soaps; they are particularly suitable as 
preventives of freckles, pimples, tan, chaps,, 
etc., and for improving the complexion. The 
thymol soap (2-5 per cent.) has been employed 
to sweeten suppurating wounds and ulcers, 
and to treat herpes and other allied diseases ; it 
is a mild and agreeable antiseptic application. 

Metal Cleansing Soap.— Cut in small pieces 2 
lb. of cocoa nut oil soap ; put in sufficient 
water to produce a thick, jelly-like mass when 
heated. Take 2 lb. red oxide of iron, mix with 
some water. 

Metal Polishing Soap.— An excellent soap may 
be made by mixing together 69 parts of kiesel- 
guhr and 30 parts of soft soap, coloring the 
mixture with 1 part of Armenian bole. The 
powders should be finely levigated before mix- 
ing. 

Mercurial Soaps are made by saponifying* 
mercurial ointment. Thus, 10 oz. of mercury 
are gradually incorporated with 2 oz. of mer- 
curial ointment, so globules are no longer vis- 
ible with a lens, then 1 lb. 2 oz. of soap (pow- 
dered) are added, and 2 oz. of lard. 

A soap can also be made to contain, say, 5 per 
mille of sublimate, which is useful in the treat- 
ment of secondary syphilitic eruptions, of 
scabies, and of parasitical affections. Being free 
from unpleasant odor, it is preferable to some 
other antiseptic soaps. A preparation of this 
kind would also seem to be usef nl for cleansing 
the coats of domestic animals. 

1. Sapo HydrargyrL— Dissolve 4 oz. of mer- 
cury in the same weight of nitric acid without 
heat ; melt in a porcelain basin, over a water 
bath, 18 oz. of veal suet, and add the solution, 
stirring the mixture till the union is complete. 
To 5 oz. of this ointment add 2 oz. of solution of 
caustic soda (sp. gr. 1*33) till a soap is formed 
which is completely soluable in water. 

2. Sapo Mercurial is.— Castile soap (in powder),. 
4 oz.; corrosive sublimate, 1 dr. dissolved in rec- 
tified spirit 1 oz. ; beat to a uniform mass in a 
mortar. 

3. Sapo Hydrargijri Precipitati Albi (Sir EL 
Marsh).— Beat 12 oz. of white Windsor soap in 
a mortar, add 1 drm. of rectified spirit, 2 drm. 
of white precipitate, and 10 drops of otto of 
roses; beat the whole to a uniform paste. 

4. Sapo Hydrargyri Precipitati Rubri (Sir H. 
Marsh).— White Windsor soap, 2 oz.; nitrate of 
mercury (levigated), ldrm.; otto of roses, 6 or 8 
drops, in rectified spirit 1 to -2 drm. ; beat to a 
paste. 

5. Mercurial Soap is made from powdered Cas- 
tile soap, 4 oz.; corrosive sublimate, 1 drm., dis- 
solved in rectified spirit, 1 fl. oz. These ingre- 
dients are to be thoroughly mixed in a Wedg- 
wood mortar. 

6. Take of— 

Corrosive sublimate (crushed 

small) 1 drm. 

Rectified spirit (to dissolve, say) 1 fl. oz. 
White Castile soap (in powder).. . 4 oz. 
Beat them to a uniform mass in a Wedgwood- 



Soaps. 



517 



Soaps. 



ware mortar, adding a few drops of otto of 
roses or a mixture of the oils of cassia and bit- 
ter almonds. Nothing metallic must touch it. 
This is the sapo hydrargyri bichloridi of med- 
ical writers. 

Mottled Soaps.— The mottled or marble ap- 
pearance is usually given to soap, on the large 
scale, by watering the nearly finished soap 
with a strong lye of crude soda (preferably one 
rich in sulphides), by means of a watering-pot 
furnished with a rose spout. In Castile soap 
it is given with a solution of sulphate of iron 
used in the same way. On the small scale, with 
toilet soaps, the mottle is either given in the 
way noticed under Savonnettes, or, in a like 
manner, by combining some of the soap, col- 
ored at the time of scenting it, with the re- 
maining uncolored portion. 

The form of cakes, tablets, etc., may be 
given by either pouring the semi-liquid soap 
into a series of polished metal moulds or by 
cutting and moulding or stamping the soap in 
the solid state, it having been previously cut 
or formed into bars of suitable size and length. 

Mottling. — If, instead of a white soap, the 
object is to produce a mottled soap, impure 
soda, containing sulphides, is preferred for the 
lye, and a quantity of ferrous sulphate (green 
vitriol), about 8 oz. for each cwt. of oil, is 
added at the end of the preliminary boiling. 
This is at once precipitated, partly as iron 
oxide and sulphide and partly as an insoluble 
iron soap. In consequence of this addition 
and also from the presence of iron and sulphur 
in the lye, and of ferruginous matters from 
the pan, the curd obtained at the end of stage 
3° has a uniform slate color. If this were al- 
lowed to remain, the effect would not be pleas- 
ing; but instead of directing his endeavors to 
exclude these impurities, as in the case of the 
white soap, the soapmaker conducts the opera- 
tion in such a way as to preserve and arrange 
them by diffusing the color in veins, in order 
to give a marbled or mottled appearance. 
When the proper consistence of the soap has 
been attained, the mass is worked about with 
rakes, so as to bring the lower and darker col- 
ored parts of the curd to the top. When this 
has been sufficiently done, the viscid soap is 
transferred to the frames, where, in about a 
a week or more, according to the quantity, it 
cools down to mottled soap. By varying the 
proportion of iron sulphate added, a tint is 
produced of a lighter or darker hue. By ex- 
posure to the air, the iron gets oxidized to the 
state of sesquioxide, and a reddish tint called 
manteau Isabelle is diffused over the bluish 
mottled mass. 

It is thus apparent that in mottled soap the 
veins and patches of heavy, insoluble, colored 
compounds are present because, by special 
manipulation, they have been intentionally 
prevented from subsiding, and by the convey- 
ance of the soap to the frames in so viscid a 
condition that the downward trickling of the 
colored impurities should proceed so slowly as 
only to intensify the desired appearance and not 
subside altogether. It is evident also that, if a 
soap so prepared were thinned by admixture 
with water, the impurities would more readily 
subside, and that the veining or mottling would 
be greatly diminished or entirely prevented. 
Hence, a genuine mottled soap cannot con- 
tain more than 33 or 34, or at most, 36$ of water. 
Hence, also, as a mottled appearance was 
formerly a special characteristic of Castile 
soap, and as this was essentially a good soap, a 
mottled or marbled character came to be re- 
garded as a sign of excellence. So far was this 
belief carried, that it used to be said there was 
no need to analyze a marbled soap, as it must 
necessarilj r be geuuine. This, however, is now 
by no means the case. 

Artificial Mottled Soaps, Blue, Gray and 
Red.— Blake & Maxwell's process may be used 
to produce these soaps. Two soap pans are 
required. In one of these a known quan- 



tity of tallow, or bleached palm oil, or 
a mixture of 80$ of cocoa nut oil, 14$ of 
tallow and 6$ of lard, is boiled with a quan- 
tity of soda lyes, carefully calculated with 
reference to the fats, and the hydrated soap 
thus formed is transferred to the other pan, 
in which a soft curd soap has been prepared 
from fatty matters and lyes, as calculated by 
the sttength of the alkali. The mottle is 
produced by adding to this soap, when in a 
finished state, coloring matter to impart the de- 
sired color, and in about half an hour after the 
soaps and coloring matter have been thor- 
oughly incorporated, the soap may be trans- 
ferred to the frames. For the best descriptions 
of mottled soaps the weight of fatty matters 
used to produce the hydrated soap amounts to 
from one fourth to one half the fat used to 
produce the soft curd. For cheaper descrip- 
tions, the hydrated soap may be increased till 
the proportion of fat in the hydrated soap 
amounts to from two thirds to one and a half 
times the weight of fat in the curd soap. 

Another way is to prepare a fitted soap from 
the fatty mixture containing cocoa nut or palm 
kernel oil in one pan and to remove it from the 
nigre to the second pan. Here, for every 1,000 lb. 
of soap, are added 250 lb. of sodium silicate, and 
the whole is thoroughly incorporated by boil- 
ing, until the experienced workman judges 
that the proper condition for mottling has been 
attained. The coloring matters mixed with 
water are then sprinkled into the pan, and after 
boiling for a few minutes, the mixture is trans- 
ferred to the frames. 

The coloring matters are— for blue, artificial 
ultramarine, 5 to 10 lb. per ton; for gray, man- 
ganese oxide, 1 to 3 lb. per ton; and for red, ver- 
milion.. 

Mush Soap. — 

1. White curd soap 60 lb. 

Palm oil soap 40 lb. 

Color with— 

Brown ocher, or Spanish brown. 8 oz. 
Perfume with — 

Oils of musk and bergamot, of 

each 7 oz. 

Powder of cloves, pale roses, and 
gilliflower, of each 9 oz. 

2. White tallow soap, 5 kilos.; pure palm soap, 
5 kilos. Perfume with oil of bergamot, 50 
grm.; oil of roses, 5 grm.; oil of cloves, 5 
grm.; oil of musk, 10 grm. The musk is pre- 
pared thus : Pound 10 grm. of musk in a mortar, 
with an equal weight of sugar and 5 grm. of 
pure potash; then add 160 grm. of alcohol, 
gradually triturate for a quarter of an hour, 
pour the mixture into a flask, and leave from 
2 to 4 Aveeks, shaking it from time to time. 
Then filter, add the whole of the filtrate to the 
10 kilos, of soap, and afterward the other per- 
fume. Color with 80 grm. brown ocher. 

3. Best tallow soap, 301b.; palm oil soap, 201b.; 
powdered cloves, pale roses, and gilliflowers, of 
each, 4^£ oz.; essences of bergamot and musk, of 
each 3J^ oz.; Spanish brown, 4 oz.; mix as soap a 
la rose. Very fine. 

Tonquin Musk Soap.— 

Pale brown colored curd soap ... 5 lb. 

Grain musk J4 oz. 

Otto of bergamot 1 oz. 

Rub the musk with the bergamot, then add 
it to the soap and beat up. Should be made 
six months before using. 

Naples Soap, Liquid.— Take 12 lb. shavings of 
good white soap, and melt in 2 or 3 qt. of 
rose and orange flower waters. Add, to retain 
its liquidity, 2 lb. of oil aux fleurs, slightly boil 
the mixture, put in 4 oz. powdered bergamot, 
peel for coloring, then strain and perfume as 
for the soaps in tablets. In default of oil, 
when the soap is melted, add 2 quarts of good 
essence of soap; leave it for 15 minutes to 
thoroughly incorporate, and then strain and 
perfume. 



Soaps. 



518 



Soaps, 



If by age it becomes dry, moisten with a little 
rose or orange flower water. The liquid soaps 
are susceptible of every variety of perfume. 

Oatmeal Soap — 

Whitesoap 25 lb. 

Half palm soap 10 lb. 

Cocoa nut oil soap 6J^ lb. 

Oatmeal (coarse ground) 6 lb. 

Olein Soaps.— 

1. Saponified oleic acid 150 lb. 

Tallow 40 lb. 

Crude palm oil 10 lb. 

2. Saponified oleic acid 155 lb. 

Crude palm oil 10 lb. 

Cotton seed oil 20 lb. 

Linseed oil 15 lb. 

Omnibus Soap — 

Cocoa nut oil 40 lb. 

Lye of 20° B 55 lb. 

Common salt 3 lb. 

Potash 3 lb. 

Perfume with oil of mirbane. 

Orange Soap. — 

"Whitesoap 50 lb. 

Starch 2 lb. 

i Perfume with — 

Oil of orange peel 8 oz. 

Oil of cinnamon J^ oz. 

Oil of thyme 2 oz. 

Color dark yellow with naphthaline yellow. 
Orange Flower Soap.— 

1. White curd soap 60 lb. 

Palm oil soap 40 lb. 

Color with— 

Yellow green pigment 16 oz. 

• Minium (red lead) 23^ oz. 

Perfume with— 

Oil of Portugal 15 oz. 

Oil of ambergris 15 oz. 

2. Tallow soap 30 lb. 

Palm oil soap .20 lb. 

Essence of Portugal 73^ oz. 

Essence of ambergris 714 oz. 

Yellowish green color (ocher and 

indigo) 8M oz. 

Vermilion 134 oz. 

Mix as soap a la rose. Very fine. 

Ox Gall Soap.—l. Mix together V/% kilo, oxgall 
with 25 kilos, melted cocoa nut oil. Saponify 
this mixture by the cold process with 123^ kilos, 
caustic soda lye of 38° B, The soap may be 
dyed ^ by the addition of 850 grm. of ultrama- 
rine, and, if desired, perfumed with a mixture 
of 75 grm. of lavender oil and 75 grm. of cara- 
way seed oil. Ox gall soap is useful for scour- 
ing woolen goods. 

2. Purified ox gall 1 part. 

White curd soap „ 2 parts. 

The soap is cut into shavings and melted in 
the ox gall at a moderate heat, evaporating 
until of proner consistency. The ox gall is 
prepared by boiling it with 10 to 12 parts of 
wood spirit and straining. 

Savon de Palme.— 

Palm oil 10 lb. 

Half palm soap 10 lb. 

Perfume with — 

Oil of bergamot 2 oz. 

Oil of cloves , 3-^oz. 

Oil of cinnamon 1 oz. 

Oil of lavender 1 oz. 

Dresden Palm Soap. — 

Cocoa nut oil 3,520 lb. 

Palm oil (crude) 1,100 lb. 

Resin 880 lb. 

Soda lye, 28°. 353 lb. 

Melt together the fats and saponify the resin 



separately, taking care to add the resin soap 
before it becomes too thick to stir. 

Half Palm Soap may be made from either of 
the following formulas : 

1. Whitetallow 900 lb. 

Palm oil 400 lb. 

Cocoa nut oil .200 lb. 

Yellow resin.... 100 lb. 

1,600 lb. 

2. Tallow 700 lb. 

Palm oil 300 lb. 

Cocoa nut oil 200 lb. 

Cotton seed oil .400 lb. 

1,600 tt). 

3. Lard 550 lb. 

Tallow 400 lb. 

Cotton seed oil 450 lb. 

Resin 200 lb. 

1,600 lb. 

The following formulae, recommended by 
Ott, may prove useful : 

Palm oil 300 lb. 

Tallow .200 lb. 

Resin 20 lb. 

520 lb. 

Tallow 500 lb. 

Palm oil.... 300 lb. 

Resin 200 lb. 

1,000 lb. 

Palm oil..... 450 lb. 

Cocoa nut oil 50 lb. 

500 lb. 

Lard 550 lb. 

Palm oil 150 lb. 

Cocoanut oil 50 lb. 

Clarified resin 50 lb. 

800 lb. 

Violet's Palm Oil Soap.— One hundred lb. of 
palm oil are melted, and at the temperature of 
203°, 123^ oz. nitric acid are added, with vigorous 
stirring for about a quarter of an hour ; 12 gal. 
of hot water are then added, and the stirring 
continued, after which the oil is allowed to 
rest. The oil is then well washed several times 
to free it from the acid, and after being sep- 
arated from the water is saponified with a 
weak lye at 8° B., followed by stronger lyes of 
10° and 15°. The boiling is kept up until the 
soap is of the proper granular consistence, 
and the grained soap, after being separated 
from the lye, is dissolved with lemon juice. 
This soap is caUed orangine. 

Patchouly Soap.— 

Curd soap 4J^ lb. 

Otto of patchouly 1 oz. 

Otto of santal 34 oz. 

Otto of vitivert J4 oz. 

To Deodorize Fat for Making Perfumed Soap* 
— Boil 80 lb. of fat with 28 lb. water, contain- 
ing 5 oz. common salt, and 234 oz. powdered 
alum. Boil for ten minutes. Strain off the 
water, and let the fat remain several hours be- 
fore using. 

Soap Poultice. — Any mild soap (scraped or 
sliced) dissolved in four times its weight of 
boiling water, and the solution thickened with 
crumb of bread or linseed meal. A popular 
application in scalds and burns. 

Borax Soap Powder.— 

Curd soap in powder 5 parts. 

Soda ash 3 parts. 

Sodium silicate 2 parts. 

Borax (crude) 1 part. 

Each ingredient must be first thoroughly 
dried, and all mixed together by sieving. 



Soaps. 



519 



Soaps. 



Castile Soap.— Cut or sliced small, dried by- 
exposure to a warm dry atmosphere, and then 
powdered. Used as a hand, shaving, and tooth 
powder; also in dispensing. As a cosmetic it 
may be scented at will. As the first two, any 
of the other toilet soaps may be substituted 
for Castile soap. 

London Soap Powder.— 

Yellow soap 6 parts. 

Soda crystals 3 parts. 

Pearlash 1}4 part. 

Sodium sulphate 1]4 part. 

Palm oil (bleached) 1 part. 

These ingredients are mixed as well as possi- 
ble without any water, spread out/ to dry, and 
then ground into coarse powder. The palm oil 
imparts an agreeable odor. 

Pearl Soap Powder. — 

Curd soap (powdered) 4 parts. 

Sal soda (crude sodium carbon- 
ate) 3 parts. 

Sodium silicate 2 parts. 

Dried as much as possible, and intimately 
mixed. 

Soap Powder, Perfumed d Toute Odeur — The 
preceding powder, when melted, is perfumed 
to any odor desired ; for instance, to answer 
the above title : 

Soap.... 6 lb. 

Essence of bergamot 4 oz. 

Essence of lemon 1 oz. 

Essence of Portugal J^ oz. 

Essence of anise or fennel ^ oz. 

Powder of Savon Onctueuse.— After having 
f rotted the soap, cut into thin slices. These, 
when perfectly dry, are powdered and sieved. 
This is lighter, and lathers more freely than 
some soap powders. 

Powdered Soaps.— All hard soaps may be re- 
duced to a fine powder, when perfectly dry, by 
trituration with a pestle and mortar, but the 
operation is generally confined to cosmetic 
soaps for shaving or other toilet purposes. 
The soap, being previously perfumed in the 
usual way, is cut into thin shavings, and these 
are laid upon sheets of paper and placed in the 
drying room, or dried in any convenient way. 
As soon as the shavings become brittle they 
are in a condition for powdering. Small quan- 
tities at a time should be carefully reduced to 
a powder in a mortar, and the powder after- 
ward passed through a fine sieve, the fine pow- 
der being placed in a jar and kept well cov- 
ered. All coarser particles retained by the sieve 
should then be pulverized and sifted as before, 
until the entire quantity is reduced to a pow- 
der fine enough to pass through the sieve. 

Powder of Windsor Soap.— Take of very white 
and dry Windsor soap, powdered and finely 
bolted, melt it over a water bath with but very 
little water, so that it will dry the sooner, and 
be less liable to be soiled in mixing. When 
melted, transfer to frames; and when cooled, 
divide it into bars; these, when dry, are to be 
powdered. 

Washing Powder.— A powdery mixture of 90 
parts effloresced soda with 10 parts sodium hy- 
posulphite and 2 parts borax. 

Wool Washing Composition — 

Dried soda 35 parts. 

Powderedsoap 10 parts. 

Sal ammoniac 10 parts. 

Universal Washing Powder.— Sodium silicate, 
with a small perentage of soap and starch pow- 
der. 

Pumice Soap.— 

Ceylon cocoa nut oil „ 2 lb. 

Soda lye of 40° B 1 lb. 

Pulverized pumice stone 1J4 lb. 

Perfume with— 

Oil of thyme M oz. 

Oil of bergamot. 1 drm. 



Rice Soap — 

Wax soap ,.,, 1,350 parts. 

Starch 200 parts. 

Oil of geranium .... 1J^ part. 

Essence of Portugal 2}4 parts. 

Oil of bergamot 2^| parts. 

Essence mirbane 1}^ part. 

Tincture benzoin, colored white 
or red 14 part. 

Cinnabar 4 parts. 

Rot>in Soap (Altenburge).— 

Rosin 225 lb. 

Cocoa nut oil 225 lb. 

Soda lye, 28° 37134 lb. 

Use the cold process, and before putting in 
the frames cut with a salt lye of 24° B. 

Rypophagon Soap.— A mixture of equal parts 
of pale yellow soap and a fig soft soap, which, 
has been perfumed with anise. 

Rose Soap.— 

1. White soap 25 lb. 

Cocoa nut oil 25 lb. 

French vermilion 6 oz. 

Perfume with — 

Oil of bergamot. . , , 2 oz. 

Oil of cinnamon J^ oz. 

Oil of rose V/% oz. 

Oil of cloves y^, oz. 

Oil of neroli 1^ oz. 

2. New olive oil soap, 30 lb.; new tallow soap, 
20 lb.; reduce them to shavings by sliding the 
bars along the face of an inverted plane, melt 
in an untinned copper pan by the heat of steam 
or a water bath, add V/% oz. of finely ground 
vjrmilion, mix well, remove the heat, and 
when the mass has cooled a, little, add essence 
of roses (otto?), 3 oz.; do. of cloves and cinna- 
mon, of each 1 oz.; bergamot, 2}4 oz.; mix well, 
run the liquid mass through a tammy cloth, 
and put it into the frames. If the soaps em- 
ployed are not new, 1 or 2 qts. of water must be 
added to make them melt easily. Very fine. 

3. Rose Leaf Soap.— 

Rose pomade 20 lb. 

Lard 20 lb. 

Cocoa nut oil 10 lb. 

White wax 2 lb. 

Soda ley, 36° B 20 lb. 

Potash ley, 30° B 12 lb. 

G-um tragacanth , . , , , 8 lb. 

Perfume with— 

Oil of roses . 2 oz. 

Oil of geranium 2 oz. 

Oil of rhodium 1 oz. 

Oil of bergamot 2 oz. 

Oil of cinnamon (Ceylon) % oz. 

Color with aniline fast red, a light pink. 

4. Otto of Rose Soap.— 

Curd soap (previously colored 

pink) 4^ lb. 

Otto of rose 1 oz. 

Spirituous extract of musk 2 oz. 

Otto of santal J4 oz. 

Otto of geranium 14 oz. 

Mix the perfumes, stir them in the soap shav- 
ings, and beat together. 

5. Rose or Savon a la Rose may be made from 
either of the following formulae, the soap being 
previously well melted : 

White curd soap made from best 

tallow 60 lb. 

Olive oil soap 40 lb. 

Vermilion in fine powder 3 oz. 

The vermilion is to be first well mixed with 
the soap, great care being taken to insure per- 
fect incorporation. When the soap has cooled 
a little the following perfumes are to be added : 

Essential oil of rose 6 oz. 

Essential oil of cloves 2 oz. 

Cinnamon 2 oz. 

Essential oil of bergamot .5 oz. 



Soaps. 

Soap prepared from the above formula has a 
delicate rose color, is very fragrant and emol- 
lient, and is indeed one of the finest of toilet 
soaps. 

6. White curd soap 100 lb. 

Vermilion 10 oz. 

Oil of rose 15 oz. 

Oil of bergamot 5 oz. 

Oil neroli .... 2%, oz. 

Oil of cloves 5 oz. 

Cinnamon 5 oz. 

7. White tallow or lard soap ....... 10 kilos. 

Perfume, with oil of roses 40 grm. 

Cloves 15 grm. 

Cinnamon. 10 grm. 

Bergamot 30 grm. 

Neroli 10 grm. 

Or with oil of roses 25 grm. 

Geranium 60 grm. 

Cloves 15 grm. 

Chinese cinnamon . . 10 grm. 

Color with 60 or 80 grm. of vermilion. 

Salol. — The soap is prepared in two stages, the 
first being the manufacture of the base. This 
is carried out as follows : One lb. of beef suet 
is melted with )4, lb. of cocoa nut oil and allowed 
to cool to 120° F.; then 14 oz. by weight of 18$ 
caustic soda solution and 2^ oz. of 24$ caustic 
potash solution are added and stirred together 
at a gentle heat for half an hour, or until a 
homogeneous mixture is formed. Perfume is 
now added, consisting of oil of caraway, 40 
minims; oil of bergamot, 50 minims; oil of lav- 
ender. 30 minims; oil of thyme, 20 minims, and 
essence of mirbane, 6 drops. While the mass is 
still warm, 1 oz. of finely powdered salol is 
added, the whole heated sufficiently to melt 
the antiseptic (to 113° F.) and well stirred. It 
is then allowed to cool, cut into pieces of the 
desired size, dried partially in the air and 
wrapped in tin foil. 

The salol soap powder is made by mixing 35 
oz. of finely powdered stearine soap with 1 
grn. of coumarin, 5 drops of oil of bergamot 
and 2 drops of oil of wintergreen; 2 lb. of this 
base are mixed with 1 oz. of finely powdered 
salol. 

Sand Soap—1. 100 lb. of cocoa nut oil are 
saponified with about 200 lb. of lye at 20° B. 
The soap is then hardened by the addition of 
about 8 lb. of salt dissolved in water to a 
density of 15° B., with the addition of 6 to 8 lb. 
soda ash. The mixture is covered up and the 
foam allowed to subside. After standing five 
or six hours the foam is skimmed off and 100 to 
150 lb. of dry, sifted sand is thoroughly 
crutched into the mass, and the crutching is 
continued until the soap is cool. This soap is 
very firm and hard. 

2. Curd soap, 7 lb.; marine soap, 7 lb.; 
sifted silver sand, 281b.; otto of thyme, otto of 
cassia, otto of caraway, otto French lavender, 
of each2oz. 

Sand Balls are made by incorporating with 
melted and perfumed soap certain proportions 
of fine river sand. About one third sand to 
two thirds soap is a fair proportion. The sand, 
however, should be passed through a fine sieve 
before using. Sometimes finely powdered pum- 
ice is substituted for the sand. 

Sapol io.— Sapolio contains, besides organic 
matter, soda, iron, alumina, lime and hydro- 
chloric, sulphuric, carbonic and silicic acids. 

Savonnettes or Washballs.— These may be made 
of any of the milder toilet soaps or from the 
subjoined formulas. The spherical form is 
given by pressing the soap in moulds, or by 
first forming them into balls with the hand, and 
when quite dry and hard turning them in a 
lathe. 

The paste may be formed into balls by hand, 
and when quite dry finished by turning them 
on a lathe. They may be polished by rubbing 
with a cloth wet with a little spirit. 



520 Soaps. 






1. Curd soap in shavings 3 lb. 

Finest yellow soap in shavings. . . 2 lb. 
Soft water % pt. 

Melt by gentle heat, and stir in powdered 
starch, V/% lb. When the mass has considerably 
cooled, add essence of lemon or bergamot, 1^ 
oz. and make into balls. 

2. Ordinary. Savonnettes Communes. 
Curd soap, finest, in shavings. . . . 1]4 lb. 
Yellow soap, finest, in shavings . . 1 lb. 
Soft water ^ pt. 

Melt them together by a continued gentle 
heat, stir in- 
Powdered starch or farina % lb. 

and when the mixture has cooled a little, fur- 
ther add — 

Oil of bergamot ^ fl. oz. 

Oil of lemon ^jfl. oz. 

Essential oil of almonds lYz fl.drm. 

and thoroughly incorporate the whole. When 
the mass, by cooling, has acquired the proper 
consistence, at once form it into balls. 

Savonnettes of Camphor.— 

White curd soap 3 lb. 

Melt, with the addition of a little water, and 
then add— 

Spermaceti 4 oz. 

Camphor, cut small 2 oz. 

These are first to be melted together, and 
then added to the liquid soap. 

2. Camphor. — Melt spermaceti, 2 oz.; add 
camphor, cut small, 1 oz.; dissolve and add the 
mixture to white curd soap, 1}4 lb., previously 
melted by the aid of a little water and gentle 
heat, and allowed to cool considerably. These 
balls should be covered with tin foil. 

Savonnettes of Sweet Herbs. — Melt 12 lb. 
white curd soap, and then add the following 
mixture of essential oils : 

Oil of lemon 4 oz. 

Oil of bergamot 4 oz. 

Oil of thyme 1 oz. 

Oil of lavender 1 oz. 

Oil of wild thyme 1 oz. 

Oil of myrtle 1 oz. 

Oil of marjoram 1 oz. 

Oil of mint ^ oz. 

Oil of sage Mi oz. 

Oil of wormwood y% oz. 

Oil of fennel.... 2 oz. 

Savonnettes au Miel (Honey Savonnettes).— ' 

While curd soap (melted) 1 lb. 

Honey 1 lb. 

Essential oil of any kind required 2 oz. 

Rose water 2 oz. 

Add the honey to the melted soap ; then add 
the rose water, and lastly the perfume. 

Honey.— Finest yellow soap, 7 lb.; palm oil, 
J4 lb. Melt and add oil of verbena, rose gera- 
nium or ginger grass, 1 oz.; or oil of rosemary, 
^oz. 

Honey Savonnettes. — 

Finest yellow soap ...... 7 lb. 

Palm oil soap , 341b. 

Melt and then add— 

Oil of verbena, rose, geranium, 

or ginger grass '. 1 oz. 

Oil of rosemary ,. ^ oz. 

Mottled Balls.— Cut the soap (recently pre- 
pared, and not too dry) into dice, or small 
square pieces, roll them in colored powder (see 
below), and then mould them into balls by pow- 
erful pressure, observing to mix the colors as 
little as possible. 

The colors usually employed, and which 
should be in very fine powder, are : 

1. Blue.— Indigo, powder blue, or smalts. 

2. Green. — Powder blue and bright yellow 
ocher. 



Soaps. 



521 



Soaps. 



3. Orange. — Yellow deepened -with a little 
red. 

4. Ked. — Red bole, sesquioxide of iron, or 
jewelers' rouge. 

5. Yellow. — Bright yellow ocher or Dutch 
pink. 

By varying the color, by diluting it with a 
little farina or chalk, and by using soap dice 
separately coated with two or more colors, 
mottled savonnettes of any color, or mixture 
of colors, may be produced at will. 

Savonnettes of neroli.— 

Melted curd soap 12 lb. 

Orris powder 1 lb. 

Orange powder 3 oz. 

Oil of neroli. ..' 12 drm. 

Essence of musk 4 oz. 

Essence of ambergris 4 oz. 

Sand Balls.— 1. These are prepared by adding 
to the melted soap about half its weight of fine 
siliceous sand. Sifted Calais sand is usually 
employed. Some persons prefer the shelly sea 
sand (sifted from the shells and well washed) 
for the purpose. For the finer qualities, finely 
powdered pumice stone is now usually em- 
ployed. Used to prevent roughness and thick- 
ening of the skin in cold weather; also to clean 
the hands when dirty. The best yellow soap, 
with or without the addition of y% its weight 
of white soft soap and a little sweet oil, is the 
best for these balls. 

2. Soap (at will), 2 lb.; fine sand, 1 lb.; per- 
fume if desired. For finer qualities, finely pow- 
dered pumice stone is substituted for sand. 

Savonnettes a la Vanille.— 
White Curd soap 12 lb. 

Melt, with a little water, and then add the 
following mixture. — 

Tincture of vanilla 4 oz. 

Balsam of tolu 4 oz. 

Balsam of Peru ..• 2 oz. 

Tincture of cinnamon 1 oz. 

Oil of cloves 2 drm. 

Tincture of musk 1 oz. 

Tincture of amber 1 oz. 

Violet Balls.— Take of— 

Palm oil soap 1Y lb. 

Yellow soao (best) % lb. 

Farina. Yz lb. 

Powdered orris root 34 lb. 

Scouring Balls.— 

White curd soap 35 lb. 2oz. 

Pearlash 6 lb. 6 oz. 

Oil of juniper 3 lb. 3oz. 

Mix together, having previously added a 
little water to the soap and pearlash to dissolve 
them by a moderate heat; add the oil of juni- 
per and mould into balls. 

Scouring Soap.— Dissolve in alcohol, %Y oz. 
Castile soap. Add the yelks of 8 eggs, 8 fl. drm. 
oil of turpentine. 

Scouring Soap for Wine and Vinegar Stains. — 

White soap 5 oz. 

Oil of turpentine 2 fl.drm. 

Ammonium chloride 50 grn. 

Mix. 

Shaving Paste — 

1. Naples soap 4 oz. 

Powdered Castile soap 2 oz. 

Honey 1 oz. 

Essence of ambergris. ) of each, 

Oil of cassia V 5 or 6 

Oil of nutmegs ) drops. 

2. White wax , 34 oz. 

Spermaceti 34 oz. 

Almond oil 34 oz. 

Melt, and, while warm, beat in 2 squares of 
Windsor soap, previously reduced to a paste 
with a little rose water. 

3. White soft soap 4 oz. 

Spermaceti Y oz. 

Salad oil Y oz. 

Melt together and stir till cold. Scent at will. 



When properly prepared, these pastes pro- 
duce a good lather with either hot or cold water 
which does not dry on the face. 

Shaving Soaps.— A very fine shaving soap 
solution may be made by taking 34 lb. white 
Castile soap in shavings, 1 pint rectified spirit, 
34 pint water ; perfume to taste. Put in a bot- 
tle, cork tightly, set in warm water for a short 
time, and agitate occasionally till solution is 
complete. Let stand, pour the liquid off the 
dregs, and bottle for use. 

Hampers Shaving Soap is made by his pat- 
ented process as follows: Cleaned olein 6*6 
per cent, is first mixed thoroughly with 13 
per cent, of hot water ; then 5*4 per cent, of 
soda ley at 25° is added, and the mass, which 
assumes the appearance of soft butter, is agi- 
tated until it becomes cold and is easily lique- 
fied, when 12'5 per cent, of best white 
soap and 50 per cent, of boiling water are 
added. All these ingredients are to be well 
mixed together, and finally 12*5 per cent, of 
spirit at 90° is to be added and well incorpor- 
ated with the mass. The compound is then to 
be covered, and allowed to rest for a while, af- 
ter which it is filtered, and is then ready for use. 
Windsor Soap for Shaving. — 

Pure white tallow 20 lb. 

Cochin China cocoa nut oil 10 lb. 

Sodalyeof 30° B IT lb. 

Potash lye of 30° B 3 lb. 

Perfume with— 

Oil of bergamot , 13^ oz. 

Oil of cummin 334 oz. 

Oil of rosemary % oz. 

Oil of lavender . % oz. 

Way's Silicated Soap.— To produce 100 lb. of 
soap the operator puts into the soap pan 11*5 
per cent, of each, bleached palm oil and 
cocoa nut oil, and 36*6 per cent, of soda ley of 
36° Tw. These ingredients are boiled till the 
soap becomes stiff, and there is then added 44 
per cent, of solution of silicate of soda of 36° 
Tw. The boiling is now continued till the soap 
becomes thin and limpid, when 2'4 per cent, of 
common salt is thrown in, and the boiling con- 
tinued for three or four hours, when the soap 
may be cleansed either at once or after it has 
been allowed to stand for a few hours. If open 
steam be used, it is best to have the silicate so- 
lution and the ley of greater strength than that 
mentioned, in proportion to the quantity of 
water which is condensed from such steam 
into the soap-pan. 

Silver Soaps. See Polishing, Soaps. 

Soft Soap, Medicinal, is made from pure olive 
oil saponified with a caustic ley made from pure 
potash. The ley is added gradually and cau- 
tiously to the oil during the boiling, and the 
greatest care taken to avoid an excess of alkali. 
When the mass assumes a transparent and gela- 
tinous appearance, the addition of ley is stop- 
ped. The boiling is continued until the soap 
has acquired the proper consistence. 

Analyses of Soft Soaps.— The following ana- 
lyses may be useful as showing the composition 
of several well made soft soaps : 

Good soft soap of London make: Potash 8*5 
+ oil and tallow 45 + water 46'5 in 100 parts.— 
Ure. 

Thenard gives the composition of soft soap 
as : Potash, 9*5 ; oil, 44"0 ; water, 46"5 = 100. 

Belgian soft or green soap : Potash 7 + oil 36 
+ water 57 = 100.— Ure. 

Scotch soft soap : Potash 8 + oil and tallow 47 
+ water 45 = 100.— Ure. 

Another well made soap : Potash 9 + oil and 
fat 34 + water 57 = 100. 

An olive oil (Oallipoli) soft soap from Scot- 
land consisted of potash with a good deal of 
carbonic acid, 10; oils, 48; water, 42 = 100.— Ure. 

A rapeseed oil from Scotland consisted of 
potash 10 + oil 5P66 + water 38'33. 

A semi-hard soap from Verviers, for fulling 
cloth, called savo)t economique, consisted of pot- 
ash 11-5 + fat (solid) 62 + water 26'5 = 100— Ure. 



Soaps. 



522 



Soaps. 



Domestic Soft Soap. — 

Potash... 7^ lb. 

Grease 10 lb. 

Water 37J^ gal. 

Dissolve the potash in part of the water, add 
% of the grease and heat. Mix in the remainder 
of the grease, put in a barrel and add the re- 
mainder of the water, a little at a time, for sev- 
eral days. Stir often. Ready for use in about 
2 weeks. 

Shaker Soft Soap.— Grease. Q& qt. ; strong lye 
made from wood ashes, 18 gal. ; water, q. s. to 
make up to 45 gal. 

Soft Soap, to make Hard.— Put into a kettle 
four pailf uls of soft soap, and stir in it, by de- 
grees, about one quart of common salt. Boil 
until all the water is separated from the curd, 
remove the fire from the kettle and draw off 
the water with a siphon (a yard or so of India 
rubber hose will answer). Then pour the 
soap into a wooden form in which muslin has 
been placed. For this purpose a wooden box, 
sufficiently large and tight, may be employed. 
When the soap is firm turn it out to dry, cut 
into bars with a brass wire and let it harden. A 
little powdered resin will assist the soap to 
harden, and give it a yellow color. If the soft 
soap is very thin, more salt must be used. 

Soft Soap with Potash. — To twenty pounds of 
clear grease take 17 pounds of pure white 
potash. Buy the potash in as fine lumps 
as it can be procured, and place it in the bottom 
of the soap barrel, which must be water tight 
and strongly hooped. Boil the grease and pour 
it boiling hot upon the potash ; then add two 
Shaker pailf uls of boiling hot water ; dissolve 
one pound of borax in two quarts of boiling 
hot water and stir all together thoroughly. 
Next morning add two pails of cold water and 
Stir for half an hour; continue this process 
until a barrel containing thirty-six gallons is 
filled up. In a week, and even less, it will be fit 
for use. The borax can be turned into the 
grease while boiling, and also one pound of 
resin. Soap made in this manner always comes, 
and is a first rate article, and will last twice as 
long as that bought at the soap chandlers. The 
grease must be tried out, free from scraps, 
ham rinds, bones or any other debris ; then the 
soap will be thick as jelly, and almost as clear. 

Soap Solution, Clark's— Dissolve 5 grm. Cas- 
tile soap in ^ liter of dilute alcohol S6%. Used 
to test the hardness of water. 

Spermaceti Soap.— Curd soap 14 lb.; otto of 
bergamot, 2% lb.; otto of lemon, ^ lb. 

Sulphur Soap— I. The best contain about 10$ 
of very finely divided sulphur, and are per- 
fumed, as the element gives a rather unpleas- 
ant* smell to soap when used alone. Various 
combinations of tar, of naphthol or of iodides, 
etc., with sulphur, are also made, which are 
commended for various cutaneous disorders, 
pimples, comedones, freckles, etc.; sulphur, 
when continuously applied, tends to produce a 
clear and healthy complexion. 

2. White curd or Castile soap 

(recent) ^ lb. 

Flowers of sulphur (best; levi- 
gated) 1 oz. 

90% alcohol (strongly colored with 

alkanet) 1 fl. oz. 

Otto of roses (to strongly scent 

the mass) , q. s. 

Beat the whole together, to a smooth paste, 
in a marble or wedgwood-ware mortar. This 
is Sir H. Marsh's formula. Recommended in 
itch and various other skin diseases. It is par- 
ticularly serviceable, as a common toilet soap, 
to persons troubled with slight cutaneous erup- 
tions. Its daily use tends to render the skin 
fair and smooth. The spirit and coloring may 
be omitted at will ; and, as a toilet soap, only 
half the above quantity of sulphur is amply 
sufficient. 

Camphorated Sulphur Soav.— 12 kilos, cocoa 
nut oil, 6 kilos, of soda ley (38°B), 1 kilo, potas- 



sium sulphate, dissolved in % kilo, of water, 160 
grm. camphor, which is to be dissolved in the 
melted cocoa nut oil. 

Sir H. Marsh's Sulphur Soap.— White soap, 2 
oz. and sublimed sulphur, J4 oz., are triturated 
in a mortar, with 1 or 2 fl. drm. of rectified 
spirit, until a smooth paste is formed. The 
spirit should be first colored strongly with al- 
kanet root. A few drops of otto of roses are 
added to give the soap an agreeable fragrance. 

Tannin Soap.—l. Dissolve 30 lb. of tallow 
soap ; add 2 lb. tannic acid and enough starch 
to form the mass into cakes. 

2. Nine kilos, of cocoa nut oil are saponified 
with 4^£ kilos, of soda lye ; then 250 grm. of tan- 
nin, previously dissolved in alcohol, are put in, 
and the whole mixed. The soap is perfumed 
with 30 grm. Peru balsam, 10 grm. cassia oil 
and 10 grm. oil of cloves. 

Tar Soap (Sapo Piceus).— 

Tar 1 part. 

Liquor potassas 2 parts. 

Soap (in shavings) 2 parts. 

Beat them together till they unite. Action 
stimulant, in psoriasis, lepra, etc. 
Medicated Tar Soap. — 

Cocoa nut oil. 20 lb. 

Tallow 10 lb. 

Juniper tar 5 lb. 

Sodaley (40° B.) 15 lb. 

Cleaver's Terebene Soap. — Mr. Cleaver com- 
bines with soap, while in a melted state, the 
substance known as terebene, whereby a disin- 
fectant and antiseptic soap is produced. This 
substance is also combined with toilet creams, 
cosmetics, etc. The following proportions, 
which may, however, be varied at will, are said 
to give good results : For toilet soap, 4^ pt. of 
terebene are added to 112 lb. of soap. For 
household or laundry soap, he adds 6 pt. of 
terebene to 112 lb. of soap. The terebene is in- 
troduced into the soap in its liquid state, and 
thoroughly incorporated by stirring. The 
soap may be perfumed if desirable* The soap 
is known as terebene soap. 

Teeth, Soap for.— Tooth Soap.— 

Tallow soap 20 lb. 

Pumice powder finely sifted ^ lb. 

Prepared chalk 2 lb. 

Starch ^lb. 

Aromatic Antiseptic Tooth Soap.— Castile soap, 
1 lb.; finely powdered pumice, 1 oz.; thymol, 20 
grn.; oil of wintergreen, 30 drops. Shave the 
soap into ribbons, beat it into a paste with a 
little water, and add first the pumice and next 
the thymol and wintergreen dissolved in a 
small quantity of alcohol. 

Zalmon's Aromatic Mouth Soap.— One lb. of 
neutral soap, prepared from fat of the best 
quality, is dissolved in cold distilled water, 
about %y 2 oz. finely sifted cuttle fish bone is 
added to the solution, and the whole evaporat- 
ed at a gentle heat. When the desired consist- 
ency is nearly reached add % of a drm. each of 
oil of peppermint, oil of sage, virgin honey and 
white vinegar, or oil of lemons. Mix the whole 
quickly by stirring, and pour into suitable 
moulds to cool. Coloring matter may be added 
as desired. 

Textile Soap— The firm of Trawitz, Duerin- 
ger & Co., Strassburg, Alsace, manufacture a 
soap for use in the textile industry which it is 
claimed meets the highest requirements and 
perfectly replaces the best Marseilles soap. 
This Luetzelburg textile soap, as it is named, 
according to the analysis made in the labora- 
tory of the Seifensieder Zeitung, contains : 

Fatty acid 65'2$ 

Soda 7'6^ 

Water 27*2$ 

100-0 
The fat is completely saponified and the soap 
absolutely neutral, and therefore suitable for 
any purposes of the textile industiy. 



Soaps. 



523 



Soaps. 



Soap for Silks and Printed Goods.— The late 
Professor Crace- Calvert, of Manchester, to 
whose indefatigable exertions in industrial 
chemistry manufacturers were indebted for 
much valuable information, suggested the 
following formulae for soaps to produce the 
highest brightening effect upon the various 
shades of color: 
For Madder Purples. — 

Fatty matter s 60'4# 

Soda 5-Q% 

Water 340^ 

j/100-0 

For Madder Pinks. — ' 

Fatty matter 59*23^ 

Soda 6-77^ 

Water 34'00# 



100-00 : 

For bleaching raw silk, white olive oil soap is 
used on the Continent. 

Oleic acid, saponified by potash lye, is a very 
suitable fatty material for making soft soap. 
The first potash lye should have a strength 
equal to about 20° B., and the soap may be fin- 
ished with a stronger lye— from 25° to 28° 

Soap for Textile Industries.— 

1. Tallow.... 80 lb. 

Cottonseed oil 80 lb. 

Bone fat 80 lb. 

Cocoa nut oil 100 lb. 

Caustic soda 75 lb. 

Salt...' 32 lb. 

2. Tallow 80 lb. 

Peanut oil 120 lb. 

Bleached linseed oil 40 lb. 

Palm kernel oil .....120 lb. 

Caustic soda 80 lb. 

Salt 36 lb. 

3. Cottonseed oil 80 lb. 

Peanut oil ... .80 lb. 

Bone fat 80 lb. 

Palm kernel oil 120 lb. 

Caustic soda 80 lb. 

Salt 35 lb. 

4. Saponified oleic acid 100 lb. 

Tallow 40 lb. 

Palm kernel oil 60 lb. 

Caustic soda 40 lb. 

Salt 20 lb. 

Soft Soap.— 

1. Tallow 65 lb. 

Crude palm oil 10 lb. 

Saponified oleic acid 75 lb. 

Cottonseed oil 40 lb. 

.Bleached linseed oil 10 lb. 

2. Tallow 100 lbJ 

Horse fat 100 lb. 

Saponified oleic acid 100 lb. 

Crude palm oil. 20 lb. 

Cottonseed oil 80 lb. 

3. Tallow 8 lb. 

Bleached palm oil 6 lb. 

Saponified oleic acid 14 lb. 

Peanut oil 9 lb. 

Bleached linseed oil ..3 lb. 

Transparent Soap.—l. Soap when perfectly 
dry is readily soluble in warm alcohol, and ad- 
vantage is -taken of this chemical fact in the 
manufacture of transparent soap. To prepare 
transparent soap, either tallow, almond or soft 
soaps may be used, but in either case the soap 
must be rendered perfectly free from water. 
The soap is first cut into thin slices or shavings, 
and these are then dried over a water bath or 
by hot air. Equal parts by weight of the 
dried soap, and rectified spirit are put into a 
still, heated by a water bath. Only moderate 
heat is applied, otherwise the spirit would 
pass over without dissolving the soap. The 
soap is sometimes powdered in a mortar after 
drying, before treating it with the spirit, by 



which it becomes more readily dissolved. If it 
is desired to color the soap, any coloring matter 
soluble in alcohol may be employed. It is best 
to color the spirit before adding it to the soap. 
When the soap is completely dissolved, it is al- 
lowed to rest for an hour or two, after which 
the clear and transparent liquid is put into the 
frames in which it will solidify on cooling. 
When cold it is cut in pieces of any required 
size, and these are moulded in the same way as 
other toilet soaps. It does not acquire its 
characteristic transparency until after it has 
been exposed to dry air for a considerable 
time. 

Any of the aniline colors, however, may be 
used for tinting the transparent soap, and are, 
indeed, well suited to this purpose. 

Resin soaps are considered very suitable for 
making these soaps, and the presence of a fair 
proportion of resin undoubtedly favors the 
transparency and beauty of the substance. 

Although transparent soaps are exceedingly 
pleasing to the eye, they do not possess the 
active detergent powers of ordinary soaps. 

2. Brown's recipe for making transparent 
soap is as follows: One hundred lb. dry bar 
soap to be heated and melted; then pour in 25 
lb. or more of melted sal soda. Agitate to- 
gether at a low heat. Then add 100 to 125 lb. of 
glycerine; agitate, keeping up a moderate heat. 
Let settle; draw off into moulds or soap frames. 
When cold cut into bars and cakes. 

3. Take of perfectly dry pulverulent white 
soap, 2 lb.; alcohol, 36° B., 3 qt.; heat gently to- 
gether ovex- a water bath and when the solu- 
tion is complete, perfume and turn out into 
forms. 

When cooled divide it into cakes one-third 
thicker than their designed size, so as to allow 
for contraction by evaporation. 

Turpentine Soap, or Starkey's Soap, is pre- 
pared as follows: Take of Venice turpentine, 
oil of turpentine and carbonate of potash, of 
each equal parts; place these in a mortar (pre- 
viously warmed) and triturate them together, 
adding a little water, until a homogeneous 
mass is formed; put it into a paper mould and 
after a few days cut the soap into slices and 
keep them in a well stoppered bottle. 

Vanilla Soap.—l. White tallow soap, 10 kilos.; 
perfume with tincture of vanilla, 500 grm.; oil 
of roses, 5 grm. Color with 100 grm. of burnt 
sienna. 

2. Lard, with vanilla 30 lb. 

Cocoa butter 10 lb. 

Palm oil 10 lb. 

Caustic ley, 36° B 26 lb. 

Wax 2 lb. 

Starch 2 lb. 

Perfume with— 

Tincture of vanilla 4 oz. 

Tincture of musk 2 oz. 

Tincture of ambergris 2 oz. 

Oil of rose ^ oz. 

Lard with vanilla is prepared by adding the 
vanilla to the lard, 1 oz. to the lb., keeping it at 
a moderate heat for some days, then strain- 
ing, etc. 

3. White curd soap 40 lb. 

Tincture of vanilla 2 lb. 

Oil of rose 2)4 drm. 

Color with — 

Burnt sienna 7 oz. 

Vaseline Tar Soap.— Saponify 40 lb. of cocoa 
nut oil and 6 lb. of tar with 22 lb. of lye 40° B. 
Dissolve 4 lb. of yellow vaseline and stir in the 
soap, with 1 lb. lukewarm water. 

Vaseline Soap.— Cocoa nut oil, 160 parts; vase- 
line, 20 parts; lye of 40° B., 76 parts; water, 4 
parts. 
Vegetable Soap, by Delteil, Paris — 

Farina of pistachio nuts 3 parts. 

Beech nuts 1 part. 

Buckwheat meal, orris, and 

patchouli 1 part. 



Soaps. 



524 



Soaps. 



The perfume of the product can be varied. 
It may be either essence of rose, almonds, 
bergamot, or musk. 

Violet Windsor Soa^p — 

Lard 50 parts. 

Palm oil 33 parts. 

Spermaceti 17 parts. 

The perfume employed is essence of Portu- 
gal, to which a little oil of cloves is added. 
The well-known violet odor of the palm oil, 
modified by the perfumes, gives an agreeable 
fragrance to the soap. 

1. Violet Soap (Yellow).— 

Yellow cocoa nut oil 20 lb. 

Palm oil 20 lb. 

Tallow 10 lb. 

Soda lye at 36° B 2t5 lb. 

Powdered orris root ... 4 lb. 

To which are added the following perfumes : 

Oil of lemon 4 oz. 

Oil of rhodium 2 oz. 

Oil of thyme 2 oz. 

Tincture of musk .... 4 oz. 

Color with cadmium yellow. 

2. Genuine Violet Soap.— Genuine violet soap, 
which is generally sold in square lumps, mark- 
ed "Finest perfumed old brown violet soap," 
enjoys the greatest approval of consumers on 
account of its agreeable odor. It is certainly 
made in every large manufactory of toilet 
soaps, but there are great discrepancies as re- 
gards the manner of its manufacture and the 
composition of the scent. 

Finest cocoa nut oil 48 lb. 

Fresh tallow 14 lb. 

Best Lagos palm oil 1% lb. 

Melt together. To a portion of the fat while 
still hot add 2 lb powdered and alcoholized or- 
ris root, and 2*4, lb. powdered and alcoholized 
bergamot rind, equally distributed. The ma- 
nipulation is best effected by sifting the per- 
fumes into a large mortar, rubbing contin- 
ually, and adding more fat until a homoge- 
neous and moderately fluid mass has been 
formed, which is then added to the mass in the 
pan. 

In the same manner V/% lb. of liquid storax 
is dissolved in some pounds of the mixed fat 
with the aid of heat, and the liquid mass is 
carefully strained through a cloth into the 
pan. 

The whole mixture of fat is then allowed to 
cool down to 90° F., and 31 lb. soda lye and 1 lb. 
potash lye, at 66° Tw., are crutchedin the usual 
manner. 

Before putting in the forms the soap is 
further perfumed with— 

Mitcham oil of lavender 250 grn. 

Bergamot oil. 135 grn. 

Sassafras oil, 75 grn. 

Balsam of Peru 70 grn. 

Ceylon oil of cinnamon 10 grn. 

Musk 2 to 3 grn. 

The musk is ground fine with a iittle milk 
sugar, moistened with the oils, and worked into 
the soap. 

The soap when first cut has not a very fine 
color, and the smell is far from agreeable. In 
the course of fourteen days it takes a good 
brown color, and the odor improves with age. 
— Chemical Review. 

3. Any white toilet soap strongly scented 
with essence of orris root, and colored, or not, 
with tincture of litmus, or a little levigated 
smalts or indigo. Very fine. 

4. White curd soap 3 lb. 

Olive oil soap » — 1 lb. 

Palm oil soap ... .... 3 lb. 

Melted together, and further scented with a 
little essence of orris root, and colored or not, 
at will. Very fragrant. 

To Prepare a White Soap.— Put into a pan, 



capable of holding about 100 gal., tallow, lard, or 
bleached palm oil, 120 lb,; cocoanut oil, 40 lb.; 
apply gentle heat, with occasional stirring, 
until all the fatty matter is melted. When the 
liquid grease has attained the heat of about 120° 
F., add, gradually, 80 lb. lye at 36° B., and stir 
well until a complete union of the fatty mat- 
ters and alkali is effected. The temperature of 
the ingredients, at the time of adding the al- 
kali, must not be higher than 122° F.; otherwise 
tuere will be a separation of the lye from the 
fatty materials. If the stirring has been dili- 
gently pursued, the saponification will be com- 
plete in about two hours, and the soap is then 
ready for the frame. . If it is desired to per- 
fume the soap, this should be done while it is 
in the pan, and before it has had time to cool. 
It is not a good plan, when making small quan- 
tities of soap, to add the perfume after the 
soap is in the frame, since it is then more diffi- 
cult to effect a perfect incorporation of the 
respective materials. 

Windsor Soap. —The best Windsor soap is made 
of a mixture of olive oil, 1 part, and ox tallow 
or suet, 9 parts, saponified by caustic soda; but 
most of the Windsor soaps of the shops is mere- 
ly ordinary curd soap scented. On the large 
scale the perfume is added while the soap is in 
the soft state, just before it is put into frames, 
but on the small scale it maybe prepared in the 
same way as soap a la rose. 

1. Best beef tallow and oil soap, as above, 3 
cwt.; essence of caraway, 2 lb.; English oil of 
lavender, }4 lb.; oil of rosemary, )4 lb.; mix as 
soap a la rose. 

2. Hard curd soap, 1 cwt.; oil of caraway, V/z 
lb. ; tincture of musk, 12 oz. ; English oil of 
lavender, 2 oz.; oil of origanum, y% oz.; as last. 

3. Curd soap, melted and scented with the 
oils of caraway and bergamot. Brown Wind- 
sor soap is the same colored. — Coolers Formu- 
las, Old. 

4. This famous toilet soap, as prepared in 
London, is generally made from tallow, 9 parts, 
and olive oil, 1 part, and is perfumed (for every 
1,000 lb. of the paste) with— 

Oil of caraway 6 lb. 

Oil of lavender. 1^ lb. 

Oil of rosemary 1^1 lb. 

5. Or, for each 100 lb. of soap- 
Oil of caraway 5 oz. 

Oil of bergamot 10 oz. 

Oil of cloves 2}4 oz. 

Thyme 5 oz. 

6. Or, for the same quantity of soap- 
Oil of caraway 10 oz. 

Oil of bergamot 5 oz. 

Oil of lavender 2% oz. 

Oil of rosemary 2% oz. 

Brown Windsor soap is prepared as above, 
and colored either with burnt sugar (caramel) 
or umber. 

7. Rose Windsor is the plain variety colored 
with vermilion or iron oxide, and perfumed, 
after the soap has been transferred to the 
frame, with essence of roses. 

8. Weise's Formula for Windsor Soap.- -Tal- 
low, 40 lb., and olive oil, 15 to 20 lb., are saponi- 
fied with soda lye of 19° B.; the soap next 
treated with a lye of 15° B., and lastly with a lye 
of 20° B., and the operation is conducted as for 
curd soan, but no excess of alkali muot be used. 
When boiled clear, the soap is left in the pan 
for six or eight hours; it is next completely 
separated from the lye, and is then placed in a 
flat mould, and pressed until it no longer ex- 
hibits any flux, to prevent it from mottling. 
To the above proportions the following per- 
fumes are added : 

Oil of cumin ..10 oz. 

Oil of bergamot 6 oz. 

Oil of lavender 3 oz. 

Oil of origanum 1 oz. 

Oil of thyme ... 3 oz. 



Soaps. 



525 



Solders. 



Wool Washing, Soap for.— A good soap for 
freeing 1 wool of grease can best be prepared 
from olive and Cochin cocoa nut oils. Seven- 
teen hundred and sixty pounds of olive oil are 
boiled to a grain with caustic soda lye. After 
the soap has separated and the lye has been 
drawn off, 1,960 lb. of potash solution of 20° B. 
are added and allowed to boil a little. Now 440 
lb. of Cochin oil are added, and, when well 
taken up, the same quantity of potash solu- 
tion of 2u° B. is gradually added as the soap can 
take it up. Then place in tinned forms of 
about 220 lb. capacity. 

A cheap and less valuable article, such as is 
frequently used for cleaning ordinary wool, 
is also easy to prepare. Seventeen hundred 
and sixty pounds of elaine and 440 lb. of tallow 
are boiled to a grain, the precise method of 
boiling being immaterial, provided one obtains 
a good firm grain. In another kettle a soda 
solution is prepared of 30° B. Now take 220 lb. 
of this soda solution, place it in a shallow ket- 
tle with 440 lb. of the grain soap, stir well and 
then add, with constant stirring, 220 lb. of dry 
soda. 

In this way a thick paste is obtained, which 
is allowed to cool in the pan, and is removed 
after forty-eight hours with a chisel. This is 
broken up into small pieces of the size of an 
egg, and packed in barrels for shipment. 

A third process, which, however, is but sel- 
dom used in soap factories, is the following : 
Twenty-two pounds of caustic soda lye of 60° 
B. and 44 lb. of soda crystals are dissolved in 
120 lb. of water, and 44 lb. of elaine crutched 
into the solution. This mixture is adapted to 
wool washing and is generally prepared by the 
wool washer himself. The wool, however, be- 
comes dry and brittle after its use. 

Almost every establishment has its own ap- 
proved formula, and every wool washer 
watches, argus eyed, lest some one discovers 
his method of making celebrated soap. We 
can very cheerfully let these people retain their 
treasure, as a soap boiler would never allow 
himself to apply the name soap to such a mess. 
—Der Seifenfabrikant. 

Wool Washing Co impound.— This is a mixture 
composed of — 

Dried soda 35 parts. 

Powdered soap ..10 parts. 

Sal ammoniac ,10 parts. 

Dimbleby's Witch-hazel Soap.— The juice of 
the plant Hamamelis virginica, or common 
witch-hazel, is mixed with soap, and the vari- 
ous compounds for toilet purposes which con- 
tain soap, and it is said that such compounds 
are beneficial in cases of bruises and lacerations 
of the skin. 



Name. 

Soft, coai'se 

loft, fine 

Soft, fusible 

Pewterer's 

Spelter, soft 

Spelter, hard 

Silver, fine. 

Silver, common 

Silver, for brass and iron. 
Silver, more fusible 



Gold, for 18 carat gold. 

Gold, more fusible 

Platinum.. 



Material to be Soldered. 



Tin.. 

Lead 

Brass, copper, iron and zinc. 

Pewter 

Brass 

Copper and iron 

Brass, copper, iron, steel 

Gold 

Platinum 



Yellow Soap.— 

Tallow 1)4 lb. 

Sal soda lj^ lb. 

Resin .56 lb. 

Stone lime 28 lb. 

Palm oil 8 oz. 

Soft water 28 gal. 

Put soda, lime and water into a kettle and 
boil, stirring well; then let it settle and pour 
off the lye. In another kettle melt the tallow, 
rosin and palm oil, having it hot, the lye being 
also boiling hot. Mix altogether, stirring well, 
and the work is done. 

Soap Papers, to Wax. See Waxes. 

Soaps. See also Polishing. 

Soapstone.— Name frequently applied to- 
steatite. 

Soda Cream.— Warm gradually— 

Water 4^ gal. 

Loaf sugar 15 lb. 

Add— 

Rich cream 3 qt. 

Extract vanilla 234 oz. 

Extract nutmeg % oz. 

Tartaric acid 6 oz. 

Bring to a boiling heat. Use 4 or 5 spoonfuls 
of this syrup to a glass. If used without a foun- 
tain, a little soda may be put in the glass. For 
charged fountains leave out the acid. 

Soda Water, See Waters. 

Soda, Silicate of.— 1. Silicate of soda (or 
soluble glass) is prepared by fusing together 
carbonate of soda and sand, or by boiling flints 
in caustic soda under great pressure. It is not 
soluble in cold water, but dissolves in 5 or 6 
times its weight of boiling water. It is em- 
ployed in the manufacture of soap, in fixing 
colors, in preserving stones from decay. In 
admixture with other silicates, silicate of soda 
occurs in glass; and it (equally with silicate of 
potassa) imparts the property of viscidity before 
fusion to such mixtures, which is of great 
value in the working of glass. 

2. Mix well 200 grn. of fine sand and 600 grn. 
of fine carbonate of potassa; fuse in a crucible 
capable of holding four times as much. Car- 
bonic acid escapes; the silica and potassa com- 
bine and form glass. Pour out the glass, which 
is commonly termed silicated potassa, on an 
iron plate. The compound formed in this man- 
ner is pure silica soap. 

Sodium Amalgam. See Amalgams. 

Sodium Silicate Cements. See Cements. 

Solders. — A few solders, the metals to which 
they are applied, and their appropriate fluxes, 
are tabulated below : 

Composition. 
..Tin, 1; lead, 2 
. . Tin, 2; lead, 1 
..Tin, 2; lead, l;bis.,l 
..Tin, 3; lead, 4; bis., 2 
. . Copper, 1 ; zinc, 1 
. . Copper, 2 ; zinc, 1 
. .Silver, 66*6; copper, 23*4; zinc, lu 
..Silver, 66/6; copper, 30; zinc, 3*4 
..Silver, 1; brass, 1 
..Silver, 1; brass, 1; zinc, 1 
j Gold, 18 carats fine, 66'6 

I Silver, 16*7; copper, 16*7 
. . . Same as above with a trace of zinc. 
..Fine gold. 

Solder. Flux. 

. Soft, coarse or fine. Rosin or zinc, chl. 

. . S oft, coarse. Rosin. 

. .Soft, coarse. Zinc, chl. 

. .Pewterer's or fusible. Rosin or zinc, chl. 

..Spelter, soft. Borax. 

. .Spelter, soft or hard. Borax, 

. . Any silver, S. Borax. 

..Gold, S. Borax. 

. . Fine gold. Borax. 



Solders* 



526 



Solders. 



Table of Solders. 



No, 



9 
10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 



Name. 



Plumbers' coarse solder 

Plumbers' sealed solder , 

Plumbers' fine solder 

Tinners' solder 

Tinners' fine solder 

Hard solder for copper, brass, iron. 
Hard solder for copper, brass, iron. 
Hard solder for copper, brass, iron, 

more fusible than 6 or 7 

Hard solder for copper, brass, iron. 

Silver solder for jewelers 

Silver solder for plating- 

Silver solder for silver, brass, iron. 

Silver solder for steel joints 

Silver solder, more fusible 

Gold solder 

Bismuth solder 

Bismuth soider 

Bismuth solder 

Bismuth solder 

Bismuth solder 

Pewterers' solder 



Composition. 



Tin, 1; lead, 3 

Tin, 1; lead, 2 

Tin, 1; lead, 2 

Tin, 1%; lead, 1 

Tin, 2; lead, 1.... 

Copper, 2 ; zinc, 1 

Good tough brass, 5 ; zinc 1. 



Copper, 1; zinc, 1 

Good tough plate brass 

Silver, 19; copper, 1; brass 1 

Silver, 2; brass, 1 

Silver, 1; brass, 1 

Silver, 19; copper, 1; brass, 1. 

Silver, 5; brass, 5; zinc, 5 

Gold, 12; silver, 2; copper, 4.. 



Lead, 4; tin, 4 
Lead, 3; tin, 3 
Lead, 2; tin, 2 
Lead. 2; tin, 1 
Lead, 3; tin, 5 
Lead, 4; tin, 3 



bismuth, 1. 
bismuth, 1. 
bismuth, 1., 
bismuth, 2 . 
bismuth, 3.. 
bismuth, 2., 



Flux. Fluxing point. 



R 

R 

R 

or Z 

or Z 

B 

B 

B 
B 
B 
B 
B 
B 
B 
B 

or Z 
or Z 
or Z 
or Z 
or Z 
or Z 



800° F. 
441° F. 
370° F. 
334° F. 
340° F. 



320° F. 
310° F. 
292° F. 
236° F. 
202° F. 



Abbreviations: R, resin; B, borax; Z, chloride of zinc. 



Table of Bismuth Solders. 



Tin. 


Lead. 


Bismuth. 


Melts at 


4 parts 
3 parts 
2 parts 

1 part 

2 parts 

3 parts 


4 parts 
3 parts 
2 parts 
Ipart 
1 part 

5 parts 


1 1> art 
1 part 

1 part 
Ipart 

2 Darts 

3 parts 


320° Fahr. 
310 Fahr. 
229 Fahr. 
254 Fahr. 
236 Fahr. 
202 Fahr. 



Brass Solders. 



Very strong... 

Strong 

Medium 

Medium 

Easily fusible . 
Easily fusible . 
White solder . 



tn' 








0> 








ft 

ft 

o 
o 


6 

a 


d 

H 





u 
o 

o 

o 



58 

53 

50 

54^ 

34 

44 

57 



42 

47 

50 

43^ 

66 

50 

28 


V/2 

4 
15 


2 



reddish yellow 
reddish yellow 
reddish yellow 
reddish yellow 

white 

gray 

white 



Silver Solders.— The following solders are re- 
commended for special work : 

oz. dwt. gr. 

1. Fine silver.... 1 

Shot copper 5 

Total 15 

2. Fine silver 1 

Shot copper 10 



Total .... 1 10 

3. Fine silver.... ..0 16 

Shot copper 12 

Composition 3 12 



Total 1 

4. Fine silver 1 

Composition — .. 10 

Pure tin 2 



Total.. 1 12 

5. Fine silver 1 

Shotcopper.. 12 

Pure spelter 3 

Total 1 15 



oz. dwt. gr. 

6. Fine silver 1 - 

Shot copper 3 

Arsenic 2 

Total 15 

7. Fine silver 1 

Composition 6 

Arsenic 1 

Total 17 

8. Fine silver.. 10 

Composition 5 

Tin 5 

Total 1 10 

9. Fine silver 1 

Tin 10 

Arsenic 5 

Total 1 15 

10. Fine silver 1 

Composition 15 

Arsenic 1 6 

Total.... 1 16 6 

Solders for Special Purposes.— The best solder 
for platinum is fine gold. The joint is not only 
very infusible, but it is not easily acted upon 
by common agents. For German silver joints, 
an excellent solder is composed of equal parts 
of silver brass and zinc. The proper flux is 
borax. 



Solders. 


o 


O 
> 

33 


u 

CD 

ft 
ft 
o 
Q 


a 

H 
2 


6 
a 

55 


CS 

CD 

1 

4 
1 
1 
3 
2 


3 

a 

Ifl 

3 

2 
1 


w 
w 

a 


.Sfl 

So 

0> ft 

3 










•• 


360° 


Pewterer's, soft 


.. 


M 




3 .. 

2 .. 
1 .. 
1 














•• 


393 










500 


Gold 


6 


1 

19 
4 
3 

2 
2 


4 
2 
1 
1 


1 


"3 


475 
1,869 


Hardest silver 










2 








2 


1 


2 




1 
1 

















Solders. 



527 



Solders. 



White Solders for Gold Work. 



No. 


Name. 


Fine Silver. 


Copper. 


Spelter. 


Fusing Point. 


1 
2 
3 


Easy 


14 parts 


4 parts.... 

4J^ parts 

6 parts... , 


1 part 

1)4 part 

1)4 part 


1,866° F. 
1,843° F. 
1,818° F. 
1,826° F. 
1,802° F. 


4 


Common hard 


12^3 parts 


5 


Common easy 











Colored Solders for Gold Work. 




No. 


Name. 


Fine Gold. 


Fine Silver. 


Shot Copper. 


1 
2 
3 


Medium gold solder 


123^ parts 

10 parts 

&4 parts 


6)4 parts.. 


3 parts. 

4 parts. 

5 parts. 







Silver Solders. 



No. 


Name. 


Fine 

Silver. 


Shot 
Copp'r 


Brass. 


Zinc. 


Tin. 


Arsen- 
ic. 


Compo. 




S3 

O 

1 

1 

1 
1 
1 
1 
1 
1 
1 



1 
1 
1 
1 
1 
1 












16 








it 






















S3' 



















+3 

5 

4 
5 


a 

it 


9 

s 


S3" 




+3 


a 

M 





+3 


it 


dwt. 


dwt. 


dwt. grn. 


1 


Hardest ) 
















2 


Solder ) 






6 
10 


16 















3 


Easy 








4 


Medium 










1 

2 


15 
8 
4 
9 








5 








6 


Enameling 


612 
9 15 








7 








8 


5 

10 


10 

12 






12 












9 


Enameling 














10 


Filigree 


















3 12 


11 
12 


Chain 














2 

2 
3 
3 










2 


10 


13 


Easy chain 








10 


14 






15 


Very common 






12 


16 




loz. 


1 oz. 









Soldering.— To solder seams properly, the old 
solder should be melted off , the old tin nicely 
retinned, and strips of tin soldered over the 
old seam. The edges of the strips can be bent 
slightly in the locker, so they will not spring 
up while being soldered. 

For Sealing Iron in Stone. — 

Lead 2 parts. 

Zinc .1 part. 

For Sealing Tops of Canned Goods.— 

Lead 1J4 lb. 

Tin 2 lb. 

Bismuth 2 oz. 

The lead is melted first, the tin added next, 
and finally the bismuth stirred in well just be- 
fore pouring. This makes a soft solder and the 
cans do not take much heat to open them. 

Soldering IAquid.—l. This liquid, which causes 
no rust on iron or steel, is prepared by cutting 
zinc into small pieces, dissolving in hydrochlo- 
ric acid until the acid ceases to bubble. Add 
about 34 part of the solution of ammonia, which 
neutralizes the acid. Dilute the whole quan- 
tity of liquid with an equal quantity of water. 

2. Dissolve in 12 parts of water ly^ parts gly- 
cerine and 1)4 parts lactic acid. This liquid is 
not corrosive or injurious to workmen. 

Soldering Paste. — A soldering paste is obtained 
by mixing starch paste with a solution of 
chloride of tin. This produces a liquid about 
the consistency of syrup, which is more readily 



applied to the soldering seam than ordinary 
soldering liquid. Used for soft soldering. 

A Useful Kind of Solder.— A soft alloy which 
attaches itself so firmly to the surface of metals, 
glass and porcelain, that it can be employed to 
solder articles that will not bear a very high 
temperature, can be made as follows : 

Copper dust obtained by precipitation from a 
solution of the sulphate by means of zinc is 
put in a cast iron or porcelain lined mortar and 
mixed with strong sulphuric acid, specific 
gravity T85. From 20 to 30 or 36 parts of the 
copper are taken, according to the hardness de- 
sired. To the cake formed of acid and copper 
there is added, under constant stirring, 70 parts 
of mercury. When well mixed the amalgam is 
carefully rinsed with warm water to remove 
all the acid, and then set aside to cool. In ten 
or twelve hours it is hard enough to scratch 
tin. If it is to be used now, it must be heated 
so hot that when worked over and brayed in 
an iron mortar it becomes as soft as wax. In 
this ductile form it can be spread out on any 
surface, to which it adheres with great ten- 
acity when it gets cold and hard.— Polyt. Notiz- 
hlatt. 

Soldering Aluminum.— The following alloys 
are given: 

1. Aluminum 8 parts. 

Zinc .92 parts. 

2. Aluminum 12 parts. 

Zinc 88 parts. 



Solders. 



528 



Solders. 



3. Aluminum 15 parts. 

Zinc 85 parts. 

4. Aluminum , 20 parts. 

Zinc. 80 parts. 

The aluminum is first melted, the zinc added 
gradually, finally some fat is added, and the 
whole is stirred with an iron rod and poured 
into moulds. For flux use copaiba balsam, 3 
parts; Venice turpentine,! part, and a few drops 
of lemon juice. Dip the soldering- iron into 
the same flux. 
Argentum Solder, Readily Fusible.— 

Copper 17^ parts. 

Zinc 28^ parts. 

Nickel 4 parts. 

Black Solder.— 

1. Copper 2 lb. 

Zinc 3 lb. 

Tin 2 oz. 

2. Sheet brass 20 lb. 

Tin 6 lb. 

Zinc 1 lb. 

Brass or Copper, Yellow Solder for — 

1. Copper 1 lb. 

Zinc 1 lb. 

2. Stronger— Copper, 32 lb.; zinc, 29 lb.; tin, 
lib. 

3. Zinc, 2 parts, with borax; copper, 6 parts. 

4. For soldering- brass to platinum, put a 
piece of thick brass wire in a handle, and flat- 
ten and file the end like the point of a solder- 
ing- bit; dip this end in soldering fluid, 
and, holding it in the flame of gas or lamp, 
run a little solder on it ; now, having put some 
fluid on the platinum, which will require to be 
supported with a fine pair of tongs, place it 
near the flame, but not in it, at the same time 
heating the brass wire in the flame with the 
other hand, and as soon as the solder melts it 
will run on to the platinum; you must put 
very little on, and take care the solder does not 
run to the other side. Having applied solder- 
ing fluid or rosin to the brass, hold the two 
together in any convenient manner, and warm 
them in the flame till the sulder runs. It is 
best to use rosin for electrical work, unless the 
work can be separated and thoroughly cleaned. 

5. Soldering Brass. — All kinds of brass may 
be soldered with Bath metal solder (79 copper, 
21 zinc) or soft spelter, using borax as a flux. 
A good plan is to spread on a little paste of 
borax and water and lay a bit of tinfoil on 
this, then heating till the tin melts and runs, 
and thus coats the surface. Work previously 
tinned in this way can be joined neatly and 
easily. 

Bfass, to Solder Sheet.— For soldering with a 
copper, use a solder made of 2 parts tin, 1 part 
lead, by weight ; melt, mix, and pour in small 
bars. For flux dissolve zinc in muriatic acid 
until no more will dissolve, add about one 
tenth its bulk of sal ammoniac, and dilute with 
quarter its bulk of water. Wet the sur- 
faces to be soldered with this solution, using 
a piece of wood or copper wire for this pur- 
pose. Then, by rubbing the surfaces with the 
tinned point of the copper, a coating of tin 
will be imparted. Put both surf aces thus pre- 
pared together, and heat by applying the copper 
and a little solder to the outside of the seam. 
The copper should be well tinned on the point, 
which may be done by heating the copper hot 
enough to freely melt pure tin. Rub a piece 
of sal ammoniac on a brick, then rub the 
copper point on the brick, with tin or solder in 
contact with the point. The tinning of the 
copper point is essential for soldering. 

White Solder for Raised Britannia Ware — 
Tin, 50 lb.; copper, 4 lb.; tin, 2 lb.; antimony, 4 lb. 

Cold or Chemical S.—A neat mode of solder- 
ing for small articles : Cut a piece of tin foil 
the size of the surfaces to be soldered; dip a 
feather in a solution of sal ammoniac, and 
paint over the surfaces of the metal; then place 



them in their proper position, with the tin foil 
between; put it so arranged on a piece of iron 
hot enough to melt the foil; when cold they 
will be found firmly fastened together. 

For soldering without the use of an iron, the 
parts to be joined are made to fit accurately, 
either by filing or on a lathe. The surfaces are 
moistened with soldering fluid, a smooth piece 
of tinfoil is laid on, and the pieces are pressed 
together and tightly wired. The article is then 
heated over the fire by means of a lamp until 
the tinfoil melts. In this way two pieces of 
brass can be soldered together so nicely that the 
joint can scarcely be found. 

Fluxes.— 1. Muriatic acid with zinc dissolved 
in it till it will take no more. 

2. Dissolve zinc in hydrochloric acid until the 
acid will dissolve no more; dilute with water. 

Cold Soldering.— Various nostrums have been 
proposed from time to time which profess to 
be reliable methods of soldering without heat; 
but when tried, they have generally proved use- 
less. The following recipe, which is due to Fletch- . 
er, of Warrington, will be found to be more 
truthworthy. It must be borne in mind that, 
though the first preparation is tedious, a large 
quantity of the materials can be made at once, 
and the actual soldering process is as simple and 
quick as it well can be. 

Flux : One part metallic sodium to 50 or 60 
parts of mercury. These combine on being 
well shaken in a bottle. If this is too much 
trouble, the sodium amalgam can be bought* 
ready made, from any chemist or dealer in re- 
agents. This sodium amalgam must be kept in 
a stoppered bottle closed from the air. It has 
the property of amalgamating (equivalent to 
tinning- by heat) any metallic surface, cast iron 
included. 

Solder.— Make a weak solution of copper sul- 
phate, about 1 oz. to 1 qt. of water. Precipi- 
tate the copper by rods of zinc; wash the pre- 
cipitate two or three times with hot water; 
drain the water off, and add, for every 3 oz. of 
precipitate, 6 or 7 oz. mercury; add also a little 
sulphuric acid to assist the combination from 
the two metals. When combined, they form a 
paste which sets intensely hard in a few hours, 
and this paste should be made, while soft, into 
small pellets. 

When wanted for use, heat one or more of 
the pallets until the mercury oozes out from the 
surface in small beads; shake or wipe them off, 
and rub the pellet into a soft paste with a small 
mortar and pestle, or by any other convenient 
means, until it is as smooth and soft as paint- 
er's white lead. This, when put on a surface 
previously amalgamated by the sodium and 
mercury, adheres firmly, and sets perfectly 
hard in about three hours. The joint can be 
parted, if necessary, either by a hammer and 
cold chisel or by a heat about sufficient to melt 
plumbers' solder.— Mechanics' Own Book. 

Copper, Solder for.— Copper, 10 lb.; zinc, 9 
lb. 

Soldering Liquid for Copper and Bronze (G-au- 
duin's).— This liquid is prepared by mixing 
finely pulverized cryolite and a solution of 
phosphoric acid, in spirits of wine. 

Solder for Copper, Iron, and Dark Brass.— 
Copper and zinc, equal parts melted together. 
For pale brass use more zinc. 

Solder for Copper.— Copper, 10 lb.; zinc, 9 lb. 

Solder for Copper.— Melt together and thor- 
oughly mix — 

Brass 9 parts. 

Zinc IVi parts. 

Tin V/% parts. 

Coppersmith's Solder. — 

Lead 2^ parts. 

Tin 5 parts. 

If the copper is thick, heat by a naked fire; if 
thin, use a tinned copper tool. The flux is mu- 
riate or chloride of zinc, or resin. This solder 
will also do for iron, cast iron or steel. 



Solders. 



529 



Solders. 



Enamel Solder.— 

Copper 25 parts. 

Silver 7*07 parts. 

Gold 67*93 parts. 

Very Refractory Solders for Articles to be 
Enameled.— 

Silver 18 parts. 

Gold 74 parts. 

Soldering Fat.— 

Oliveoil 1*6 lb. 

Tallow V/ 2 lb. 

Colophony (pulverized) 12 oz. 

Melt these ingredients and let them Doil up. 
When this mixture has become cool add % pt. 
of water, saturated with pulverized sal ammo- 
niac, stirring- constantly. This gives the mass 
a yellow color. Used for soft soldering. 

Soldering of Glass and Porcelain with Metals. 
— Mr. Cailletet has recently made known to the 
Societe de Physique a process of soldering glass 
and porcelain with metals. Mechanists, physi- 
cists and chemists will appreciate the practical 
importance of this process, which permits of 
adapting any metallic object whatever (cock, 
tube, conducting wire, etc.) to experimental 
apparatus in such a way as to prevent any 
leakage, even under high pressures. 

The process is very simple. The portion of 
the tube that is to be soldered is first covered 
with a thin layer of platinum. This deposit is 
obtained by covering the slightly heated glass, 
by means of a brush, with very neutral chloride 
of platinum, mixed with essential oil of cham- 
omile. The oil is slowly evaporated, and, when 
the white and odoriferous vapors cease to be 
given off, the temperature is raised to a red 
heat. The platinum is then reduced and covers 
the glass tube with a bright layer of metal. On 
fixing the tube thus metalized, and placed in a 
bath of sulphate of copper, to the negative 
pole of a battery of suitable energy, there is de- 
posited upon the platinum a ring of copper, 
which should be malleable' and very adhesive 
if the operation has been properly performed. 

In this state, the glass tube covered with cop- 
per can be treated like a genuine metallic tube 
and be soldered by means of tin to iron, cop- 
per, bronze, platinum, and all metals that can 
be united with tin solder. 

The resistance and strength of such solder- 
ing are very great. Mr. Cailletet has found 
that a tube of his apparatus for liquefying 
gases, the upper extremity of which had been 
closed by means of an adjutage thus soldered, 
resists pressures of more than 300 atmospheres. 
The tube, instead of being platinized, may be 
silverized by raising the glass covered with ni- 
trate of silver up to a heat bordering on red. 
The silver thus reduced adheres perfectly to 
the glass, but numerous experiments have 
caused platinizing to be preferred to silverizing 
in the majority of cases.— La Nature. 

Glaziers'' Solder.— Lead, 5 parts; tin, 1% part. 
This melts at 500° F. 

Gold Solder.— Copper, 24*24 parts; silver, 27*57 
parts; gold, 48*19 parts. 

Hard Soldering.— Joints and catches may be 
fixed on brooches, of whatever kind they may 
be, either by soft or hard solder. In the case 
of coin jewelry, hard solder is best. This may 
be procured in small quantities of any obliging 
jeweler; ten cents worth will do twenty jobs. 
If not so procurable, get a small piece of good 
silver and melt it up with about twice its 
weight of good brass wire; then hammer it out 
thin, and use as required. In melting the 
solder use borax as a flux. Get a piece of pum- 
ice stone, and rub one side flat, taking care 
that the surface is clean; then fix the joint 
and catch in their respective positions on the 
coin, having previously applied a little moist 
borax to the surfaces in contact, and bind 
them over with fine ii*on wire, taking care in 
so doing that the wire does not touch the parts 
where the solder is required to flow. Molten 



solder exhibits this peculiarity — that, in what- 
ever part the greatest heat is applied, it flows 
to that point, so that if the heat is misapplied, 
the solder flows anywhere but in the desired 
place. Having bound the coin with wire on the 
flat side of the pumice stone, to prevent it 
slipping off, apply the little pieces of solder to 
the joint and catch, and with the gas and blow- 
pipe steadily raise the heat until the solder is 
seen to flow. Stop blowing at once then, and 
examine to see if the connection is perfectly 
made. If not, apply a little more borax and 
solder, and repeat the operation of heating. 
The flame, which should not be larger than the 
top of a small wineglass, should be directed 
just a little behind the joint or catch, the solder 
being put the other side, and so be drawn under 
when it melts. When the parts are properly 
soldered on, remove all traces of wire, and im- 
merse in the vitriol solution composed of sul- 
phuric acid diluted with water (1 to 3 or 4;. Al- 
low it to remain therein for an hour or two, 
when it must be taken out and swilled in clear 
water. It should come out a pure dead white. 
If it is desired that this white bloom be pre- 
served, do not brush it in any way — simply 
wipe dry, or dry in hot sawdust. If you require 
it to be bright, brush it with rouge or any pol- 
ishing material, and rub up with chamois 
leather, To remove rivets from brooch joints, 
the burr, or rivet head should be filed off, and 
the pin pushed out either with a steel point or be 
removed with the nippers by putting the point 
of one jaw on the broken pin, and the other on 
the end of the rivet, and so force it a little way 
out, and then take hold of the protruding end 
with both jaws and pull out. Another way 
is to put an old watch key in the vise, place 
the joint over it — i. e., resting upon it— and 
drive the rivet out with hammer and pin push. 
The holes of brooch joints and pins may readily 
be opened with suitable broaches, which are 
long, slender tools with four or five cutting 
edges upon them, and to be bought for about 
ten cents at any trade tool shop. They are 
sometimes called rimers. To produce a good 
and tapered point to a pin, you will need a pin 
vise and filing block, together with rough and 
fine files and a burnisher. Take the pin vise in 
the left hand, having previously fixed the pin 
firmly in the center of the jaws, and with the 
file in the right, and a shallow rut cut in the 
filing block, proceed to file and twirl the pin 
vise with a rapid, steady motion, always ob- 
serving to keep the pin going in the opposite 
way to the thrust of the file. Bear in mind 
what you desire to obtain, and work to that 
end, always bearing on the file more to the side 
of the point. When roughly shaped, finish off 
with a fine file, or Ayr stone, and burnish. In 
cutting the pin joint to fit, be sure to make it 
square with the brooch joint. Let the hole in 
the pin joint be a shade larger than the others; 
then, if the rivet is properly filed up, it may be 
forced in sufficiently tight to hold secure with 
little or no riveting over. The pin point should 
protrude about J4 in. beyond the catch.— Eng- 
lish Mechanic. 

Solder for Iron and Brass.— If the metals are 
not to be subjected to extreme heat after they 
are soldered together, the following method 
will prove successful if carried out as explained 
below : First make the iron clean and bright; 
then afterward tin it by means of a little tin 
solder and a small portion of clean rosin as a 
flux. This proceeding will require some degree 
of patience and time before it will be properly 
accomplished. The iron should be kept as 
warm as possible during the process of tinning. 
When this is done, clean the piece of brass as 
bright and free from any dirt as possible; then 
afterward tin it over with the same solder, 
using rosin as a flux. Now, if convenient, 
place the two pieces of metal to be united in a 
vise; place a small portion of solder between 
with a little rosin. Use the blowpipe. As the 
solder gets gradually hotter between the two 



Solders. 



530 



Speise. 



pieces of metal the vise should be drawn 
tighter, so as to insure a close joint. When set 
the joint will be firm and strong. I once fas- 
tened a piece of crass to a piece of cast iron in 
this way and found it both strong and durable. 
If this method fails, it is only because it has 
not been properly done.— Correspondent in Eny. 
Mech. 

Jewelers' Soldering Fluid.— Add to alcohol as 
much chloride of zinc as it will dissolve. A 
good soft solder for repairing is prepared from 
equal quantities of tin and lead from tea 
boxes. 

Laying Sheet Lead.— In laying sheet lead for 
a flat roof, the joints between the sheets are 
made either by rolls, overlaps or soldering. In 
joining by rolls, a long strip of wood two 
inches square, flat at the base and rounding 
above, is placed at each seam; the edge of one 
sheet is folded round the rod and beaten down 
close, and then the corresponding edge of the 
next sheet is folded over the other. In over- 
lapping, the adjacent edges of the two sheets 
are turned up side by side, folded over each 
other and closely beaten down. Soldering is 
not adopted when the other plans can be car- 
ried out. 

Lute for Soldering.— A lute for the joints of 
iron vessels may be composed of 60 parts of 
finely sifted iron filings and 2 parts of sal am- 
moniac in fine powder, well mixed with 1 part 
of flowers of sulphur. This powder is made 
into a paste with water and immediately ap- 
plied; in a few seconds it becomes hot, swells, 
disengages ammonia and hydric sulphide, and 
soon sets as hard as the iron itself. 

Solder, Magic, as Sold by Peddlers.— -Melt to- 
gether in a crucible at a very moderate heat, 
bismuth, 1 part; tin, 3 parts; lead, 2 parts, and 
cast in slender sticks. 

Pewter and Britannia Metal.— I. Ten parts tin, 
5 parts lead, bismuth, 1 to 3 parts. 

2. Take 3 parts tin; lead, 1}4 parts; bismuth, 
iy& parts. 

3. Solder for Tin or Pewter.— Tin, 2 parts; 
lead, 1 part; bismuth, 1 part. 

4. Soldering Pewters and Compo. Pipes.— 
These require powdered rosin as a flux, with 
very thin strips of the more fusible solders, 
care being taken that the soldering iron is not 
too hot. 

Soldering Platinum and Gold- To make pla- 
tinum adhere firmly to gold by soldering, it is 
necessary that a small quantity of fine or 18 
carat gold shall be sweated into the surface of 
the platinum at nearly a white heat, so that 
the gold shall soak into the face of the platin- 
um; ordinary solder will then adhere firmly to 
the face obtained in this manner. Hard solder 
acts by partially fusing and combining with 
the surfaces to be joined, and platinum alone 
will not fuse or combine with any solder at a 
temperature anything like the fusing point of 
ordinary gold solder. 

Silver Solder for Plated Metal.— Melt together 
10 dwts. of brass and 1 oz. pure silver. 

German Silver, to Solder.— To solder German 
silver, pour out some spirit of salt in an earth- 
enware dish, and add a piece of zinc. Then 
scrape clean the edges to be soldered, and paint 
over with the spirit of salt. Apply a piece of 
pewter solder to the point and melt with the 
blowpipe. 

Silver, Anti-oxidizerfor.—A wash of a paste of 
whiting and water dried on the bright parts of 
jewelry or silverware will save it from oxida- 
tion while soldering, but must not interfere 
with the boraxed joint to be soldered. 

Soft Soldering.— The solder is an alloy of 2 
parts of tin to 1 part of lead, fusible at 340°; or, 
for cheapness, the proportion is sometimes 3 to 
2, fusible at 334°. This substance is applied 
with a hot copper bolt, or blowpipe flame. 
Heat, however, would soon cause the edges of 
the metal again to oxidize; therefore, the edges 
are covered with a substance having a strong 
attraction for oxygen, and disposing the metal 



to unite to the solder at a low temperature. 
Such substances are called fluxes, and are 
chiefly borax, resin, sal ammoniac, chloride of 
zinc, Venice turpentine, tallow or oil. 

Hard Soldering Steel.— Solder will not run on 
iron quite so well as on silver or brass. See 
that the steel is clean and bright, use the borax 
as a thick paste, and the operation must be 
concluded quickly. 

Solder for Steel Joints.— 

Brass — 3 parts. 

Copper 1V<j part. 

Silver 283^ parts. 

To Remove Tarnish from Gold after Hard 
Polishing.— Paint the gold over before solder- 
ing with a mixture of yellow ocher, ground up 
with water and a small quantity of borax. 
After soldering throw it into a pickle of water, 
9 parts, and sulphuric acid, 1J^ part. If the 
gold is whitish looking and shows the silver 
alloy after being removed from this pickle, dip 
a moment in a hot solution of sulphuric acid 
and saltpeter. Wash, polish first with rotten- 
stone and oil ; then after washing, again polish 
with rouge. 

Steel Wire, to Solder. — Mix 1 lb. lactic acid, 1 lb. 
glycerine and 8 lb. water, so as to have a clear 
solution. This is non-corrosive, but does not 
work as quickly as the ordinary soldering acid. 

Solder Wire.— Melt together equal parts of 
tin and lead and pour it through a vessel hav- 
ing a very small opening into a tub of water. 

Zinc and Galvanized Iron, Soldering. — Zinc 
may be soldered as readily as tin by using dilute 
hydrochloric acid (% its bulk of rain water 
added) as a flux instead of rosin, and by taking 
care to keep the soldering iron well heated. 

Soluble Glass. See Glass, and also 
Sodium Silicate. 

Solution. — Any menstruum having- dis- 
solved in it sufficient of any soluble substance 
to impart to the liquid its peculiar properties is 
a solution. The term solution, therefore, is ap- 
plicable to almost the entire range of liquids, 
but is usually restricted, unless otherwise 
designated, as alcoholic or acetic solution, etc., 
to those in which water is the menstruum. 
Alcohol comes after water, then ether, in their 
power of dissolving substances. The tempera- 
ture and the degree of fineness of the sub- 
stance all affect the time which is required to 
make a solution. Warm water will dissolve 
most substances much faster than cold water. 

Solvent.— A solvent or menstruum is a 
liquid in which any substance is dissolved. 

Solvent, Glazier's.— 1. Dissolve soft soap 
in 3 times its weight of strong lye. 

2. Make a thin paste or cream with freshly 
slaked lime and twice its weight of pearlash 
and a little water. 

Sorel's Alloy. See Alloys. 

Sorel's Cement, See Cements- Sorel. 

Soy.— Genuine soy is a species of thick black 
sauce, imported from China, prepared with 
white haricots, wheat flour, salt and water; 
but a spurious kind is made in England as fol- 
lows: Seeds of dolichos soja (peas or kidney 
beans may be used for them), 1 gal.; boil till 
soft ; add bruised wheat, 1 gal.; keep in a warm 
place 24 hours; then add common salt, 1 gal.; 
water, 2 gal.; put the whole into a stone jar, 
bung it up for two or there months, shaking it 
very frequently; then press out the liquor; 
the residuum may be treated afresh with water 
and salt, for soy of an inferior quality. 

Sozodont. See the Teeth. 
Specific Gravity. See Gravity., Spe- 
cific, and also the Appendix. 

Specimens, to Preserve. See Anatom- 
ical Preparations. 
Speculum Metal. See Alloys* 
Speise. See Regulus. 



Spermaceti. 



531 



Staining. 



Spence's Metal. See Alloys. 

Spermaceti.— A concretion prepared from 
the oily matter of the head of the spermaceti 
whale. 

Sperm Oil. See Oils. 

Spirits of Wine. See Alcohol. 

Sponges, to Bleach. See Bleaching. 

Spots and Stains, to Clean. See 

Cleansing. (Spots and Stains.) 

Springs, to Temper. See Temper- 
ing. , 

Sprinkle Green, for Books.— 1. Yellow 
the edge ; then sprinkle with dark blue. 

2. French berries, 1 part ; soft water, 8 parts. 
Boil, and add a little powdered alum; then 
bring- it to the required shade of green, by add- 
ing liquid blue. 

Purple— For Bookbinders.— 1. Logwood chips, 
4 parts ; powdered alum, 1 part ; soft water, 21 
parts ; boil until reduced to 16 parts, and bot- 
tle for use. 

2. Brazil dust (fine), and mix it with potash 
water for use. 

Red— For Binders.— Brazil wood (ground), 
4 parts ; alum, 1 part ; vinegar, 4 parts ; water, 
4 parts. Boil until reduced to seven parts; 
then add a small quantity of loaf sugar and 
gum. Bottle for use. 

Spruce Beer. See Beer, Spruce. 

Squibs. See Pyrotechny. 

Staining. See also Dyeing. 

Alabaster, to Stain or Color.— 1. Mix various 
colored powders or solutions with the plaster, 
at the time of mixing it up with water. A little 
terra de Sienna, in very fine powder, or ground 
with water, added to the water employed to 
mix up the plaster, imparts a pleasing color to 
busts, statues, medallions, etc. 

2. Objects formed from the solid alabaster 
may be stained in the same way, and with the 
same materials as marble. See Marble. 

Bricks, to Stain.— 1. For staining bricks red, 
melt 1 oz. of glue in 1 gal. of water ; add a piece 
of alum the size of an egg, then }4 lb. Venetian 
red and 1 lb. of Spanish brown. Try the color 
on the bricks before using, and change light or 
dark with the red or brown, using a yellow min- 
eral for buff. 

2. For coloring black, heat asphaltum to a 
fluid state, and moderately heat the snrf ace of 
the bricks and dip them. 

3. Or make a hot mixture of linseed oil and 
asphalt ; heat the bricks and dip them. Tar and 
asphalt are also used for the same purpose. It 
is important that the bricks be sufficiently hot, 
and be held in the mixture to absorb the color 
to the depth of t^ of an inch. 

4. Red Wash for Bricks.— Melt J^ oz. of glue 
in 2 qt. water. While hot put in a piece of alum 
about half as large as an egg, J4 lb. Venetian 
red, and y% lb. Spanish brown. Try a little on 
the bricks, let it dry; if the color is too light, 
add more red and brown ; if too dark, add more 
water. 

. Glass, to Stain.— Glass staining may be done 
at home by the following process : Spread over 
the glass a strong gum water, and when dry lay 
it over the paper on which the design is 
sketched, and trace with a fine hair pencil all 
the outlines. Dip the tube-like pencils in the 
colors, and let them flow out upon the glass ; 
have a care, and not touch the pencil to the 
glass. The lights and shades are produced in a 
variety of ways ; one of the easiest, and espe- 
cially to beginners, is to take a goose quill cut 
in the shape of a pen, without the slit, and with 
it carefully take out the lights by lines and 
little dots. This part of glass staining is the 
most exacting and difficult, as much of the 
effect depends upon the shading. The glass is 
then ready for the kiln. 

Horn, to Stain.— 1. After having fine sand- 
papered the horns, dissolve 50 to 60 gr. nitrate 



of silver in 1 oz. distilled water. It will be 
colorless. Dip a small brush in, and paint the 
horns where they are to be black. When dry, 
put them where the sun can shine on them, and 
you will find that they will turn jet black. 
When done, polish off. 

2. By boiling well in infusions of various 
colored ingredients, and is done to imitate 
tortoise shell. Mix together pearlash, quick- 
lime, and litharge, with a sufficient quan- 
tity of water, and a little pounded dra- 
gon's blood, and boil them togeher for V 2 
hour ; apply this hot ; for black— iron, iron 
filings, copperas, with vinegar applied on this. 

3. Black.— Burned lime 55 lb. are slaked in 
a little water, so that a powder-like hydrate of 
lime is obtained; this is mixed with 22 lb. 
minium, and this mixture is formed into a 
thick paste with such lye as soap boilei'S use, 
having a specific weight of T036. The articles 
of hox-n are placed in this solution for 24 
hours ; they are then taken out, rinsed off with 
water, dried with a cloth, brushed over with 
rape-seed oil, and then again rubbed dry. 

4. Black.— Dissolve 0*14 oz. silver in 21 oz. 
nitric acid (aquafortis), and this solution is ap- 
plied several times to the article to be stained, 
but it is absolutely necessary that the first coat 
should be entirely dry before another is ap- 
plied. The articles are then burnished and 
made bright. 

Blue.— Stain green, and then steep for a short 
time in a weak solution of sulphate of indigo, 
containing a little cream of tartar. 

Brown.— Immerse in aqueous solution of 
potassium ferrocyanide, dry, and treat with a 
hot dilute solution of copper sulphate. 

Green.— 1. Dissolve 0'52 oz. fine indigo car- 
mine in 21 oz. rain water. Then 0'175 oz. pure 
picric acid are dissolved in 21 oz. boiling hot 
rain water, and both solutions are mixed to- 
gether. A very beautiful, durable green color 
will in this manner be obtained, and can be 
used for the various manipulations. 

2. Aniline green, 0*35. Dissolve in 4*2 oz. 90# 
alcohol, and the horn to be stained is treated 
with this solution. All the different shades of 
green may be produced by adding blue or yel- 
low stain. 

3. Copper, 4 - 2 oz. Cut up finely and gradu- 
ally dissolved in 13 oz. nitric acid (aquafortis), 
and the articles to be stained are boiled in this 
solution until they have assumed a fine green 
color. 

4. Steep in a solutiou of 2 parts of verdigris 
and 1 part of sal ammoniac. 

Purple.— 1. Logwood, 17*5 oz., are boiled in 
4*4 lb. milk of lime, and the same method is ob- 
served as given in red. 

2. Use a strong aqueous solution of gold 
chloride. 

Red.— 1. Red Brazil wood, 17*5 oz., are'boiled 
for one hour in 4'4 lb. milk of lime and filtered 
through a cloth. The articles of horn, ivory or 
bone to be stained are boiled for one hour in a 
solution of 1'05 oz. alum in 17*5 oz. water. They 
are then placed in the above stain, and allowed 
to remain there until the desired color has 
been produced. Articles stained in this man- 
ner will acquire a beautiful purple color by 
dipping them in alum water. 

2. Soak in very dilute nitric acid for a few 
minutes and apply a strong infusion of cochi- 
neal in aqua ammonia. 

3. Bright Red.— Logwood, 8'75 oz., and 8*75 oz. 
red Brazil wood are boiled in 4'4 lb. milk of 
lime. It is applied in the same manner as 1. 

4. Tortoise Shell.— A rough dough is prepared 
from 17'5 oz. white litharge, 2*2 lb. finely pow- 
dered unslaked lime, 3 - 3 lb. soap boilers' lye 
having a specific weight of T036. The places of 
the horn which are to become dark are covered 
with this dough, and the horn is allowed to re- 
main in contact with the dough for about 
twenty-four hours, until the latter has become 
entirely dry. The horn is then cleansed with a 
brush. 



Staining. 



532 



Staining. 



5. Yellow.— Alum, 17 - 5 oz., free from iron, 
are dissolved in 4'4 lb. rain water. The articles 
are allowed to lie in this for one or two hours. 
In the meanwhile 7 oz. yellow berries are boiled 
with 4*2 oz. carbonate of potash in 2*2 lb. water 
for one hour, and then strained. The articles 
stained with alum are placed in this decoction 
and allowed to lie in it for one hour. They are 
then taken out and dried. 

6. Steep them in a solution of lead acetate 
and then, after drying 1 , in a solution of bi- 
chromate of potash. 

Ivory, to Stain. See also Dyeing.— For 
Black.— Boil for a short time in a strained so- 
lution of logwood ; afterward immerse in a so- 
lution of iron sulphate. 

Blue.— Immerse for a short time in a dilute 
solution of indigo carmine. 

Yellow. — Immerse for about fifteen minutes 
in a solution of potassium chromate. 

Red.— Macerate cochineal in vinegar, and boil 
in the liquid for a few minutes. 

Violet. — Dye red first, then immerse for an 
instant in solution of indigo carmine. 

Green.— Dye yellow first, and afterward dip 
into solution of indigo carmine. 

To Stain Ivory Black.— The pieces are always 
first polished with whiting and water, and when 
washed quite clean from the whiting, are then 
prepared for the stain by a short immersion of 
from three to five minutes in acidulated cold 
water, in proportion of one part of muriatic 
acid, the ordinary acid of commerce, to 40 or 50 
parts of water, or in an equally weak solution 
of nitric acid. This cleansing fluid extracts the 
gelatine from the surface of the ivory, and is 
essential to the attainment of a perfectly uni- 
form color. Extreme cleanliness and the ab- 
sence of any grease or accidental soiling are as 
necessary, with which view the work in process 
of staining is at no time touched by the fingers, 
but is removed from one vessel to another by 
flat pieces of wood, attached to each other 
at one end by a flat metal spring, after the form 
of a pair of sugar tongs, separate pairs being- 
kept for different colors. Subsequently to its 
treatment with the acid, the ivory is invariably 
again placed in cold water that has been boiled, 
before it is transferred to the stain. Logwood 
Stain is : Make a decoction of 2 oz. of logwood 
dust in 1 qt. of water, and strain; dissolve 1 oz. 
of sulphate of iron in 1 qt. of water; then heat 
the two stains in separate vessels to 100° F., and 
immerse the ivory in the logwood stain for 
fifteen minutes; well wash, and then place it 
for five minutes in the sulphate of iron stain. 
—Holtzapffel, Vol. II.—Tliomas Stow. 

Leather, to Stain.— To stain a sole leather bag 
somewhat abraded a dark mahogany color.— 

Alkanet root 15 grn. 

Aloes 30 grn. 

Dragon's blood (all in powder) ..30 grn. 
95$ alcohol 500 grn. 

Moisten the bag with dilute nitric acid (1 part 
acid to 5 parts water by volume) and then apply 
above solution. Repeat until dark enough. 

Marble, Blue Stain for.— Tincture or solution 
of litmus, or an alkaline solution of indigo. 
Heat the marble so that the liquid will just 
simmer on the surface. 

Pottery, Stains for.— In preparing these stains 
the ingredients must be ground remarkably 
fine, and then so perfectly dried as not to leave 
the least humidity, after which they must be 
ground again with oil prepared for the pur- 
pose, composed of 2 parts of balsam of sulphur, 
1 part of amber oil, and as much turpentine as 
will render them of a proper consistency; they 
may then be used with ease for painting vari- 
ous devices on biscuit ware. 

Blue Stain.— Five parts blue calx, 2 parts frit 
for glazes, without oxide of tin, 1 part flint 
glass, 1 part enamel blue. 

Yellow Stain.— Three parts yellow under 
glaze, 1 part frit for glazes, J4 part chromate 
of iron. 



Green Stain.— Three parts blue stain, 1 part 
yellow stain, ^ part enamel blue green. 

Wood Staining.— -The best woods for staining 
are those of close, even texture, as cherry, 
beech, birch and maple. The wood should be 
perfectly dry, and planed and sandpapered 
very smooth. Nearly all of the stains should be 
applied hot, as this causes them to penetrate 
the pores more deeply. If the wood is to be 
varnished many of the dyes used in cloth dye- 
ing may be used in alcoholic solutions, but the 
effect is not equal to the regular stain. In case 
the natural color of the wood prevents the 
wood being stained satisfactorily, bleach the 
wood by saturating with the following solu- 
tion: 

Chloride of lime. . . . > 9 oz. 

Soda crystals 1 oz. 

Water 2)^ qt. 

The wood may be bleached in this for % hour. 
Wash with a solution of sulphurous acid, then 
with water. 

Wood to Stain.— Black.— 1. Obtained by boil- 
ing together blue Brazil wood, powdered gall 
apples and alum, in rain or river water until it 
becomes black. This liquid is then filtered 
through a fine organzine, and the objects 
painted with a new brush before the decoction 
has cooled, and this repeated until the wood ap- 
pears of a fine black color. It is then coated 
with the following liquid: A mixture of iron 
filings, vitriol and vinegar is heated (without 
boiling), and left a few days to settle. Even if 
the wood is black enough, yet for the sake of 
durability, it must be coated with a solution of 
alum and nitric acid, mixed with a little verdi- 
gris ; then a decoction of gall apples and log- 
wood dyes is used to give it a deep black. A 
decoction may be made of brown Brazil wood 
with alum in rain water, without gall apples ; 
the wood is left standing in it for some days in 
a moderately warm place, and to it merely iron 
filings in strong vinegar are added, and both 
are boiled with the wood over a gentle fire. 
For this purpose soft pear wood is chosen, 
which is preferable to all others for black 
staining. 

2. One ounce nut gall broken into small pieces, 
put into barely J^ pt. vinegar, which must be 
contained in an open vessel ; let stand for about 
14 hour ; add 1 oz. steel filings ; the vinegar will 
then commence effervescing; cover up, but 
not sufficient to exclude all air. The solution 
must then stand for about 2J4 hours, when it 
will be ready for use. Apply the solution with 
a brush or piece of rag to the article, then let 
it remain until dry ; if not black enough, coat 
it until it is — each time, of course, letting it re- 
main sufficiently long to dry thoroughly. After 
the solution is made, keep it in a closely corked 
bottle. 

3. One gaflon water, 1 lb. logwood chips, y% 
ib. black copperas, J^ lb. extract of logwood, 34 
lb. indigo blue, 2 oz. lampblack. Put these 
into an iron pot and boil them over a slow fire. 
When the mixture is cool, strain it through a 
cloth, add J4 oz. nut gall. It is then ready for 
use. This is a good black for all kinds of cheap 
work. 

4. Campeachy wood, 250 parts; water, 2,000 
parts; and copper sulphate, 30 parts; the wood 
is allowed to stand 24 hours in this liquor, dried 
in the air, and finally immersed in iron nitrate 
liquor at 4° B. 

5. Boil 8M oz. logwood in 70 oz. water and 1 oz. 
bluestone, and steep the wood for 24 hours. 
Take out, expose to the air for a long time, and 
then steep for 12 hours in a beck of iron nitrate 
at 4° B. If the black is not fine, steep again in 
logwood liquor. 

6. It is customary to employ the clear liquid 
obtained by treating 2 parts nowdered galls 
with 15 parts wine, and mixing the filtered 
liquid with a solution of iron protosulphate. 
Reimann recommends the use of water in the 
place of wine. 






Staining. 



533 



Staining. 



7. Almost any wood can be dyed black by the 
following' means: Take logwood extract such 
as is found in commerce, powder 1 oz., and boil 
it in 3>4 pints water ; when the extract is dis- 
solved, add 1 drm. potash yellow chromate 
(not the bichromate), and agitate the whole. 
The operation is now finished, and the liquid 
will serve equally well to write with or to stain 
wood. Its color is a very fine dark purple, 
which becomes a pure black when applied to 
the wood. 

8. For black and gold furniture, procure 1 lb. 
logwood chips, add 2 qt. water, boil 1 hour, 
brush the liquor in hot, when dry give another 
coat. Now procure 1 oz. green copperas, dis- 
solve it in warm water, well mix, and brush 
the solution over the wood ; it will bring out a 
fine back ; but the wood should be dried out- 
doors, as the black sets better. A common 
stove brush is best. If polish cannot be used, 
proceed as follows : Fill up the grain with 
black glue— i. e., thin glue and lampblack- 
brushed over the parts accessible (not in the 
carvings); when dry, smooth down with fine 
paper. Now procure, say, a gill of French 
polish, in which mix 1 oz. best ivory black, or 
gas black is best; shake it well until quite a 
thick pasty mass; procure ^ pt. brown hard 
varnish, pour a portion into a cup, add enough 
black polish to make it quite dark, then var- 
nish the work ; two thin coats are better than 
one thick coat. The first coat may be glass- 
papered down where accessible, as it will look 
better. A coat of glaze over the whole gives a 
London finish. 

N. B.— Enough varnish should be mixed at 
once for the job to make it all one color— i. e., 
good black.— Smither. 

9. For Table.— Wash the surface of table with 
liquid ammonia, applied with a piece of rag ; 
the vavnish will then peel off like a skin ; after- 
ward smooth down with fine sandpaper. Mix 
M lb. lampblack with 1 qt. hot water, adding a 
little glue size ; rub this stain well in ; let it 
dry before sandpapering it; smooth again. 
Mind you do not work through the stain. 
Afterward apply the following black varnish 
with a broad fine camel hair brush: Mix a 
small quantity of gas black with the varnish. 
If one coat of varnish is not sufficient, apply 
a second one after the first is dry. Gas black 
can be obtained by boiling a pot over the gas, 
letting the pot nearly touch the burner, when 
a fine jet black will form on the bottom, which 
remove, and mix with the varnish. Copper 
vessels give the best black : it may be collected 
from barbers' warming pots. 

10. Boil 17*5 oz. Brazil wood and 0*525 oz. 
alum for one hour in 2*75 lb. water. The col- 
ored liquor is then filtered from the boiled 
Brazil wood and applied several times boiling- 
hot to the wood to be stained. This will assume 
a violet color. This violet color can be easily 
changed into black by preparing a solution of 
2*1 oz. iron filings and 1*05 oz. common salt in 
17*5 oz. vinegar. The solution is filtered and 
applied to the wood, which will then acquire a 
beautiful black color. 

11. Boil 8*75 oz. gall nuts and 2*2 lb. logwood 
in 2*2 lb rain water for one hour in a copper 
boiler. The decoction is then filtered through 
a cloth and applied several times while it is 
still warm to the article of wood to be stained, 
In this manner a beautiful black will be ob- 
tained. 

12. This is prepared by dissolving 0*525 oz. log- 
wood extract in 2'2 lb. hot rain water, and by 
adding to the logwood solution 0*035 oz. potash 
chromate. When this is applied several times 
to the article to be stained a dark brown color 
will first be obtained. To change this into a 
deep chrome black, the solution of iron filings, 
common salt and vinegar, given under 10, is 
applied to the wood, and the desired color will 
be produced. 

13. Several coats of alizarine ink are applied 
to the wood, but every coat must be thor- 



oughly dry before the other is put on. When 
the articles are dry the solution of iron filings* 
common salt, and vinegar, as given in 10, is ap- 
plied to the wood, and a very durable black will 
be obtained. 

14. According to Herzog, a black stain for 
wood, giving to it a color resembling ebony, is- 
obtained by treating the wood with two fiuids, 
one after the other. The first fluid to be used 
consists of a very concentrated solution of log- 
wood, and to 0*35 oz. of this fluid are added 
0*017 oz. alum. The other fluid is obtained by 
digesting iron filings in vinegar. After the 
wood has been dipped in the first hot fluid, it is 
allowed to dry, and is then treated with the 
second fluid, several times if necessary. 

15. Sponge the wood with a solution of ani- 
line chlorhydrate in water, to which a small 
quantity of copper chloride is added. Allow it 
to dry and go over it with a solution of potas- 
sium bichromate. Repeat the process two or 
three times, and the wood will take a fine black 
color.— Mechanics' Own Book. 

16. Put iron filings, or the scales from a. 
smith's forge, in a bottle, so as to fill it, say, a 
quarter full. Fill up with strong vinegar. 
Shake this up a couple of times a day for three 
or four days. Now boil some ground logwood 
in water, so as to make a strong decoction. 
Put this while hot on the wood, and beforeit 
is quite dry put on the vinegar and iron, 
When the wood is allowed to dry quite before 
the iron is put on, the inner grain of the wood 
remains red in places. Oil to get a good black. 
—Amateur Work. See Ebonizing below. 

Blue.— 1. Powder a little Prussian blue, and 
mix to the consistency of paint with bur; 
brush it on the wood, and when dry size it with 
glue dissolved in boiling water ; apply luke- 
warm, and let this dry also ; then varnish or 
French polish. 

2. Indigo solution, or a concentrated hot solu- 
tion of blue vitriol, followed by a dip in a solu- 
tion of washing soda. 

3. Prepare as for violet, and dye with aniline 
blue. 

4. A beautiful blue stain is obtained by grad- 
ually stirring 0*52 oz. finely powdered indigo 
into 4*2 oz, sulphuric acid of 60$, and by expos- 
ing this mixture for twelve hours to a temper- 
ature of 77° F. (25° C). The mass is then poured 
into 11 to 13*2 lb. rain water, and filtered through 
felt. This filtered water is applied several 
times to the wood, until the desired color has 
been obtained. The more the solution is di- 
luted with water, the lighter will be the 
color. 

5. 1*05 oz. finest indigo carmine, dissolved in 
8*75 oz. water, applied several times to the arti- 
cles to be stained. A very fine blue is in this, 
manner obtained. 

6. Prepare as for violet, and dye with aniline 
blue. 

7. Brush it over with a strong, hot solution of 
nitrate of copper in water, and then go over 
the work with a hot solution of carbonate of 
soda (2 oz. to 1 pt. water). 

8. Boil 1 lb. indigo, 2 lb. woad, and 3 oz. 
alum in 1 gal. water, and apply with a brush. 

Brown.— 1. Various tones may be produced 
by mordanting with potash chromate, and ap- 
plying a decoction of fustic, of logwood, or of 
peacbwood. 

2. Sulphuric acid, more or less diluted, accord- 
ing to the intensity of the color to be produced, 
is applied with a brush to the wood, previously 
cleaned and dried. A lighter or darker brown 
stain is obtained, according to the strength of 
the acid. When the acid has acted sufficiently, 
its f urther action is arrested by the application 
of ammonia. 

3. Tincture of iodine yields a fine brown col- 
oration, which, however, is not permanent un- 
less the air is excluded by a thick coating of 
polish. 

4. A simple brown wash is 34 oz. alkanet root, 
1 oz. aloes, 1 oz. dragon's blood, digested in 1 lb. 



Staining. 



534 



Staining:* 



alcohol. This is applied after the wood has been 
washed with aqua regia, but is, like all the 
alcoholic washes, not very durable. 

5. Dissolve 1*5 oz. finest indigo carmine in 8'75 
oz. water, applied several times to the articles 
to be stained. A very fine blue is in this man- 
ner obtained. 

6. Dissolve 3*5 oz. French verdigris in 3"5 oz. 
urine and 8'75 oz. wine vinegar. The solution 
is filtered and applied to the article to be 
stained. Then a solution of 2*1 oz. potash car- 
bonate in 8*75 oz. rain water is prepared, and 
the article colored with the verdigris is brushed 
over with this solution until the desired blue 
color makes its appearance. 

7. The newest processes of staining wood blue 
are those with aniline colors. The following 
colors may be chosen for the staining liquor : 
Bleu de Lyon (reddish blue), bleu de lumiere 
(pure blue), light blue (greenish blue). These 
colors are dissolved in the proportion of 1 part 
coloring substance to 30 parts 90$ alcohol, and 
the wood is treated with the solution. 

8. Dr. Stolzel gives a recipe for staining 
wood of a brown color. He first of all paints 
over the wood with a solution made by boiling 
1 part catechu (cutch or gambier) with 30 parts 
water and a little soda. This is allowed to dry 
in the air, and then the wood is painted over 
with another solution made of 1 part bichro- 
mate of potash and 30 parts water. By a little 
difference in the mode of treatment and by 
varying the strength of the solutions, various 
shades of color may be given with these mate- 
rials, which will be permanent, and tend to pre- 
serve the wood. 

9. Various tones may be produced by mor- 
danting with chromate of potash, and applying 
then a decoction of fustic, of logwood, or of 
peachwood. 

1. Cherry or Crimson Stain.— 

Alkanet i^oot 15 grn. 

Aloes 30 grn. 

Dragon's blood powdered 30 grn. 

95$ alcohol 500 grn. 

Mix and let stand in a tightly corked bottle 
some days. Go over the wood with dilute (1 in 
10) nitric acid first. This is pretty dark. You 
may lighten by using more alcohol. 

2. For cherry stain, take of rain water, 3 qt.; 
annatto, 4 oz.; boil in a copper kettle till the an- 
natto is dissolved, then put in a piece of potash 
the size of a walnut, keep it on the fire for 
half an hour longer, and it is ready to bottle 
for use. For rosewood stain, take alcohol, 1 
gal.; camwood, 2 oz.; set them in a warm place 
twenty-four hours, then add extract of log- 
wood* 3 oz.; aquafortis, 1 oz.; and when dis- 
solved it is ready for use. 

3. Red Stain for Bedsteads and Common 
Chairs.— Archil will produce a very good stain 
of itself when used cold; but if, after one or 
two coats being applied and suffered to become 
almost dry, it is brushed over with a hot solu- 
tion of pearlash in water, it will improve the 
color. 

4. To Give an Appearance of Age. — Boil 3^ 
lb. madder and 2 oz. logwood chips in a gal. of 
water and brush well over while hot; when dry 
go over the whole with pearlash solution; 2 
drm. to the qt. 

5. Boil l / 2 lb. logwood in 3 pt. of water, and 
add ^ oz. salt of tartar. Stain the wood with 
the liquor boiling hot. 

6. Boil in 3^ lb. madder and 34 lb. fustic in 1 
gal. water; use hot, as before. 

7. Boil 1 lb. Brazil wood and 1 oz. of washing 
soda in 1 gal. of water; apply hot, and then 
brush over it, before dry, a solution of 2 oz. 
alum in 1 qt. of water. 

8. Ground Brazil wood, 1 lb.; water 3 qt.; 
cochineal, )4, oz.; boil the Brazil wood with 
water for an hour, strain, add the cochineal, boil 
gently for half an hour, when it will be fit 
for use. This is first applied, and then the var- 
nish, consisting of 95$ alcohol, y% gal.; add 6 oz. 



gum sandarac, 3 oz. gum mastic, and ^ pt. tur- 
pentine varnish; put the above in a tin can by 
the stove, frequently shaking till well dissolved; 
strain, and keep for use. If you find it harder 
than you wish, thin with more turpentine var- 
nish. 

Ebonizing.— 1. Boil 1 lb. logwood chips one 
hour in 2 qt. water; brush the hot liquor over 
the work to be stained, lay aside to dry; when 
dry give another coat, still using it hot. "When 
the second coat is dry, brusn the following li- 
quor over the Avork : One oz. green copperas 
to 1 qt. hot water, to be used when the copper- 
as is all dissolved. It will bring out an intense 
black when dry. For staining, the work must 
not be dried by fire, but in the sunshine, if pos- 
sible; if not, in a warm room, away from the 
fire. To polish this work, first give a coating of 
very thin glue size, and when quite dry smooth 
off very lightly with No. paper, only just 
enough to render smooth, but not to remove 
the black stain. Then make a rubber of wad- 
ding about the size of a walnut, moisten the 
rubber with French polish, cover the whole 
tightly with a double linen rag, put one drop 
of oil on the surface, and rub the work with a 
circular motion. Should the rubber stick, it re- 
quires more polish. Previous to putting the 
French polish on the wadding pledget, it ought 
to be mixed with the best drop black, in the 
proportion of 34 oz. drop black to a gill of 
French polish. When the work has received 
one coat, set it aside to dry for about an hour. 
After the first coat is laid on and thoroughly 
dry, it should be partly papered off with No. 
paper. This brings the surface even, and at 
the same time fills up the grain. Now give a 
second coat as before. Allow twenty-tour 
hours to elapse, again smooth off, and give a 
final coat as before. Now comes spiriting off. 
Great care must be used here, or the work will 
be dull instead of bright. A clean rubber 
must be made, as previously described, but in- 
stead of being moistened with polish it must 
be wetted with 90$ alcohol placed in a linen 
rag screwed into a tight even surface ball, just 
touched on the face with a drop of oil, and 
then rubbed lightly and quickly in circular 
sweeps all over the work from top to bottom. 
One application of spirits is usually enough if 
sufficient has been placed on the rubber at the 
outset, but it is better to use rather too little 
than too much at a time, as an excess will en- 
tirely remove the polish, when the work will 
have to be polished again. Should this be the 
case, paper off at once, and commence as at 
first. It is the best way in the end.— Smit her. 

2. Lauber dissolves extract of logwood in 
boiling water until the solution indicates 0° 
Baume. Five pints of the solution is then mix- 
ed with 2J^ pints pyroligeneous iron mordant 
of 10° and ^ pint of acetic acid of 2°. The 
mixture is heated for one quarter of an hour, 
and is then ready for use. 

3. To imitate black ebony, first wet the wood 
with a solution of logwood and copperas, boil- 
ed together and laid on hot. For this purpose, 
2 oz. logwood chips with V/% oz. copperas, to 1 
qt. water, will be required. When the work has 
become dry, wet the surface again with a mix- 
ture of vinegar and steel filings. This mixture 
may be made by dissolving 2 oz. steel filings in 
% pint vinegar. When the work has become 
dry again, sandpaper down until quite smooth. 
Then oil and fill in with powdered drop black 
mixed in the filler. Work to be ebonized 
should be smooth and free from holes, etc. The 
work may receive a light coat of quick drying 
varnish, and then be rubbed with finely pul- 
verized pumice and linseed oil until very 
smooth. 

4. One gal. strong vinegar, 2 lb. extract log- 
wood, Yz lb. green copperas, 34 lb. China blue, 
and 2 oz. nut gall. Put these in an iron pot, 
and boil them over a slow fire till they are well 
dissolved. When cool, the mixture is ready 
for use. Add to the above 3^> pi nt iron rust, 



Staining. 



535 



Staining. 



which may be obtained by scraping- rusty 
hoops, or preferably by steeping- iron filings in 
a solution of acetic acid or strong vinegar. 

5. Common ebony stain is obtained by pre- 
paring- two baths ; the first, applied warm, con- 
sists of a logwood decoction, to every quart of 
which 1 drm. alum is added ; the second is a 
solution of iron filings in vinegar. After the 
wood has dried from the first, the second is ap- 
plied as often as is required. For the first 
named bath, some substitute 16 oz. gall nut, 
4 oz. logwood dust, and 2 oz. verdigris, boiled 
in a sufficient quantity of water. A peculiar 
method of blackening- walnut is in use in Nurn- 
berg. On one of the Pegnitz Islands there is a ' 
large grinding mill, turned by the stream, 
where iron tools are sharpened and polished. 
The wood is buried for a week or more in the 
slime formed by the wheels ; when dug out it 
is jet black, and so permeated by silica as to 
be in effect petrified. Another way to ebonize 
flat surfaces of soft work is to rub very fine 
charcoal dust into the pores with oil. This 
works beautifully with the European linden 
and American white wood. A brown mahog- 
any-like stain is best used on elm and walnut. 
Take a pint decoction of 2 oz. logwood in which 
y% oz. barium chloride has been dissolved. This 
gives also, when diluted with soft water, a 
good oak stain to ash and chestnut. But the 
most beautiful and lasting of the browns is a 
concentrated solution of potash permanganate 
(mineral chameleon). This is decomposed by 
the woody fiber, and forms hydrated manga- 
nese oxide, which is permanently fixed by the 
alkali. 

6. For the fine black ebony stain, apple, pear, 
and hazel wood are the best woods to use; 
when stained black, they are most complete 
imitations of the natural ebony. For the stain 
take : gall apple, 14 oz.; rasped logwood, 3^ 
oz.; vitriol, 1% oz.; verdigris, 1% oz. For the 
second coating a mixture of iron filings (pure), 
Zy% oz., dissolved in strong wine vinegar ; 1^ 
pint is warmed, and when cool the wood 
already blackened is coated 2 or 3 times with 
it, allowing it to dry after each coat. For 
articles which are to be thoroughly saturated, 
a mixture of 1% oz. sal ammoniac, with a 
sufficient quantity of steel filings, is to be 
placed in a suitable vessel, strong vinegar 

Eoured upon it, and left for 14 days in a gently 
eated oven. A strong lye is now put into a 
suitable pot, to which is added coarsely bruis- 
ed gall apples and blue Brazil shavings, and 
exposed for the same time as the former to the 
gentle heat of an oven, which will then yield a 
good liquid. The woods are now laid in the 
first named stain, boiled for a few hours, and 
left in it for 3 days longer; they are then 
placed in the second stain and treated as in the 
first. If the articles are not then thoroughly 
saturated, they may be once more placed in the 
first bath, and then in the second. The polish 
used for wood that is stained black should be 
white (colorless) polish, to which a very 
little finely ground Prussian blue should be 
added. 

1. Wash with a concentrated aqueous solu- 
tion of logwood extract several times ; then 
with a solution of iron acetate of 14° B., which 
is repeated until a deep black is produced. 

8. Ebonized Wood Furniture. — The follow- 
ing information is from the Monthly Magazine 
of Pharmacy, etc.: 

Black Stains for Wood.— There are two kinds 
—the ordinary black stain for different kinds 
of wood and the black ebony stain for certain 
woods which approach nearer to ebony in hard- 
ness and weignt. The ordinary black wood 
stain is obtained by boiling together blue Brazil 
wood, powdered gall apples and alum in soft 
water until it becomes black. This liquid is 
then filtered, and the objects painted with a 
new brush before the decoction has cooled, and 
this repeated until the wood appears of a fine 
black color; it is then coated with the follow- 



ing liquid : A mixture of iron filings, vitriol 
and vinegar is heated (without boiling), and 
left a few days to settle. If the wood is black 
enough, yet for the sake of durability it must 
be further coated with a solution of alum and 
nitric acid, mixed with a little verdigris, then 
a decoction of gall apples and logwood dyes 
are used to give it a deep black. Soft pear 
wood is preferable to all others for black stain- 
ing. For the fine black ebony stain, apple, 
pear and hazel wood are the best woods to use; 
when stained black, they are most complete 
imitations of the natural ebony. For the stain 
take gall apple, 14 oz.; rasped logwood, :]}4 oz.; 
vitriol, 1% oz.; verdigris, 1M oz. For the second 
coating a mixture of iron filings (pure), 3^ oz., 
dissolved in strong wine vinegar, % of a liter 
(1% pt. nearly), is warmed, and when cool the 
wood already blackened is coated 2 or 3 times 
with it, allowing it to dry between each coat. 
For articles which are to be thoroughly satu- 
rated a mixture of 1% oz. sal ammoniac, with a 
sufficient quantity of steel filings, is to be placed 
in a suitable vessel, strong vinegar poured upon 
it, and left for fourteen days in a gently heated 
oven. A strong lye is now put into a suitable 
pot, to which is added coarsely bruised gall 
apples and blue Brazil shavings, and exposed 
for the same time as the former to the gentle 
heat of an oven, which will then yield a good 
liquid. The woods are now laid in the first 
named stain, boiled for a few hours and left in 
it for three days longer; they are then placed 
in the second stain and treated as in the first. 
If the articles are not then thoroughly satu- 
rated, they may be once more placed in the 
first bath and then in the second. The polish 
used for wood that is stained black should be 
white (colorless) polish, to which a very little 
finely ground Prussian blue should be added. — 
English Mechanic. 

9. Beech, pear tree, or holly steeped in a 
strong liquor of logwood or galls. Let the 
wood dry, and wash over with solution of iron 
sulphate. Wash with clean water, and repeat 
if color is not dark enough. Polish either with 
black or common French polish. 

10. Oak is immersed for forty-eight hours in 
a hot saturated solution of alum, and then 
brushed over several times with a logwood de- 
coction prepared as follows: Boil 1 part best 
logwood with 10 of water, filter through linen, 
and evaporate at a gentle heat until the volume 
is reduced one-half. To every qt. of this add 
10 to 15 drops of a saturated solution of indigo, 
completely neutral. After applying this dye 
to the wood, rub the latter with a saturated 
and filtered solution of verdigris in hot concen- 
trated acetic acid, and repeat the operation 
until a black of the desired intensity is ob- 
tained. Oak thus stained is said to be a close as * 
well as handsome imitation of ebony. 

11. One lb. logwood chips, 3 pt. water ; boil to 
1 pt- apply hot to wood ; let dry ; then give 
another coat; let dry slowly; sandpaper 
smooth; mix 1 gill vinegar with 3 tablespoon- 
fuls iron or steel filings ; let stand five hours, 
then brush on wood ; let dry ; then give ano- 
ther coat of the first. This sends the vinegar 
deeper into the wood and makes a denser black; 
after which paper smooth. Then polish with 
white French polish, as the white brings out 
the black purer than common French polish. 
The woods observed to take on the stain best 
are pear tree, plane tree, and straight reeded 
birch; mahogany does not stain nearly so well 
as the former woods. 

12. Get 1 lb. of logwood chips and boil them 
down in enough water to make a good dark 
color; give the furniture 3 or 4 coats with a 
sponge ; then put some rusty nails or old iron 
into a bottle /with some vinegar, and when it 
begins to work give the furniture a coat of the 
vinegar. This, if you have well darkened it 
with the first, will give you a good black. Oil 
and polish in the usual Avay, rubbing down first 
with fine paper if required. A quicker way is 



Staining-. 



536 



Staining-. 



to give the wood a coat of size and lampblack, 
and then use gas black in your polish rubber. 

13. Make a strong decoction of logwood by 
boiling 1 lb. in 1 qt. water for about 1 hour ; 
add thereto a piece of washing soda as large as 
a hazel nut. Apply hot to the wood with a soft 
brush. Allow to dry, then paint over the wood 
with a solution of iron sulphate (1 oz. to the pt. 
of water). Allow this to dry, and repeat the 
logwood and iron sulphate for at least 3 times, 
finishing off with logwood. Once more allow 
to dry thoroughly; then sandpaper off very 
lightly (so as not to remove the dye) with No. 
paper. Now make a very thin glue size, boil in 
it a few chips of logwood and a crystal or two 
of iron sulphate, just sufficient to make it inky 
black. Paint this lightly over the work, allow 
to dry once more, again sandpaper lightly, and 
finally either varnish with good hard white var- 
nish or polish with French polish and drop 
black.— Mechanic's Own Book. 

Take 1 gal. of strong vinegar, 2 lb. extract of 
logwood, ]4, lb. green copperas, J4 lb. China 
blue, and 2 oz. nutgalls. Put these in an iron 
pot, and boil them over a slow fire till they are 
well dissolved. When cool, the mixture is 
ready for use. Add to the above J^ pt. iron 
rust, obtained by steeping iron filings in strong 
vinegar. The above makes a perfect jet black, 
equal to the best black ebony; and the recipe is 
a valuable one. — Builder and Woodworker. 

Floors.— 1. Get the wood clean, have some 
Vandyke brown and burnt sienna ground in 
water, mix it in strong size ; put on with a 
whitewash or new paint brush as evenly as you 
can. When dry, give two coats of copal or oak 
varnish. 

2. If the floor is a new one, have the border 
well washed. Polish with glasspaper, rubbing 
always with the grain of the wood. Varnish 
with good oak varnish, put coloring matter 
into the varnish to suit your taste, but umber 
is best ; if the floor is old and blackened, paint 
it. 

3. If old floors, you will not make much of 
staining anything but black. The floor is to 
be well washed (lime and soda is best— no soap), 
the dye painted on, and, when dry, sized over 
and varnished with elastic oak varnish. 

4. Take Vi lb. logwood chips, boil them briskly 
for half an hour in about 5 qt, rain water, and 
strain through muslin. To this liquor add 6 
oz. annatto (in the form of cake— not the roll); 
add also 1 lb. of yellow wax, cut up in very 
small pieces. Place these over the lire, and let 
the wax melt gently, stirring it all the while. 
When melted, take the mixture off the fire; do 
not let it boil. Then with a paint brush lay it on 
the fkoor as hot as possible, brushing it always 
the way of the grain. Next day polish with a 
hard, flat brush made of hair, which may have 
a strap nailed to the back of it, in which to in- 
sert the foot. The floor is afterward kept 
bright with beeswax alone, a little of which is 
melted and put on the brush. Take care that 
the floor is thoroughly dry before commencing 
operations. 

5. Melt some glue size in a bottle; next get a 
piece of rag, roll it into a ball so that it will fit 
the hand nicely, cover this with a bit of old cal- 
ico to make a smooth face; dip this into the 
size, and rub in a bit of brown umber; then go 
ahead with your floors, working the stuff light 
or dark as required. Keep the motion with the 
grain of wood; when dry, stiffen with polish- 
ers' glaze. 

6. Take Judson's dyes of the color required, 
mix according to the instructions given with 
each bottle, and apply with a piece of rag, pre- 
viously trying it on a piece of wood to see if 
color will suit; rub with sandpaper to get off 
any roughness that may be raised with the 
damp, and varnish with fine pale hard varnish, 
then slightly sandpaper and varnish again. 
Another method is to boil 1 lb. logwood in an 
old boiler, then apply with a piece of rag 
where the stain is required; when thoroughly 



dry, sandpaper as before, and well rub with 
beeswax to polish. This last process looks 
best when finished, but it requires a lot of elbow 
grease for a few months, and is extremely dur- 
able. To prevent the stain running where you 
do not want it, paste some stout paper. 

Green.— 1. Mordant the wood with red liquor 
at 1° B. This is prepared by dissolving sepa- 
rately in water 1 part sugar of lead and 4 parts 
of alum free from iron; mix the solutions and 
then add ^ part of soda crystals and let settle 
overnight. The clear liquor is decanted off 
from the sediment of lead sulphate, and is then 
diluted with water till it marks 1° B. The wood 
when mordanted is dyed green with berry 
liquor and indigo extract, the relative propor- 
tions of which determine the tone of the 
green. 

2. Verdigris dissolved in 4 parts water. 

3. Four and two-tenths oz. copper, cut up 
finely, are gradually dissolved in 13 oz. nitric 
acid (aquafortis), and the articles to be stained 
are boiled in this solution until they have as- 
sumed a fine green color. 

4. Mordant the wood with red liquor at 1° B. 
This is prepared by dissolving separately in 
water 1 part sugar of lead and 4 parts of alum 
free from iron; mix the solutions and then add 
3 *2 of a part of soda crystals and let settle over- 
night. The clear liquor is decanted off from 
the sediment of sulphate of lead, and is then 
diluted with water till it marks 1° B. The 
wood when mordanted is dyed green with berry 
liquor and extract of indigo, the relative pro- 
portions of which determine the tone of the 
green. 

The wood, mordanted, at above directed, can 
also be dyed a fine blue with extract of indigo. 

5. Dyeing Veneers Green.— Put the veneers 
in a box or trough with clean water, and let 
them remain immersed for three or four 
days, changing the water once or twice as occa- 
sion may require. Let them dry about twelve 
hours before they are put into the dye; by ob- 
serving this the color will strike quicker and be 
of a brighter hue. Prepare the dye as follows : 
To 1 gal. of strong vinegar add 1 lb. of the best 
verdigris finely ground, 2 oz. sap green and 2 
oz. indigo. Place this in an iron or copper 
vessel, with as many of the veneers as the 
liquor will cover and boil for several hours or 
until the requisite intensity of color is ob- 
tained. . 

Gray.— 1. Grays may be produced by boiling 
17 oz. orchil paste for H, hour in 7 pt. water. 
The wood is first treated with this solution, and 
then, before it is dry, steeped in a beck of 
iron nitrate at 1° B. An excess of iron gives 
a yellowish tone ; otherwise a blue gray is pro- 
duced, which may be completely converted 
into blue by means of a little potash. 

2. One part silver nitrate dissolved in 50 parts 
of distilled water; wash over twice; then with 
hydrochloric acid, and afterward with water 
of ammonia. The wood is allowed to dry in 
the dark, and then finished in oil and polished. 

Mahogany.— 1. Boil y% lb. madder and 2 oz. 
logwood chips in 1 gal. water, and brush well 
over while hot. When dry, go over with pearl- 
ash solution, 2 drm. to the qt. By using it 
strong or weak, the color can be varied at 
pleasure. 

2. Soak 1 lb. stick varnish in 2 qt. water until 
all the color is dissolved out; strain off the 
water, and add to the residue 25 drm. powdered 
madder. Set the mixture over the fire until it 
is reduced to M of its original volume. Then 
mix together 25 drm. cochineal, 25 drm. kermes 
berries, 1 pt. spirits of wine, and }4 oz. pearl- 
ash, out of which the color has been washed by 
soaking in a gill of soft water. Add this mix- 
ture to the decoction of madder and varnish* 
stirring well together, and adding so much 
aquafortis as will bring the red to the desired 
shade. 

3. Dark Mahogany.— Introduce into a bottle 
15 gr. alkanet root, 30 gr. aloes, 30 gr. powdered 



Staining. 



537 



Staining. 



dragons' blood, and 500 gr. 95$ alcohol, closing 
the mouth of the bottle with a piece of blad- 
der, keeping it in a warm place for 3 or 4 days, 
with occasional shaking, then filtering the 
liquid. The wood is first mordanted with nitric 
acid, and when dry washed with the stain once 
or oftener, according to the desired shade; 
then, the wood being dried, it is oiled and 
polished. 

4. Light Mahogany.— Same as dark mahogany, 
but the stain being only applied once. The 
veins of true mahogany may be imitated by the 
use of iron acetate skillfully applied. \ 

5. The following process is recommended in 
Wiederhol&s Trade Circular: The coarse wood 
is first coated with a colored size, which is pre- 
pared by thoroughly mixing up, in a warm 
solution, 1 part commercial glue in 6 of water, 
a sufficient quantity of the commercial mahog- 
any brown, which is in reality an iron oxide, 
and in color stands between so-called English 
red and iron oxide. This is best effected by 
adding in excess a sufficient quantity of the dry 
color with the warm solution of glue, and 
thoroughly mixing the mass by means of a 
brush until a uniform paste is obtained, in 
which no more dry red particles are seen. A 

r trial coat is then laid upon a piece of wood. If 
it is desired to give a light mahogany color to 
the object, it is Only necessary to add less, and 
for a darker color more, of the brown body 
color. When the coat is dry, it may be tested, 
by rubbing with the fingers, whether the color 
easily separates or not. In the former case, 
more glue must be added until the dry trial 
coat no longer perceptibly rubs off with the 
hands. Having ascertained in this way the 
light condition of the size color with respect 
to tint and strength, it is then warmed slightly, 
and worked through a hair sieve by means of a 
brush. After this, it is rubbed upon the wood 
surface with the brush, which has been care- 
fully washed. It is not necessary to keep the 
color warm during the painting. Should it be- 
come thick by gelatinizing, it may be laid on 
the wood with the brush, and dries more 
rapidly than when the color is too thin. If the 
wood is porous and absorbs much color, a 
second coat may be laid on the first 1 when dry, 
which will be sufficient in all cases. On drying-, 
the size color appears dull and unsightly, but 
the following coat changes immediately the 
appearance of the surface. This coat is spirit 
varnish. For its production 3 parts 90$ alcohol 
are added in excess to 1 part of red acaroid 
resin in one vessel, and in another 10 parts 
shellac with 40 of 80$ alcohol. By repeated 
agitation for 3 or 4 days, the spirit dissolves the 
resin completely. The shellac solution is then 
poured caref ully from the sediment, or better 
still, filtered through a fine cloth, when it may 
be observed that a slight milky turbidity is no 
detriment to its use. The resin solution is best 
filtered into the shellac solution by pouring 
through a funnel loosely packed with wadding. 
When filtered, the solutions of both resins are 
mixed by agitating the vessel and letting the 
varnish stand a few days. The acaroid resin 
colors the shellac, and imparts to it at the same 
time the degree of suppleness usually obtained 
by the addition of Venetian turpentine or lin- 
seed oil. If the varnish is to be employed as a 
coat, the upper layers are poured off at once 
from the vessel. One or two coats suffice, as a 
rule, to give the object an exceedingly pleas- 
ing effect. The coats dry very quickly, and 
care must be taken not to apply the second 
coat until the first is completely dry. 

6. Boil 7*5 oz. madder, 8*75 oz. rasped yellow 
wood, for 1 hour in 5'5 lb. water, and the 
boiling liquor is applied to the articles until the 
desired color has been produced. 

7. Digest 1*05 oz. powdered turmeric and 
1'05 oz. powdered dragons' blood, 8*75 oz. 
of 80% strong alcohol, and when the latter 
seems to be thoroughly colored it is filtered 



through a cloth. The filtrate is heated and ap- 
plied warm to the article. 

8. Boil 17*5 oz. madder, 8*75 oz. ground log- 
wood, for 1 hour in 5*5 lb. water. This is 
filtered while still warm, and the warm liquor 
is applied to the wood. When this has become 
dry, and it is desired to produce a darker ma- 
hogany color, a solution of 0*525 oz. potash 
carbonate in 4'4 lb. water is applied to the 
wood. This solution is prepared cold, and fil- 
tered through blotting paper. 

9. Dissolve 0'35 oz. aniline in 8*75 oz. 90% 
alcohol. Then another solution of 035 oz. 
aniline yellow in 17*5 oz. 90% alcohol is 
made, and this is added to the aniline 
solution until the required reddish-yellow 
color is obtained. By adding a little of a 
solution of aniline brown (0'35 oz. aniline 
brown in 10*5 oz. 90$ alcohol), the color 
is stil. more completely harmonized, and 
a tint very closely resembling mahogany can 
be given to elm and cherry wood with this 
mixture. 

10. Boil 07 oz. logwood in 3*5 oz. water 
down to about y 2 . This is then filtered, and 
0'12 oz. baryta chloride is dissolved in it.— Me- 
chanic's Own Book. 

11. Water, 1 gal.; madder, 8 oz.; fustic, 4 oz. 
Boil lay on with a brush while hot, and while 
wet streak it with black to vary the grain. 
This imitates Honduras mahogany. Madder, 
8 oz.; fustic, 1 oz.; logwood, 2oz.; water, 1 gal. 
Boil and lay on while hot. This imitates Span- 
ish mahogany. Varnkh in the usual way with 
the following : Put in a bottle 2 oz. gum sand- 
arac, 1 oz. shellac, y% oz. gum bengamin, 1 oz. 
Venice turpentine, 1 pt. 90$ alcohol. Color 
red with dragon's blood, or yellow with saffron. 
Stand in a warm spot till gum dissolves, when 
strain for use. 

12. Make a stain of Venetian red, adding a 
little ocher ; put them in a stone jar, with 
a little glue, size, and water, and boil. The 
wood must be smoothly planed and sand- 
papered. Apply the stain hot with a lump of 
rag, and when well coated let it stand for a few 
minutes, and rub off as much as will come with, 
clean rags. Then allow it to dry thoroughly, 
and sandpaper, using the finest flour paper, 
when it will be ready for varnishing. This 
makes a dull red, and shows the original grain 
of the wood. To make a brighter red use 
dragon's blood instead of Venetian red. 

13. Boil 1 part logwood in 8 parts water. Ap- 
ply this decoction to the wood. When dry 
give it two or three coats of the following var- 
nish: 1 part dragon's blood dissolved in 20- 
parts of 90$ alcohol. 

14. Stain. — Rectified naphtha, 1 pint; amber 
resin, 4 oz.; gum shellac, 2 oz.; terra sienna, 1 oz.; 
dragon's blood, 1J4 oz. Let it stand in a warm 
place for two days ; shake frequently. Strain 
through muslin before use. Varnish. Recti- 
fied naphtha, 1 pint; shellac, 4 oz.; resin, piece 
as large as an egg. 

15. To Stain Beech a Mahogany Color.— Put 2 
oz, of dragon's blood, broken in pieces, into a 
qt of 90$ alcohol; let the bottle stand in a warm 
place, shake it frequently; when dissolved it is 
fit for use. 

16. Imitation of Mahogany.— Plane the sur- 
face smooth, and rub with a solution of nitrous 
acid. Then apply with a soft brush 1 oz. of 
dragon's blood dissolved in about 1 pt. of alco- 
hol, and with % of an oz. of carbonate of soda 
mixed and filtered. When the brilliancy of polish 
diminishes, it may be restored by the use of a 
little cold drawn linseed oil. 

Metallic Stain for Wood.— Soaking the wood 
in a weak solution of nitrate of silver, and then 
exposing it to the light, will produce an intense 
black color. Another way is to boil some chips 
of logwood in water for about a quarter of an 
hour. Then wash the piece of wood with it 
three or four times, allowing it to dry after 
each washing. Lastly, wash the wood, by 
means of a common painting brush, with j. 



Staining. 



538 



Staining. 



mixture prepared as follows : Put 1 oz. of steel 
or iron filings into 2 oz. of vinegar, keep the 
phial near the fire so as to he gently heated for 
about two hours, then decant the vinegar and 
keep it for use. 

Oak.— 1. Mix powdered ocher, Venetian red 
and umber, in size, in proportions to suit; or a 
richer stain may be made with raw sienna, 
burnt sienna and vandyke. A light yellow stain 
of raw sienna alone is very effective. 

•2. Darkening Oak.— Lay on liquid ammonia 
with a rag or brush. The color deepens imme- 
diately, and does not fade; this being an arti- 
ficial production of the process which is in- 
duced naturally by age. Potash bichromate, 
dissolved in cold water and applied in a like 
manner, will produce a very similar result. 

8. In Germany, the cabinet makers use very 
strong coffee for darkening oak. To make it 
very dark : Iron filings with a little sulphuric 
acid and water, put on with a sponge, and al- 
lowed to dry between each application until 
the right hue is reached. 

4. Whitewash with fresh lime, and when dry 
brush off the lime with a hard brush, and dress 
well with linseed oil. It should be done after 
the wood has been worked, and it will make 
not only the wood, but the carving or mould- 
ing, look old also. 

5. Use a strong solution of common washing 
soda, say one or two coats, until the proper 
color is obtained. Or you may try potash car- 
bonate. Paper and finish off with linseed oil. 

6. A decoction of green walnut shells will 
bring new oak to any shade, or nearly black. 

7. A good method of producing the peculiar 
olive brown of old oak is by fumigation with 
liquid ammonia; the method has many advant- 
ages beyond the expense of making a case or 
room air tight and the price of the ammonia. 
It does not raise the grain, the work keeping 
as smooth as at first. Any tint, or rather, 
depth of the color, can be given with certainty; 
and the darker shade of color will be found 
to have penetrated to the depth of a veneer, 
and much farther where the end grain is ex- 
posed, thus doing away with the chance of an 
accidental knock showing the white wood. 
The coloring is veiy even and pure, not de- 
stroying the transparency of the wood. It is 
advisable to make the furniture from one kind 
of stuff, not to mix English oak with Riga, and 
so on. They both take the color well, but there 
is a kind of American red oak that does not 
answer well. In all cases care must be taken 
to have no glue or grease on the work, which 
would cause white snots to be left. The deal 

{portions of the work are not affected in the 
east, neither does it affect the sap of oak. 
The best kind of polish for furniture treated in 
this manner is wax polish, or the kind known 
as egg shell polish. The process of fumigation 
is very simple. Get a large packing case, or 
better still, make a room in a corner of the 
polishing shop about 9 ft. long, 6 ft. high and 3 
ft. 6 in. wide; paste paper over the joints; let the 
door close on to a strip of India rubber tub- 
ing; put a pane of glass in the side of box or 
house to enable you to examine the progress 
of coloring. In putting in your work see that 
it does not touch anything to hinder the free 
course of the fumes. Put two or three dishes 
on the floor to hold the ammonia; about y% pt. 
is sufficient for a case this size. The ammonia 
differs in purity, some leaving more residue 
than other. Small articles can be done by 
simply covering them with a cloth, having a 
little spirits in a pot underneath. A good use- 
ful color can be given by leaving the things 
exposed to the fumes overnight. The color 
lightens on being polished, owing to the trans- 
parency thus given to the wood. — Mechanic's 
Own Booh. 

8. A good brown oak stain is produced by 
preparing the wood with a solution of 1 oz. 
catechu, boiled in V/%, pt. of water. When dry, 



brush over a solution of bichromate of potash, 
1 oz. to l l / 2 pt. of water. 

9. Equal parts of American potash and pearl- 
ash, 2 oz. each to about 1 qt. water, give a good 
oak stain. Use carefully, as it will blister the 
hands. Add water if the color be too deep. 

Orange Stain.— Yellow or orange stains gen- 
erally result from the use of nitric acid or tur- 
meric. Thus 2*1 oz. finely powdered turmeric 
are digested for several days in 17*5 oz. 80$ alco- 
hol, and then strained through a cloth. This so- 
lution is applied to the articles to be stained. 
Nitric acid diluted with 3 parts of water is like- 
wise used. A hot concentrated solution of 
picric acid can likewise be used. 

Purple.— 

1. Logwood chips. 1 lb. 

Water Mgal. 

Pearlash 4 oz. 

Powdered indigo 2 oz. 

Boil the logwood in the water till the full 
strength is obtained, then add the pearlash and 
indigo, and when the ingredients are dissolved 
the mixture is ready for use, either warm or 
cold. This gives a beautiful purple. 

2. To stain wood a rich purple or chocolate 
color, boil }£ lb. madder and J4 lb. fustic in 1 
gal. water, and when boiling brush over the 
work until stained. If the surface of the work 
should be perfectly smooth, brush over with a 
weak solution of nitric acid; then finish with the 
following: Put 4>£ oz. dragon's blood and 1 oz. 
soda, both well bruised, into 3 pt. 90$ alcohol. 
Let it stand in a warm place, shake frequently, 
strain and lay on with a soft brush, repeating 
until a proper color is gained. Polish with 
linseed oil or varnish. 

3. Rasped logwood, 2'2 lb.; rasped Lima red 
dyewood, 5*5 lb., are boiled together for one 
hour in 5*5 lb. water. It is then filtered through 
a cloth and applied to the article to be stained 
until the desired color has been obtained. In 
the meanwhile a solution of 0'175 oz. potash 
carbonate in 17"5 oz. water has been prepared, 
and a thin coat of this is applied to the article 
stained red. But strict attention must be paid 
not to apply too thick a coat of this solution, 
or else a dark blue color will be the result. 

Red.— The wood is plunged first in a solution 
of 1 oz. of curd soap in 35 fl. oz. of water, or 
else is rubbed with the solution, then magenta 
is applied in a state of sufficient dilution to 
bring out the tone required. All the aniline 
colors behave very well on wood. 

Rosewood.— Take alcohol, 1 gal.; camwood, 2 
oz., set them in a warm place twenty-four 
hours, then add extract of logwood, 3 oz.; 
aquafortis, 1 oz., and when dissolved it is ready 
for use. 

Sixteenth Century Finish.— Oak may be given 
the appearance of age by sponging with sul- 
phuric acid and water, equal parts, or, what is 
preferable, staining with umber in thin shellac 
varnish. 

Violet.— The wood is treated in a bath made 
up with 4J4 oz. olive oil, the same weight of soda 
ash, and 2J% pt. of boiling water, and it is then 
dyed with magenta, to which a corresponding 
quantity of tin crystals have been added. 

Violins, Stains for. See also Cherry Stains 
above. 

To darken the wood rub over it nitric acid, 
sp. gr. 1*2, and, after standing twelve hours, 
wash and dry thoroughly. Then use either of 
the following : 

1. Prepare a groundwbrk with strong hot 
aqueous solution of logwood extract; then ap- 
ply a solution of 3 oz. potash, 3 oz. red Sanders, 
2^j lb. gum shellac, and 1 gal. water, dissolved 
over a quick fire. 

2. Boil 1 oz. logwood extract in 1 pt. water 
(soft), and add £ oz. cream of tartar. Use the 
stain hot, and give several coats if necessary, 
drying between each. Use a saw edged grain- 
ing brush and asphaltum varnish, sufficiently 
thinned, to produce the proper markings. 



Staining. 



539 



Starches. 



Walnut Stains.— 1.- Light Walnut.— Dissolve 1 
part potassium permanganate in 30 partsof pure 
water and apply twice in succession; after an 
interval of five minutes, wash with clean water 
and when dry oil and polish. 

2. Dark Walnut.— Same as for light walnut, 
but after the washing with water the dark 
veins are made more prominent with a solution 
of iron acetate. 

3; In the winter season get some privet ber- 
ries (black), which grow in most gardens, and 
put 2 oz. in % pt. solution of liquid ammonia. 
This, applied, to pine, varnished or polished, 
cannot be detected from real walnut itself. 

4. Take 1 gal. very thin size shellac : add 1 lb. 
dry burnt umber, 1 lb. dry burnt sienna, and Vi 
lb. lampblack. Put these articles into a jug 
and shake frequently until they are mixed. 
Apply one coat with a brush. When the work 
is dry rub down with fine paper and apply one 
coat of shellac or cheap varnish. It will then 
be a good imitation of solid walnut and will be 
adapted for the -back boards of mirror frames, 
for the back and inside of casework and for 
similar work. 

5. Take 1 gal. strong vinegar, 1 lb. dry burnt 
umber, y% lb. fine rose pink, ^ lb. dry burnt 
Vandyke brown. Put into a jug and mix well; 
let the mixture stand one day and it will then 
be ready for use. Apply this stain to the sap 
with a piece of fine sponge. It will dry in half 
an hour. The whole piece is then ready for 
the filling process. When the work is com- 
pleted the stained part cannot be detected even 
by those who have performed the job. By 
means of this i-ecipe wood of poor quality and 
mostly of sap can be used with good effect. 

6. Darkening Walnut.— Slaked lime, 1 part, to 
4 parts of water, will do for some kinds of wal- 
nut; a weak solution of iron sulphate for 
others; and yet again for other kinds a weak so- 
lution of pearlash. Try each on the wood and 
choose the one you like best. 

7. To give to walnut a dark color resembling 
rosewood, Hirschberg uses a solution of 017 
oz. potash, bichromate in 1*05 oz. water. This 
solution is applied to the walnut with a sponge 
and the wood is then pumiced and polished. 

8. By a simple staining, furniture of pine or 
birch wood can be easily made to appear as if 
it had been veneered with walnut veneer. For 
this a solution of 3*15 oz. potash manganate 
and 3* 15 oz. manganese sulphate in 5'25 qt. hot 
water, is made. This solution is applied to the 
wood with a brush, and must be repeated sev- 
eral times. The potash manganate is decom- 
posed when it comes in contact with the woody 
fiber, and thus a beautiful and very durable 
walnut color is obtained. If small wooden ar- 
ticles are to be stained in this manner, a very 
diluted bath is prepared; the articles are dipped 
into it, and kept there one to nine minutes, 
according as the color is desired fighter or 
darker. 

9. Water, 1 qt.; sal soda, ^ oz.; Vandyke 
brown, 2y> oz.; potassium bichromate, 34 to ^ 
oz.; boil for ten minutes, replacing water lost 
by evaporation. Use hot and allow the work 
to dry thoroughly before oiling or varnishing. 

10. Reliable walnut stain for furniture, 
mostly hard wood. Spirits of turpentine, 1 gal.; 
pulverized asphaltum, 2 lb.; dissolve in an iron 
kettle on a stove, stirring constantly. 

11. Boil 1 qt. water and add first \y, oz. wash- 
ing soda and then, a little at a time, 2}/z oz. of 
Vandyke brown. When the foaming has nearly 
ceased add J4 oz. bichromate of potassa dis- 
solved in a little boiling water; stir well and 
filter through a cloth. The color may be deep- 
ened with a drop or two of Brunswick black or 
made of a warmer tone by increasing the 
amount of water and adding more bichromate 
of potassa. It should be applied witlia brush 
quickly, and without much lapping ; and when 
dry it takes a good coat of varnish. 

12. Apply several coats of diluted asphalt 
varnish, or a solution of potassium perman- 



ganate, 1 oz. to the quart. Another process 
consists in treating with a hot solution of 1 oz. 
of extract of green walnut shells and when 
half dry, applying 1 oz. of potassium bichromate 
in 5 oz. of hot water. 

13. Black Walnut. — A decoction of green 
walnut husks dried and boiled in lye is recom- 
mended. 

14. Dragon's blood and lampblack mixed in 
wood alcohol may be used, well rubbed into the 
wood. 

15. One gallon strong vinegar, 1 lb. dry burnt 
umber, y% lb. fine rose pink, y 2 lb. dry burnt 
Vandyke brown. After mixing and standing 
for a day it is ready for use. Apply with a 
sponge. 

16. Take 1 lb. of logwood chips, y 2 lb. of red 
sanders, y>, gal. of water. Boil over a fire until 
the full strength Is obtained. Apply the mix- 
ture, while hot, to the wood, with a brush. Use 
one or two coats to obtain a strong, red color. 
Then take 1 gal. of spirits of turpentine and 2 
lb. of asphaltum. Dissolve in an iron kettle on 
a stove, stirring constantly. Apply, with a 
brush, over the red stain, to imitate rosewood. 
To make a perfect black, add a little lamp- 
black. The addition of a small quantity of 
varnish with the turpentine will improve it. 
This stain, applied to birch wood, gives as good 
an imitation of rosewood as on black walnut, 
the shade on the birch being a little brighter. 

Yellow.— 1. Mordant with red liquor, and dj r e 
with bark liquor and turmeric. 

2. Turmeric dissolved in wood naphtha. 

3. Aqua regia (nitro muriatic acid), diluted in 
3 parts water, is a much used, though rather 
destructive yellow stain. 

4. Nitric acid gives a fine permanent yellow, 
which is converted into dark brown by sub- 
sequent application of tincture of iodine. 

5. Wash over with a hot concentrated solu- 
tion of picric acid, and, when dry, polish the 
wood. 

6. Orange Yellow Tone to Oak Wood.— Ac- 
cording to Niedling, a beautiful orange yellow 
tone, much admired in a chest at the Vienna 
Exhibition, may be imparted to oak wood by 
rubbing it in a warm room with a certain mix- 
ture until it acquires a dull polish, and then 
coating it after an hour with thin polish, and 
repeating the coating of polish to improve the 
depth and brilliancy of the tone. The in- 
gredients for the rubbing mixture are about 
3 oz. tallow, % oz. wax, and 1 pt. oil of turpen- 
tine, mixed by heating together and stirring. 

7. Nitric acid (aquafortis), - 5 oz., is com- 
pounded with P57 oz. rain water, and the article 
to be stained is brushed over with this. Undi- 
luted nitric acid gives a brownish yellow color. 

8. Digest 2*1 oz. finely powdered turmeric for 
several days in 17'5 oz. alcohol 80$ strong, and 
then strain through a cloth. This solution is 
applied to the articles to be stained. When 
they have become entirely dry, they are bur- 
nished and varnished. 

9. Dissolve 1'57 oz. potash carbonate in 4*2 oz. 
rain water. This solution is poured over 0*52 
oz. annatto, and this mixture is allowed to stand 
for three days in a warm place, being frequent- 
ly shaken in the meanwhile. Itis then filtered, 
and 0*175 oz. spirit of sal ammoniac is added to 
it. The stain is noAV ready, and the articles to 
be stained will acquire a very beautiful bright 
yellow color by placing them in it. 

10. Bright Golden Yellow. — Digest 0*52 oz. 
finely powdered madder for twelve hours with 
2 - l oz. diluted sulphuric acid, and then filter 
through a cloth. The articles to be stained are 
allowed to remain in this fluid three to four 
days, when they will be stained through. 

Staining Microscopical Preparations. See 
Microscopy. 

Stamping Inks. See Inks. 

Starches.— Relative Stiffening Strength of. 
—Starting with a pure starch obtained by ma- 
ceration and infusion, and taking its stiffening 



Starch. 



540 



Steel. 



power as 100, we obtain the respective value of 
other starches, thus : Pure dry rice starch, 100; 
rice starch, No. 1, 95 ; rice starch, No. 2, 91; pure 
dry maize starch, 87; corn starch, 85; rye 
starch, 81; buckwheat starch, 81; oat starch, 
80; acorn starch, 80; wheat starch, 80; barley 
starch, 78 ; Bermuda arrowroot, 75 ; Natal ar- 
rowroot, 73; pure potato starch, 68; potato 
farina, 65. 
Lustrine Alsacienne (Starch Gloss).— 

Borax 2)4 oz. 

Gum arabic 2)4 oz. 

Spermaceti 2)4 oz. 

Glycerine &% oz. 

Distilled water 2J4 pt. 

A few drops of some sweet scented essence. 
Add 6 spoonfuls lustrine to Q% oz. boiling" 
starch. 

Laundry Starch.— Rub 1 oz. best potato 
starch up with a little cold water, so as to re- 
duce all the lumps ; add a tablespoonf ul of best 
loaf sugar, an equal quantity of dextrin, a little 
soluble indigo, and a lump of pure paraffin 
about the size of a nutmeg. Then add a pt. 
of boiling water, and boil, with occasional stir- 
ring, for half an hour (not less). The starch 
should be strained through a linen cloth before 
using. 

Liquid Starch Glace.— One oz. each of gum 
arabic and borax are dissolved in 10 oz. of 
water ; 1 oz. each of white wax and spermaceti 
are melted, and while liquid are rubbed with 
the solution of borax and 10 drops oil of cloves 
to make emulsion, mixing them thoroughly. A 
teaspoonf ul of this mixture in a pt. of starch 
gives a fine polish. It may also be applied 
after starching by rubbing over the starch with 
a cloth and then polishing with the iron.— 
Pharm. Era. 

Starch, Gloss Liquid.— Borax, saturated solu- 
tion, 2 parts ; tragacanth mucilage, 1 part ; 
mix. One tablespoonf ul to 1 pt. of starch. 

To Improve Starch.— To each bowl of starch, 
add 1 teaspoonf ul of Epsom salts, and dissolve 
in the usual way by boiling. Articles starched 
with this will be stiffer, and will be rendered to 
a certain degree fireproof. 

Use corn starch, boil to smooth paste, cool, 
and starch the goods ; dry quickly. Before 
ironing, dampen down in thin, raw (unboiled) 
starch water. A little gum arabic or pure 
white wax is often added to the boiled starch to 
afford fine gloss. Iron in the usual way, with a 
common sad iron ; then dampen slightly with a 
clean cloth and the starch (raw) water, and 
polish briskly with a polishing iron. 

Starch Paste. See Pastes. 

Starch, Potato. — Convert the potatoes 
into a pulp by means of a scraping knife or an 
instrument similar to a nutmeg grater; throw 
the pulp upon a fine linen cloth in a large fun- 
nel, and allow pure cold water to run through 
the mass slowly for several hours. By this 
means all the minute starch granules may be 
washed through the cloth; and on allowing the 
water to stand for some time, these will settle 
to the bottom, and maybe removed by decant- 
ing the water and straining. 

Statuary, Mould for. See Moulds. 

Steam. See Boilers, Safety Valve.— 
Exhaust steam should never be discharged 
into a brick chimney. It is liable to disinte- 
grate the mortar and thus to render the entire 
structure unstable. 

Steam. Steam Boiler Cement. See Ce- 
ments. 

Steam, Velocity of.— Through a 6 inch pipe 
open at the end at 20 pounds pressure above 
the atmosphere the velocity is 1,413 feet : at 60 
pounds pressure, 1,447; at 100 pounds pressure, 
1,464 feet per second. 

Stearine.— The solid portion of fats which 
is insoluble in cold alcohol. Melt pure strained 
mutton suet in a glass flask, with 7 or 8 times 



its weight of ether; let the solution cool. Place 
the pasty mass in a cloth, and press strongly, 
as rapidly as possible to avoid evaporation. 
Dissolve the solid portion in ether, and. allow 
the solution to crystallize. The product will 
be nearly pure. 

Steatite. — Soapstone, talc. 



See Annealing. 

See Blacking Met- 



Steel, to Anneal. 

Steel, to Blacken. 

als. 

Steel, to Blue. See Bluing. 

Steel, to Bronze. See Bronzing. 

Steel, to Brown. See Browning 
Metal! 

Steel, Burnt, to Restore.— 1. To 4 lb. 

fine white sand pulverized, add )4 lb. sal am- 
moniac, 34 lb. cop.peras and )4 lb. resin, all pul- 
verized. Mix well. When the steel is hot, 
sprinkle and let cool. This process will restore 
any burnt steel. 

2. Sal ammoniac 1 lb. 

Borax 3 lb. 

Prussiate of potash % lb. 

Rosin ... 2 oz. 

Pulverize; add 2 gills each of water and alco- 
hol, boil to a stiff paste in an iron kettle. The 
burnt steel is dipped while hot in the composi- 
tion and hammered slightly. 

3. Borax 4^ oz. 

Sal ammoniac 12 oz. 

Prussiate of potash 4^t oz. 

Blue clay 3 oz. 

Resin % lb. 

Water J^ pt. 

Alcohol 34 pt. 

Simmer over the fire till it dries to a powder. 
Heat the steel, dip in the powder and ham- 
mer. 

4. Horn filings 3 parts. 

Tallow 15 parts. 

Sal ammoniac 1)4 part. 

Pulverized charcoal 1)4 part. 

Soda 1)4 part. 

Pulverize the hard materials, mix with the 
tallow. Heat the burnt steel to a cherry red 
and plunge in the mixture; when the steel be- 
comes cold, it may be hardened in the usual 
manner. 

Steel, Hard, to Brill.— Get some silver- 
steel wire and fit it to a pump drill; file the 
point long and trianglar; make it hot and 
plunge it into a wet bar of yellow soap; next, 
touch upon an oil stone short at the point, and 
drill with raw linseed oil or camphor and 
turps. 

Steel, to Etch. See Etching. 

Steel, Fluxes for. See Fluxes. 

Steel, to Frost. — Clean and polish the 
metal, flow it quickly with dilute nitric acid ; 
and, when the proper point is reached, wash 
well in running water. 

Steel, to Gild. See Gilding. 

Steel, to Harden. See Hardening. 

Steel, Lacquers for. See Lacquers. 

Steel, Thin, to Perforate.— Holes in hard 
steel may be made with nitric acid. To apply 
it, cover the steel plate, at the place where you 
wish the hole, with a thick layer of melted wax ; 
when cold make a hole in the wax of the size 
you want the hole in the plate ; then put on 
one or more drops of strong nitric acid ; leave 
it on for some time ; wash off with water, and, 
if not eaten through, apply other drops of the 
same liquid, and continue this until the plate is 
perforated.— Ironmonger. 

Steel, to Polish. See Polishing. 

Steel, to Prevent Bust on. See Bust. 

Steel, to Soften.— Place a quantity of new- 
ly-burnt lime in a damp place, where it will 



Steel. 



541 



Stoppers. 



'all in the form of flour ; put it in an iron box. 
3eat the articles to dull red; clean off all 
;cale, and put in lime, and completely cover 
.vith lime ; cover box over with iron lid and 
eave until cold. The more lime and larger the 
30x, the better. Keep air tight if possible. 

Steel, Solder for. See Soldering. 

Steel, Softening.— One tablespoonf ul each 
hydrochloric acid and saltpeter to 1 gal. of 
neater. Heat the steel and cool in it ; then heat 
to soften by letting cool. Cast steel thus 
created will weld with sand. 

Steel, Straightening Hardened^ —In 
hardening- and tempering tools they sometimes 
spring,- to the great annoyance of the workmen, 
and not seldom the tool is reheated and rehard- 
lened. In most cases this may be avoided. To 
'straighten apiece of steel already heated and 
tempered, heat it lightly— not enough to draw 
the temper— and it may be straightened by 
blows from a hammer, if the character of the 
tool will admit of such treatment, or, as in 
case of a tap, it may be straightened by a 
heavy mallet on a hard wood block. Although 
the steel, when cold, would break like glass 
with this treatment, when slightly warmed it 
will yield to moderately heavy blows unin- 
jured. 

Steel, to Temper. See Tempering. 

Steel, Composition to Toughen.— Re- 
Sin, 2 lb.; tallow, 2 lb.; black pitch, 1 lb.; melt 
together and dip in the steel when hot. 

Steel, to Weld. See Welding. 

Stencil Inks. See Inks. 

Stephenson's Alloy. See Alloys— 
White Metal. 

Stereotype Composition. See Cem- 
ents, Janniri's. 

Stereotype Metal. See Alloy. 

Stereotyper's Paste. See Pastes. 

Sternutatories for Cold in the Head. 
—1. Witch hazel leaves, dried, 4^ parts ; mar- 
joram blossoms, V/% parts ; lavender blossoms, 
1}4 parts. Powder finely and mix. 

2. Snuff, 12 parts ; valerian leaves, 12 parts ; 
a few drops oil of lavender and marjoram. 

Stoichiometry, or Chemical Calcula- 
tions.— Conversion of Thermometer Degrees. 

°C to °R, multiply by 4 and divide by 5. 

°C to °F, multiply by 9, divide by 5, then add 
32. 

°R to °C, multiply by 5 and divide by 4. 

°R to °F, multiply by 9, divide by 4, then add 
32 
~°F to °R, first subtract 32, then multiply by 

4, and divide by 9. 

°F to °C, first subtract 32, then multiply by 

5, and divide by 9. 

To Find the Percentage Composition, having 
the Formula Given. — Find the molecular weight 
from the formula; then let wt.= weight. 

Molecul;ir wt. _ Wt. of constituent in a molecule 
100 Percentage of constituent 

Or we may proceed thus : 

Multiply the atomic weight of the element 
by 1, 2, 3, etc., according to the number of atoms 
of the element there are in the molecule ; 
multiply the number thus obtained by 100, and 
divide by the molecular weight. 

To Find the Weight of any Element Con- 
tained in any Given Weight of a Compound 
Substance.— 

Molecular wt. Wt. of constituent in a molecule 



Given wt. Required wt. 

Or, multiply the atomic weight of the ele- 
ment by 1, 2, 3. etc., according to the number of 
atoms of the element there are in the mole- 
cule; multiply the number thus obtained by 
the given weight, and divide by the molecular 
weight. 

To Find the Empirical Formula of a Body 
from its Percentage Composition.— Divide the 



percentage of each element by the atomic 
weight of that element to three places of 
decimals, and divide all the numbers thus ob- 
tained by the lowest ; if the quotients are not 
whole numbers, reduce them to their simplest 
relation in whole numbers, and to these whole 
numbers prefix the symbol to which each re- 
fers. 

To Find the Weight of a Substance Required 
to Yield, Liberate, or Produce a Given Weight 
of a Substance.— Write the equation express- 
ing the chemical change ; then— 

Molecular weight Quantity Molecular weight Weight 

of resulting sub- of of original sub- oforigi- 

stance x Number * resulting ; [ stance x Number '. nal sub- 

of molecules substance of molecules stance 

involved given involved required 

To Solve Problems Involving Volumes of 
Gases —Write the equation expressing the 
chemical change, and underneath the gaseous 
product write the sign CD for each molecule (if 
there are more than one), thus: 



MnO 



+ 4HC1 

□a 

7 an 

□a 

DD 



MnCl 2 
126 



+ Cl 2 '+ 20H 2 

DD 

DD DD 



Four volumes of hydrochloric acid gas yield 1 
volume of chlorine and 2 volumes of water 
vapor. Any problem is readily solved by this 
method with the aid of simple proportion. The 
following data must be borne in mind. 

An atomic weight of an element taken in 
grammes occupies 11*2 liters, at 0° C. and 760 
mm. pressure, but As and P occupy 5'6 liters, 
and Hg occupies 22 - 4 liters. 

A molecular weight of a compound taken in 
grammes occupies 22*4 liters, unless the vapor 
density of the compound is abnormal. 

One liter of hydrogen weighs 1 crith =0*0896 
gramme. 

Formula for Correcting the Volume of Gases 
for Temperature and Pressure. — 

V — original volume. 
V ' = corrected volume. 

t = original temperature C°. 
V = final temperature C°. 
P = original pressure. 

V — final pressure. 

V (273H-t)P / 



V 273+t' P 
Stomach Bitters. See Bitters. 
Stones, to Clean. See Cleansing. 

Stoppers, to Remove.- 1. My own trials 
in this direction indicate that there is no royal 
road to get out stoppers. I have tried many 
plans, but have found none more successful 
than that of tapping the bottle neck lightly 
and repeatedly, first in one place and then di- 
rectly opposite, with the handle of a knife or 
another stopper. I have seen Prof. Roscoe, at 
Owens College, adopt this plan. He would also 
sometimes hold the neck over a Bunsen burner, 
and then begin knocking again. The nuisance 
is that you now and then decapitate the bottle, 
but I think all methods are liable to that mis- 
fortune. 

Removing Stoppei's.— 2. The best way is to 
take a turn round neck with a stout string, 
hold the bottle firmly on the table with one 
hand, grasp one end of the string with the 
other, and get a friend to pull the other end. 
A little sawing will soon heat the neck suffi- 
ciently to expand it and loosen the stopper. I 
have extricated broken stoppers in this way, 
with nothing to lift them out by but a little bit 
of sealing wax melted into the broken surface. 
Try rubbing stopper with paraffin wax.— Cor- 
respondence in English Mechanic. 

Stoppers, to Grind.— Glass stoppers can 
be made to fit tightly by grinding with emery. 
This operation can be performed either by 
hand or on the lathe. 



Storm. 



542 



Sugar. 



Storm Glasses, Liquid for — 1. The red 

consists of alcohol slightly colored with a little 
aniline or ^ogwood. 

2. The white is composed of— 

Camphor 2^ drm. 

Alcohol 11 drm. 

Water 9 drm. 

Saltpeter 38 drm. 

Sal ammoniac. 38 drm. 

Dissolve the camphor in the alcohol and the 
salts in the water and mix the solutions to- 
gether. Pour in test tubes, cover with wax 
after corking and make a hole through the 
cork with a red hot needle, or draw out the 
tube until only a pin hole remains. 

Indications of.—l. When the camphor, etc., 
appears soft and powdery, and almost filling 
the tube, rain, with S. or S. W. winds may be 
expected; when crystalline, N.,N. E., or N. W. 
winds, with fine weather, may be expected; 
when a portion crystallizes on one side of the 
tube, wind may be expected from that direc- 
tion. I had one for several years, and could 
f ortell the weather for a day beforehand with 
considerable certainty by means of it, even 
apart from the barometer.— W. J. Lancaster, in 
English Mechanic. 

2. The foil owing indications are from another 
source : 

Fine Weather.— The substance remains en- 
tirely at bottom of tube and the liquid per- 
fectly clear. 

Coming Rain.— Substance will rise gradually, 
liquid will be very clear, with a small star in 
motion. 

A Coming Storm or Very High Wind.— Sub- 
stance partly at top of tube, and be of a leaf- 
like form, liquid very heavy and in a ferment- 
ing state. These effects are noticeable twenty- 
four hours before the change sets in. 

In Winter.— Generally the substance lies 
higher in the tube. 

Snow or White Frost.— Substance very white, 
and small stars in motion. 

Summer Weather.— The substance will lie 
quite low. The substance will lie closer to the 
tnbe on the opposite side to the quarter from 
which the storm is coming. 

Stoves,to Blacken. See Blacking, Stove. 

Stoves, to Prevent Busting.— Kero- 
sene applied with a rag to stoves will keep 
them from rusting during the snmmer. It is 
also an excellent material to apply to all iron 
utensils used about a farm. 

Stoves, to Mend Cracks, etc.— When 
a crack is discovered in a stove, through which 
the fire or smoke penetrates, the aperture may 
be "completely closed in a moment with a com- 
position consisting of wood ashes and common 
salt, made up in paste with a little water, and 
plastered over the crack. The good effect is 
equally certain, whether the stoves, etc., be 
cold or hot. 

Stoves, to Polish.— For a stove of medi- 
um size, pulverize u piece of alum the size of a 
large hickory nut, stir into two tablespoonf uls 
of vinegar, add this to the stove blacking, 
mixed with water in the usual manner. Apply 
this mixture with a cloth or brush to a cold 
stove, and while wet rub briskly with a dry 
brush. The polish will appear at once. 
Stoves, Varnish for. See Varnishes. 
St r ass.— 

Pure caustic potash < — 16 parts. 

White lead 85 parts. 

Boracic acid 4^ parts. 

Arsenious acid | part. 

Fine white sand 50 parts. 

These materials are carefully selected, placed 
in a Hessian crucible, and fused in a porcelain 
furnace for a day and a night, then cooled 
very gradually. Used to imitate the diamond. 
Other precious stones are imitated by adding 



to the strass the metallic oxides, as in colors 
for glass. 

Stratena Cement. See Cements. 

Straw, to Bleach. See Bleaching. 

Straw, to Dye. See Dyeing. 

Straw, to Give a Luster to.— An ammo- 

niacal solution of bleached lac is employed by 
some makers. 

Straw Plait.— This is bleached by exposing, 
it to the fumes of burning sulphur in a close 
chest or box, or by immersing it in a weak 
solution of chloride of lime, and afterward 
washing it well in water. Water, strongly 
acidulated with oil of vitriol or oxalic acid, is 
also used for the same purpose. Straw may be 
dyed with any of the simple liquid dyes. 

Strawberry. See Liquors. 

Strawberry Flavoring. See Essences 
and Extracts. 

Strawberry Syrup. See Syrups. 

Strops, Bazor, Pastes for. See Raz- 
ors. 

Stucco. See Cements, Keene's. 

Stumps of Trees, to Destroy.— In the 
fall bore a hole in the center of the stump, 
about 18 in. deep, and 1 to 1>£ in. in diameter. 
Put in about 2 oz. saltpeter, and fill the hole 
with water; plug it up tight. In the spring, 
take out the plug, pour in 8 or 10 oz. petrole- 
um, ignite, and the stump will smolder, but 
not blaze, to the extremities of the roots, leav- 
ing only ashes. Dynamite is also extensively 
used. 

Sties. See Eyes, the. 

Styptics, Haemostatics. — Substances which 
arrest local bleeding. Creosote, tannin or tan- 
nic acid, strong spirit, alum, sulphate of iron, 
and most of the astringent salts and other as- 
tringent substances, belong to this class. The 
following are a few preparations of this kind : 
Haemostatic Powder, Styptic Powder.— 

1. Alum (in fine powder) 1 part. 

Gall nuts (in fine powder) 1 part. 

Gum arabic (in fine powder) 1 part. 

Gum benzoin (in fine powder) — 1 part. 

Mix. 

2. Guibourt.— 

Charcoal (in fine powder). 1 part. 

Gum arabic (in fine powder) 1 part. 

Kesin (in line powder) 4 parts. 

3. Mialhe.— 

Alum (powdered) 1 part. 

Gumtragacanth 1 part. 

Tannin (tannic acid) 1 part. 

Used to stop local bleeding, a little being 
sprinkled or pressed on the part. 

Sublimation. — The process by which a 
volatile substance is converted into vapor and 
condensed into solid form. If a volatile sub- 
stance is converted into a vaporous state and 
this vapor when condensed forms a solid, the 
process is called a sublimation, and the product 
is called a sublimate ; if, on the other hand, the 
condensed vapors yield a liquid, the process is 
distillation (which see), and the product a dis- 
tillate. 

Sugar, Grape.- Glucose, Diabetic Sugar, 
Starch Sugar, Sugar of Fruits.— 1. (From dried 
raisins.) Pound them, wash with cold alcohol, 
press, dissolve the cake in. water, and proceed 
as last. 

2. From diabetic urine, by evaporation, 
washing the mass in cold alcohol, redissolving 
in water, and crystallizing. 

3. (From Starch).— Starch, 100 parts; water, 
400 parts; sulphuric acid, 1 to 10 parts; boil for 
thirty-five or forty hours, adding water to 
make up for evaporation; then saturate the 
acid with lime or chalk, and evaporate. Under 
pressure, the conversion is produced much 
quicker. Product, 105 parts.. 



Sugar. 



543 



Syrups. 



4. (From Woody Fiber).— Shreds of linen or 
paper, 12 parts; strong- sulphuric acid, 17 parts 
(Braconnot); 5 parts acid and 1 part water, 
(Vogel); mix in the cold; in twenty-four hours 
dilate with water, and boil for ten hours; then 
neutralize with chalk, filter, evaporate to a 
syrup, and set the vessel aside to crystallize. 
Product, 114^ of the weight of the rags. Saw- 
dust, glue, etc., also yield grape sugar by like 
treatment. 

Sugar, Lemon,- Portable Lemonade, 
Saccharum Limonatum.— Sugar, 4 lb.; tartaric 
acid, 3 oz.; essence of lemons, 34 oz. Used to 
make lemonade, etc. x 

Sugar of Milk. — Syn. Saccharum Lactis, 
Lactine.— Prep. Evaporate clarified whey till 
it crystallizes, and purify the crystals by diges- 
tion with animal charcoal and repeated crys- 
tallization. 

Sulphuret.— Syn. Sulphide, Sulphuretum, 
Sulphidum, L. 

Sulphuric Acid.— This is made on such 
a large scale that directions for preparing' 
would be useless, and pertain more to a book 
of processes. There are, however, a few forms 
of the acid which it will be well to describe. 

Sulphuric Acid, Alcoholized (Paris Codex). — 
To 3 parts of alcohol (rectified) add very grad- 
ually, 1 part of sulphuric acid. Color by letting 
it stand over a little cochineal. 

Sulphuric Acid, Anhydrous. — Heat Nord- 
hausen acid to about 100° F., in a glass retort 
connected with a well cooled receiver, when 
the anhydrous acid will be formed. 

2. Raise anhydrous sodium bisulphate to a 
low red heat in an earthen retort, then dis- 
till. 

Sulphuric Acid, Aromatic— Sulphuric acid, 
3% fl. oz.; alcohol, 30 fl. oz.; mix. Add 1}4 oz. 
powdered cinnamon; powdered ginger, 1 oz.; 
digest for six days and filter. 

2. Sulphuric acid, 3 parts; alcohol, 40 parts; 
cinnamon in powder, 2 parts; ginger in pow- 
der, 1J4 parts; mix the acid gradually with the 
alcohol, add the powders, macerate for seven 
days and filter. 

Nordhausen Acid.— Disulphuric or fuming 
Sulph. acid. This acid is prepared by the dis- 
tillation of iron sulphate in earthen retorts; 
used for dissolving indigo. 

Sumac, Sumach, Shumac— This consists 
of the leaves, leafstalks and small twigs of 
rhuscotinus, a shrub growing in Sicily, Italy, 
Spain, Portugal and some districts of France. 
It is sometimes sold whole, sometimes coarsely 
bruised, but most commonly ground to a fine 
powder; a preparation which enables it to be 
somewhat more readily extracted by cold 
water, but at the same time disguises the pre- 
sence of impurities. 

Sunburn. See Cosmetics. 

Sunstroke. — Sunstroke is caused by ex- 
cessive heat, and especially if the weather is 
muggy. It is more apt to occur on the second, 
third, or fourth of a series of hot days than on 
the first. Loss of sleep, worry, excitement, 
close sleeping rooms, debility, abuse of stimu- 
lants, predispose to it. It is more apt to at- 
tack those working in the sun, and especially 
between the hours of eleven o'clock in the 
morning and four o'clock in the afternoon. On 
hot days wear thin clothing. Have as cool 
sleeping rooms as possible. Avoid loss of 
sleep and all unnecessary fatigue. If working 
indoors and where there is artificial heat (laun- 
dries, etc.), see that the room is well ventilated. 
If working in the sun, wear a light hat (not 
black, as it absorbs the heat), straw, etc., and 
put inside of it, on the head, a wet cloth or 
a large green leaf; frequently lift the hat from 
the head and see that the cloth is wet. Do not 
check perspiration; but drink what water you 
need to keep it up, as perspiration prevents the 
body from being overheated. Hare, whenever 
possible, an additional shade, as a thin umbrella 



when walking, a canvas or board cover when 
working in the sun. If a f eeliug of f atigue, 
dizziness, headache, or exhaustion occurs, cease 
work immediately, lie down in a shady and cool 
place, apply cold cloths to and pour cold water 
over head and neck. If any one is overcome by 
the heat, send immediately for the nearest good 
physician. While waiting for the physician, 
give the person cool drinks of water or cold 
black tea, or cold coffee, if able to swallow. If 
the skin is hot and dry, sponge with or pour 
cold water over the body and limbs, and apply 
to the head pounded ice wrapped in a towel or 
other cloth. If there is no ice at hand, keep a 
cold cloth on the head and pour cold water on 
it, as well as on the body. If the person is pale, 
very faint, and pulse feeble, let him inhale am- 
monia for a few seconds, or give him a tea- 
spoonful of aromatic spirits of ammonia in two 
tablespoonfuls of water with a little sugar. 

Suppositories.— These are combinations 
of medicinal substances with cocoa butter, 
suet, soap, etc., made into suitable form, 
round, cylindrical or conical, for introduction 
into the rectum. When made with cocoa butter 
or suet, these should be melted at gentle heat, 
with sufficient white wax (one twelfth to one 
eighth, according to the season of the year) to 
give suitable consistence, and the medicinal 
substance being then thor©ughly incorporated, 
the whole is poured into suitable moulds to 
cool. With but little ingenuity, moulds, in the 
absence of metallic ones made for this purpose, 
may be made from stiff paper, and may be 
supported while filling and cooling by placing 
them upright in dry sand; or they can be 
moulded into suitable form with the fingers. 
A suppository should not ordinarily weigh 
more than a drachm, and should not exceed in 
size the point of the little finger. When intro- 
duced into the rectum the suppository melts or 
is dissolved, and the medicinal substance then 
develops its effects. This is an excellent form 
for administering medicine in many cases, and 
is less frequently used than it deserves. 

Swedish Matches. See Matches. 

Sympathetic Inks. See Inks. 
Syrups, the Preparation of.— In the pre- 
paration of syrups, which are solutions of sugar,, 
more or less strong according to the object for 
which they are used, care should be taken to 
employ only the best refined sugar, and either 
distilled or filtered rain water, as they will be 
rendered much less liable to spontaneous de- 
composition and become perf ectly transparent 
without the trouble of clarifying. When, how- 
ever, impure sugar is employed, clarification 
is always necessary. This is best done by dis- 
solving the sugar in the water or fruit juices 
cold, and then beating up a little of the cold 
syrup with some white of egg and one or two 
ounces of cold water, until the mixture froths 
well; this must be added to the syrup in the 
boiler, and when the whole is frisked up to a 
good froth, heat should be applied and the 
scum which forms removed from time to time 
with a clean skimmer. As soon as the syrup 
begins to simmer it must be removed from the 
fire and allowed to stand until it has cooled a 
little, when it should again be skimmed, if ne- 
cessary, and then passed through a clean flan- 
nel. By using refined sugar, however, all this 
trouble of clarification can be avoided. 

When vegetable infusions or solutions enter 
into the compositions of syrups, they should 
be rendered per-fectly transparent by filtration 
or clarification before being added to the sugar. 

The proper quantity of sugar for syrups will, 
in general, be found to be two pounds avoirdu- 
pois to every pint of water or thin aqueous 
fluid. These proportions allow for the water 
that is lost by evaporation during the process 
and are those best calculated to produce syrup 
of proper consistence and possessing good 
keeping qualities. They closely correspond to 
those recommenned by Guibourt for the pro- 



Syrups. 544 

duction of a perfect syrup, which, he says, 
consists of 30 parts of sugar to 16 parts of 
water. 

In the preparation of syrup it is of great im- 
portance to employ as little heat as possible, 
as a solution of sugar, even when kept at a 
temperature of boiling water, undergoes slow 
decomposition. The best plan is to pour the 
water (cold) over the sugar, and to allow the 
two to lie together for a few hours in a covered 
vessel, occasionally stirring, and to apply a 
gentle heat, preferably that of steam or of a 
water bath, to finish the solution. Syrups are 
sufficiently boiled when some, taken up in a 
spoon, pours out like oil, or a drop cooled on 
the thumb nail gives a proper thread when 
touched. When a thin skin appears on blow- 
ing the syrup, it is judged to be completely 
saturated. These rude tests, however, often 
lead to errors, which might be easily prevented 
by employing the proper proportions, or deter- 
mining the specific gravity by immersing in 
the syrup one of Baume's saccharo meters or 
syrup gauges, as indicated in the following 
table : 

Sugar in Deg. 

100 parts. Sp. Gr. Baume. 

1-000 

5 1-020 3 

10 1-040 6 

15 1-062 8 

20 1.081 11 

25 1-104 .' 13-5 

30 1-128 16-3 

35 1-152 19 

40 1*177 21*6 

45 1-204 24-5 

50 1230 27 

55 1257 29-5 

.60 1-284 32 

67 1.321 35 

A fluid ounce of saturated syrup weighs 
577^ grains ; a gallon weighs 13^ pounds ; its 
specific gravity is 1'319 to 1*321, or 35° Baume ; 
its boiling point is 220° F., and its density at the 
temperature of 212° is 1-260 to 1-261, or 30° 
Baume. The syrups prepared with the juices 
of fruits mark about two or three degrees 
more on Baume scale than the other syrups. 
According to Ure, the decimal part of the num- 
ber denoting the specific gravity of a syrup 
multiplied by twenty-six gives very nearly the 
number of pounds of sugar it contains per 
gallon. 

The preservation of syrups, as well as of all 
saccharine solutions, is best promoted by keep- 
ing them in a moderately cool, but not a very 
cold place. Let syrups be kept in vessels well 
closed, and in a situation where the tempera- 
ture never rises above 55° F. They are kept 
better in small than in large vessels, as the 
longer a bottle lasts the more frequently will 
it be opened, and the syrup consequently ex- 
posed to the air. By bottling syrups while boil- 
ing hot, and immediately corking down and 
tying the bottles over with a bladder, perfectly 
air-tight, they may be preserved even at a sum- 
mer heat for years, without fermenting or los- 
ing their transparency. 

The candying of syrups may be prevented 
(unless the syrup be over-saturated with sugar) 
by the addition of acetic or citric acid, two or 
three drm. per gallon. Confectioners add a little 
cream of tartar to the syrup to prevent granu- 
lation. Syrup may be effectually prevented 
from fermenting by the addition of a litl e sul- 
phite of potassa or lime ; also by the use of 
salicylic acid in small quantities. Fermenting 
syrups may be immediately restored by expos- 
ing the vessel containing them to the tempera- 
ture of boiling water. The addition of a little 
spirit is also good, say about ten per cent. 

A solution of sugar prepared by dissolving 
two parts of double refined sugar in one of 
water, and boiling this a little, affords a syrup 
which neither ferments nor crystallizes. 



Syrups. 






The best way to keep fruit syrups from fer- 
menting is by bottling while hot, into suitable 
bottles or larger vessels, and to prevent access 
of air. This is the principle, and it may be 
caried out in various ways. For instance, fill 
the syrup while hot in quart bottles, pre- 
viously warmed, and fill them almost full. 
Cover or cork the bottles temporarily until the 
syrup cools a little and contracts in volume; 
then, having heated a small quantity of the 
syrup, refill the bottles, cork them securely, 
and wax them. 

A great variety of syrups are made by the 
addition of proper flavoring ingredients to 
simple syrup ; but in other cases, especially 
when the juices of fruits are employed, the 
syrup is not first prepared and then flovored, 
but the processes go hand-in-hand. In such 
instances specific instructions will be given. 
It is always advisable, when fresh fruit can be 
obtained, to use it in preference to the essence. 
One general recipe, which answers for nearly 
all fresh fruit, is as follows : Use nothing but 
the very best fresh fruit, which must be freed 
from stocks, etc., and crushed with a wooden 
instrument (not metal) ; when well mashed, let 
it stand in a room of even temperature (about 
68° F.) for 4 days, which will give sufficient 
time for fermentation to take place ; press out 
the juice from the fruit and let it settle in a 
cool cellar for 2 days, after which 5 pounds 
of the clear juice is to be simmered with 9 
pounds of loaf sugar ; while warm, strain 
through flannel. The color may be improved 
by a solution of some coloring agent. 

It is advisable to add to the fresh fruit, be- 
fore setting it for fermentation, about two 
pounds of powdered loaf sugar for every hun- 
dred pounds of fruit. When cold, it is ready 
for bottling. Cleanliness should be strictly ob- 
served in all the utensils used. When bottling 
for storing, skim the top of any floating mat- 
ter from the syrups in the large pan, and see 
that no residue at the bottom goes into the 
bottles. Most of the syrups not made of fruit 
may have a little mucilage of gum arabic ad- 
ded, in order to produce a rich froth. The fol- 
lowing recipes comprise syrups made from the 
fruit and also from essences. These may be 
varied to suit taste and requirements. A va- 
riety of syrups have been brought into use by 
adding the various wines, (?uch as claret, hock, 
sherry, etc., to simple syrup ; others, by the ad- 
dition of spirits, as milk punch, by adding to 
vanilla cream Jamaica rum and nutmeg. Al- 
most any syrup may be made by the addition 
of a sufficient quantity of flavoring essence to 
simple syrup ; but these artificially prepared 
syrups are inferior to those made from fresh 
fruits. 

Red Coloring for Soda Water Syrups.— The 
most convenient is probably tincture of cud- 
bear, as it affords a good, substantial and nat- 
ural-looking color, miscible with syrups with- 
out cloudiness. It may be made as follows: 
2 to 4 oz. powdered cudbear, 1 pt. diluted 
alcohol. Exhaust by maceration or displace- 
ment. Used alone, the tincture gives a shade 
of red closely imitating the color of raspberries 
or currants. For deeper red, like blackberries, 
the addition of some caramel is all that is nec- 
essary. The strawberry color is best imitated 
with tincture of cochineal. Aniline red, owing 
to its cheapness, is often used for coloring 
syrups, but it produces a glaring, artificial- 
looking bluish-red, and is liable to the objection 
that it sometimes contains arsenic. 

To Make the Syrups Frothy.— To each gal. of 
syrup add from 2 to 4 oz. of gum arabic, dis- 
solved in its own weight of water. 

Preparation of Syrups. — In discussing at 
some length the various pharmacopoeial meth- 
ods for the preparation of syrups, W. Bern- 
hardt, in a recent contribution to the Dentscn- 
Amerikanische Apotheker Zeitung, comes to 
the conclusion that with but very few excep- 
tions—where heat would deleteriously affect 



Syrups. 



545 



Syrups. 



the product— dissolving 1 the sugar by heat and 
raising to the boiling point is the best. To in- 
sure the best results, the author lays down 
these rules: 

1. Employ only the best grade of cane sugar, 
for the lower grades of sugar contain appreci- 
able amounts of glucose which inclines to fer- 
mentation. Follow cLosely the quantities di- 
rected in formula. Concentrated saccharine 
solutions resist fermentation in a much higher 
degree than more dilute ones; on the other 
hand, there will be loss from crystallization if 
syrups, prepared by heat, are stored in a cool 
room, as is sometimes done. \ 

2. Use none but absolutely clear vegetable 
extracts, seeing to it that after ebullition the 
syrup may also be perfectly bright ; the latter 
object may be accomplished by the customary 
aids, such as the addition of albumen or pure 
filtering paper pulp before bringing the syrup 
to a boil. This does not apply; of course, to 
naturally turbid syrup, as, for instance, syrup 
of almonds. 

The author sets forth that even with most 
aromatic syrups the loss of volatile constitu- 
ents can be but trifling if the process of boiling 
be properly conducted ; the inversion of sac- 
charose may be left out of consideration, es- 
pecially when fruit acids are absent— provided 
the solution of the sugar be completed at a low 
temperature, and then rapidly raised to the 
boiling point; albuminous substances are fre- 
quently extracted from the raw material which 
boiling will remove; all fermentative germs 
and fungus spores are effectually destroyed by 
the heat. 

Finally, to insure perfect preservation, syrups 
should be filled into small vials (of from two to 
eight ounces capacity, according to individual 
needs) which have been placed into boiling hot 
water, the vials to be immediately corked and 
sealed. As an extra precaution it is well to lay 
the filled and corked bottles on their sides, 
while yet hot, and to maintain that position. A 
French proposition is to fill the bottles to the 
brim, and, while the contents are still warm, to 
place on top, so as to come in contact with the 
syrup, a circular piece of filtering paper. A 
firm cover of crystallized sugar is thus ob- 
tained, well calculated to exclude all extraneous 
matter.— Western Druggist. 

Ambrosia Syrup for Soda Water.— 

1. Raspberry syrup 5 pt. 

Vanilla syrup 5 pt. 

Hock wine 10 oz. 

Mix. 

2. Raspberry syrup 2 pt. 

Vanilla syrup 2 pt. 

Hock wine 4 oz. 

3. Ambrosia Syrup.— A mixture of equal 
parts of vanilla and strawberry syrups. 

Apple Syrup.— Proceed with apples as for 
pine apple syrups. 
Banana Syrup.— 

1. Oil of banana 2 drm. 

Tartaric acid 1 drm. 

Simple syrup 6 pt. 

2. Proceed with bananas as for pine apple 
syrups. 

Blackberry Syrup. — 1. Prepared from ripe 
fruit the same as raspberry syrups. Blackberry 
syrup is improved by adding 1 oz. best French, 
brandy to each quart. 

2. Prepare like either strawberry or mul- 
berry syrup. 

To Bleach Syrups.— Syrups may be bleached 
by agitation with or filtration through animal 
charcoal. 

Capillaire (Maidenhair) Syrup.— 

1. Maidenhair 8 oz. 

Boiling water 5 pt. 

Orange flower water 4 oz. 

Sugar, sufficient. 



Infuse the maidenhair in the boiling water; 
when nearly cold, press out, and filter the 
liquid, add too it the orange flower water, and 
dissolve it in sugar, in the proportion of 7 oz. 
to each 4 fl. oz. of liquid. 

2. Nine pounds leaf sugar, 4 lb. orange flower 
water. Boil till the sugar is dissolved and the 
syrup is clear; while hot, strain through flan- 
nel; add to the cool syrup 2 drm. of tartaric 
acid, previously dissolved in H oz. of the strong- 
est orange flower water; lastly add 4 oz. of the 
best Rhine wine. 

Capsicum Syrup.— 

Tincture of capsicum 1 oz. 

Simple syrup 2 pt. 

Heat the syrup, add the tincture, and when 
the alcohol has evaporated, mix immedi- 
ately. 

Catawba Syrup.— 

1. Simple syrup 1 pt. 

Catawba wine 1 pt. 

2. Catawba wine 2 qt. 

Citric acid 2 oz. 

Simple syrup 2 gal. 

Champagne Syrup. — 

1. Rhine wine 2 pt. 

Brandy 2 oz. 

Sherry 1 oz. 

Granulated sugar 3 lb. 

Dissolve the sugar without heat. 

2. Rhine wine (Bodenheimer or 

Laubenheimer) 2 qt. 

Cognac 4 oz. 

Sherry 2 oz. 

Granulated sugar 6 lb. 

Dissolve the sugar in the wine without heat. 

Sherry Cobbler Syrup.— 

White syrup 3 pt. 

Sherry 1 qt. 

Add 1 lemon, cut in thin slices. Macerate for 
twelve hours and strain. 

Cherry Syrup.— Take sour cherries, a con- 
venient quantity, bruise them in a porcelain, 
stone or wood mortar, to break the stones or 
pits of the fruit; express the juice, set it aside 
for three days to undergo fermentation, and 
proceed according to the directions given for 
strawberry syrup. 

Wild Cherry Syrup.— 

Wild cherry bark (in coarse pow- 
der) 5 oz. 

Moisten the bark with water, and let it stand 
for twenty -four hours in a close vessel. Then 
pack it firmly in a percolator, and pour water 
upon it until 1 pt. of water is obtained. 

To this add— 
Sugar 28 oz. 

Chocolate Syrup. — 

1. Best chocolate 8 oz. 

Water 2 pt. 

White sugar 4 lb. 

Mix the chocolate in water, and stir thor- 
oughly over a slow fire. Strain, and add the 
sugar. 

2. Bark of roasted cacao bean 2 oz. 

Reduce to a moderately fine powder, mix 
with— 

Simple syrup 2 oz. 

Pack in a percolator, and exhaust with the 
following menstruum at a boiling tempera- 
ture : 

Sugar 12 oz. 

Water 8 oz. 

So as to obtain 1 pt. of syrup. To the perco- 
late add, when cold — 

Extract of vanilla 2 fl. drm. 



Syrups. 

Cinnamon Syrup.— 

Oil of cinnamon 30 min. 

Carbonate of magnesia 60 grn. 

Water 2 pt. 

Sugar, granulated 56 oz. 

Rub the oil first with the carbonate of mag- 
nesia, then with the water gradually added, 
and filter through paper. In the filtrate dis- 
solve the sugar without heat. 
Coffee Cream Syrup.— 

Coffee syrup 2 pt. 

Cream ... 1 pt. 

Coffee Syrup. — 

1. Coffee, roasted ^ lb. 

Boiling water 1 gal. 

Enough is filtered to make % gal. of the in- 
fusion to which add— 

Granulated sugar 7 lb. 

2. Ground Java coffee 2 oz. 

Simple syrup 2 fl. oz. 

Mix and pack in a percolator, and add, boil- 
ing hot, a mixture of — 

Loaf sugar .12 oz. av. 

Distilled water 8 fl. oz. 

To percolate 1 pt. of syrup. 

3. Take of— 

Ground, roasted coffee • 4 oz. 

Boiling water 2 pt. 

Sugar (com.) 4 lb. 

Infuse the coffee in the water until cold, 
strain, add the sugar, and make a syrup. 

Cream Syrup. — 

1. Fresh cream ^ pt. 

Fresh milk y& pt. 

Powdered sugar * 1 lb. 

Mix by shaking, and keep in a cool place. The 
addition of a few grains of bicarbonate of soda 
will for some time retard souring. 

2. Oil of sweet almonds 2 oz. 

Powdered gum arabic. 2 oz. 

Water 4 oz. 

Make an emulsion, and add simple syrup 
enough to complete 2 pt. 

3. One pt. condensed milk, 1 pt. water, 1*4 lb. 
sugar. Heat to boiling and strain. This will 
keep for over a week in a cool place. 

4. Imitation.— Make an emulsion with 3 oz. 
fresh oil of sweet almonds, 2 oz, powdered gum 
arabic, and 2 oz. water; then dissolve 1 lb. 
white sugar by gentle heat, strain, and when 
cool, add the whites of 2 eggs. It should be put 
up in small bottles, well corked, in a cool place. 
Thig is not only an excellent imitation and 
substitute for cream syrup, but will keep for 
a considerable time. 

Currant Syrup.— 1. Refined sugar, 5 k.; con- 
serve of currents, 2'6 1. Put the sugar in a pan, 
add the conserve, and heat i^apidly. Remove 
the syrup from the fire as soon as it boils. 
Skim, and pass through woolen cloth. 

2. Six pt. simple syrup, 2 pt. water, 2 oz. tar- 
taric acid, 3 drm fruit essence. Mix; color 
with liquid carmine for red currants, and with 
burnt sugar for black. 

3. One pt. red currant juice, 1 gal. simple 
syrup. 

4. Proceed as for strawberry syrup. 

Framboise Currant Syrup.— 

Raspberry syrup 1 pt. 

Currant syrup 4 pt. 

Excelsior Syrup. — 

Simple syrup 1 pt. 

Syrup of wild cherry bark 4 oz. 

Port wine 4 oz. 

Fancy Syi*up. — 

Vanilla syrup 2 pt. 

Pineapple syrup 8 oz. 

Raspberry syrup 8 oz. 



546 Syraps. 



Syrup of Figs.— Laxative. 

Senna leaves 2 tr. oz. 

Buckthorn bark 128 grn. 

Jalap 384 grn. 

Rhubarb 256 grn. 

Cinnamon 30 grn. 

Cloves 30 grn. 

Nutmeg 15 grn. 

Oil peppermint 20 min. 

Sugar 12 tr. oz. 

Diluted alcohol, enough for 16 fl. oz. 

Reduce the drugs to a moderately fine (No. 
50) powder, add to it the oil of peppermint and 
percolate it, in the usual manner, with diluted 
alcohol. Remove the first 8 fl. oz. of the perco- 
late and dissolve in this the sugar, with the aid 
of a gentle heat, if necessary, but avoiding loss 
of alcohol by evaporation. Allow the solution 
to cool, collect a further portion of percolate 
and add it to the syrup, so as to make 16 fl. oz. 

Fruit Syrups.— These may be prepared either 
by combining the juice expressed from the fruit 
with sugar, or the uninjured berries are mixed 
with the sugar, when the later will extract the 
juice, leaving the berries shriveled and taste- 
less. Among the fruit syrups discussed by Mr. 
Vogeler, syrup of raspberries is the most im- 
portant. He quotes the following diffierent 
methods of preparation : 

1. Contuse the berries, put them into a suit- 
able vessel or vat, add 2% of sugar, and allow 
them to ferment at a temperature of 70-80° F. 
from 3 to 4 days, until the pectin has separated, 
and no more signs of fermentation are notice- 
able. Express, let the juice settle for a few 
days in a cool place, decant and filter. Preserve 
the juice by Appert's process (introducing the 
juice into stout bottles, not quite filling them, 
corking, setting them into a vessel full of cold 
water, with straw packed between them, so that 
the water reaches up to the shoulder, and slowly 
heating the water to boiling; then securing the 
cork with wax), or convert it into a syrup by 
dissolving 9 parts of sugar in 5 of the juice, 
and heating to boiling. 

2. A better way is to add at once to the fresh- 
ly bruised fruit 5 to 6% of alcohol, then proceed 
as in No. 1. 

3. Crush the berries in a glass vessel with a 
wooden pestle, add 5 to 10$ of cane or grape 
sugar, and allow to stand, stirring occasionally. 
When fermentation is completed the juice be- 
comes clear. Filter and bottle. 

4^ Put 4 lb. of the berries into a china bowl 
with 1 qt. of water containing 2}4 oz. of citric 
acid in solution. Let remain twenty-four 
hours. Strain, taking care not to bruise the 
fruit. To one pint of the clear liquid add V4 
lb. of sugar, and stir until it is dissolved. 

5. Proceed as in No. 1. When the fermenta- 
tion is nearly over, express the juice and add 
to each lb. of it one fl. oz. of deodorized alcohol. 
Set it aside for one night, filter and bottle, or 
convert into syrup. 

6. Macerate the berries interspersed with 
layers of sugar, \% lb. to 1 lb. of berries, for 
twenty-four hours in a cool cellar, and drain 
off the juice. Preserve by Appert's process 

7. Add to the foregoing product some alcohol 
or a little bisulphite of lime. 

8. Pure fruit juice 16 oz. 

Dilute acetic acid 1 fl. oz. 

Water 7 fl. oz. 

Granulated sugar 3 lb. 

Dissolve without heat. The acetic acid is 
considered by the author as objectionable. 

Tests for Determining the Purity of Syrup of 
Raspberries.— Mix equal volumes of the syrup 
and of 10$ ammonia; the color of the genuine 
syrup changes to a violet with a light tinge of 
green. If , however, the color changes instant- 
ly, or soon, to green or yellow, some foreign 
vegetable coloring matter is present. If it be- 
comes colorless, or nearly so, it is sophisticated 
with rosaniline. The latter (or f uchsine) may 
also be detected by macerating in the syrup 



Syrups. 



547 



Syrups. 



some white wool or silk, and rinsing this after- 
ward with water. Water removes the rasp- 
berry stain, but not the aniline color. If the 
fabrics are dipped into ammonia, the aniline 
dye will vanish, but will reappear on being- 
moistened with acetic acid. 

Ginger Syrup.— 1. Take of tincture ginger, 4 
oz. ; white sugar, 7 lb. (com.) ; water? ^ gal. 
Heat the sugar and water until the sugar is dis- 
solved, raise to the boiling point, then gradu- 
ally add the tincture ginger, stirring briskly 
after each addition. 

2. Six pt. simple syrup, 2pt. water, 1 oz. tar- 
taric acid, 2 oz. ginger. Burnt sugar to color. 

.3. Four oz. extract of Jamaica ginger, 1 
gal. syrup. Shake well. A few drops of tinc- 
ture curcuma to color. 

4. Nine lb. loaf sugar, 5 lb. water, 12 oz. es- 
sence ginger, 4 oz. Rhine wine. Boil sugar and 
water until dissolved and clear ; when cool, add 
ginger and wine. Mix well and let settle. 

Grape Syrup.— 1. Half pt. brandy, 1 oz. tinc- 
ture of lemon, 1 gal. simple syrup, tincture 
red sanders, 1 qt. 

2. Brandy % pt. 

Spirits of lemon 34 oz. 

Tincture of red sanders 2 oz. 

Simple syrup 1 gal. 

3. A grape syrup, not an artificial syrup, or 
one for fountain use, but a syrup from the 
fruit, for domestic or table use, etc. Take 20 
lb. ripe freshly picked and selected tame 
grapes, put them into a stone jar, and pour 
over them 6 qt. of boiling; soft water ; when 
sufficiently cool to allow it, well squeeze them 
thoroughly with the hand, after which allow 
them to stand 3 days on the furnace with a 
cloth thrown over the jar, then squeeze out 
the juice and add 10 lb. of crushed sugar ; let it 
remain a week longer in the jar ; then take off 
the scum, strain and bottle, leaving a vent until 
done fermenting, when strain again and bottle 
tight, and lay the bottles on the side in a cool 
place. 

Hock and Claret Syrup.— 

Hock or claret wine 1 pt. 

Simple syrup .2 pt. 

Imperial Syrup. — Equal parts of raspbenry 
and orange syrups. 

Lemon.— 1. Dissolve 6 drm. of tartaric acid 
and 1 oz. of gum arabic, in pieces, in 1 gal. of 
simple syrup ; then flavor with \Y 2 fl. drm. of 
best oil of lemon ; or, flavor with the saturated 
tincture of the peel in cologne spirits. 

2. Grate off the yellow rinds of lemons, and 
beat it up with a sufficient quantity of granu- 
lated sugar; express the lemon juice; add to 
each pt. of juice 1 pt. of water, 3% lb. granu- 
lated sugar, including that rubbed up with the 
rind; warm until the sugar is dissolved, and 
strain. Under no circumstances must the 
syrup be allowed to boil, .and the less heat that 
can be used to effect the complete solution of 
the sugar the better will be the syrup. 

3. Add to 1 gal. simple syrup, when cold, 20 
drops fresh oil lemon and J^ oz. citric acid, pre- 
viously dissolved in 3 oz. water ; mix by shak- 
ing well in a bottle ; add 4 oz. gum solution, 
made by dissolving 2 oz. of fine white gum 
arabic in 2 oz. warm water. 

4. Six pt. simple syrup, 2 pt. distilled water, 
2 oz. essence lemon, 2 oz. citric acid, dissolved 
in boiling water. Mix, and, if required, color 
with saffron. 

5. Simple syrup. 1 gal. 

Oil of lemon 25 drops. 

Citric acid 10 drm. 

Rub the oil of lemon with the acid, add a 
small portion of syrup, and mix. 

Fruit Syrup for Lemonade.— Raspberries, 1,000 
grm.; blackberries, 500 grm.; bilberries, 500 
grm.; lemon, 3 fruits. Mash tn a stone mortar, 
and add of cold water, 1,500 grm. Let stand 
for three days, or until fermentation has fin- 
ished. Express and filter. In every 2,500 grm. 



dissolve citric acid, 40 grm., and sugar, 4,500 
grm. Boil up once in a copper kettle.— Handb. 
de Pharm. 

Licorice Syrup.— To 45 parts water add iy 2 
parts licorice root, cut in pieces. Boil for fif- 
teen minutes. Pour the liquid off and evapo 
rate to 26 parts. Add 30 parts white sugar and 
30 parts purified honey. Boil up once. 

Manna Syrup.— 1. Four parts white sugar, 1 
part picked manna. Dissolve in boiling water, 
and let it boil up. 

2. Twelve parts mulberries not quite ripe, 12 
parts granulated sugar. Boil, stirring con- 
stantly, until the juice shows 30° Baume. 
Strain. 

Maple Syrup.— 

1. Maple sugar . 4 lb. 

Water 2 pt. 

2. Three and one-half lb. maple sugar, 1 qt. 
water. Dissolve, and, if desired, add a small 
proportion of gum solution to produce a rich 
froth. 

3. Maple Syrup for Soda Water.— 

Maple sugar 10 lb. 

Water 5 pt. 

Milk Punch Syrup.— 

1. Simple syrup 1 pt. 

Brandy 8 oz. 

Jamaica rum 8 oz. 

Cream 1 pt. 

2. To 1 pt. heavy syrup add y% pt. each of 
brandy and Jamaica rum; flavor with two tea- 
spoonfuls of an extract pre pared by macerating 
2 oz. of ground nutmegs in 8 oz. of alcohol. The 
syrup is first to be poured into the glass in the 
proper quantity and ordinary cream syrup 
added before drawing the soda water 

Syrup of Mulberry. — 

1. Mulberry juice 1 pt. 

Sugar 2 lb. 

Rectified alcohol 2)4 A- oz. 

Heat the juice to the boiling point and when 
it has cooled filter it. Dissolve the sugar in the 
filtered liquid with a gentle heat and add the 
spirit. 

2. Mulberries, not entirely ripe 6 lb. 

Sugar, coarsely powdered 6 lb. 

Place in a kettle over the fire and boil, con- 
stantly stirring, until the boiling syrup marks 
30° B. Throw on a strainer and allow the mare 
to drain thoroughly. 

3. Made from the fruit the same as straw- 
berry, and acidulated slightly with a solution 
of citric acid. It may also be made from the 
fruit essence in the same manner as for straw- 
berry, using about half the quantity of tar- 
taric acid. 

Nectar Syrup.— 1. Take of vanilla syrup, 5 pt.; 
pineapple syrup, 1 pt.; strawberry or rasp- 
berry syrup, 2 pt. Mix. 

2. One oz. extract vanilla ; 1 oz. extract 
rose ; 1 oz, extract lemon ; 1 oz. extract 
bitter almonds. Mix and add 1 gal. simple 
syrup; color pink with cochineal. 

3. Mix 3 parts vanilla syrup with 1 part each 
of pineapple and lemon syrups. 

Orange Flower Syrup.— 

1. Orange flower water 1 pt. 

Granulated sugar 28 oz. 

"Dissolve without heat. 

2. Oil of orange 30 drops. 

Tartaric acid 4 drm. 

Simple syrup 1 gal. 

Rub the oil with the acid, and mix. 

3. These may be made from the fresh fruit or 
from the essence in a similar manner as for 
lemon syrups. Orange syrups may be colored 
slightly with tincture of saffron«or of turmeric. 

Syrup Orange Peel, Fresh.— 

Fresh orange peel 2 oz. 

Alcohol 2 oz. 

Aqua pura, q. s. to percolate — 9 oz. 

Sugar 14 oz. 



Syrups. 



548 



Syrups. 



Cut the peel in small pieces; put in mortar 
and add the alcohol; thoroughly bruise to a 
pulp; put in a glass percolator; add the aqua 
pura until 9 ounces have percolated: put the 
sugar in percolator, and percolate the men- 
struum through the sugar until dissolved. — 
Pharmacist. 

Orgeat Syrup. — 

1. Cream syrup \& pt. 

Simple syrup y% pt. 

Vanilla syrup 1 pt. 

Oil bitter almonds 5 drops. 

2. Beat to an emulsion in a mortar 8 oz. 
blanched sweet almonds and 4 oz. bitter ones, 
adding a little water; when smooth add 3 pts. 
water; mix and strain; dissolve in this without 
heat 6 lb. sifted white sugar and 4 oz. fresh 
orange flower water. 

An excellent imitation of orgeat syrup is 
made by flavoring cream syrup, made with eggs 
and milk, with a few drops of oil of bitter 
almonds. 

3. Sweet almonds ...8 oz. 

Bitter almonds 2)4 oz. 

Sugar 3 lb. 

Water 26 oz. 

Orange flower water 4 oz. 

Blanch the almonds, rub them in a morter to 
a fine paste with 12 oz. of the sugar and 2 oz. of 
the water. Mix the paste with the remainder 
of the water, strain with strong expression, 
add the remainder of the sugar and dissolve it 
with the aid of a gentle heat. Lastly, add the 
orange flower water, and strain the syrup 
again. 

4. Cream syrup *4 Pt. 

Vanilla syrup 1 pt. 

Simple syrup y% pt. 

Oil bitter almonds 5 drops. 

Peach Syrup.— Proceed in the same manner 
as for strawberry syrup. 

Pear Syrup.— Proceed with it same as pine- 
apple syrups. 

Pineapple Syrup.— 1. Proceed as for raspberry, 
but the hard nature of this fruit requires 
pounding with a heavy billet of wood (not 
metal) in a tub with a strong bottom; when 
well mashed it will require great pressure 
to extract all the juice from this fruit; a cider 
press will answer the purpose; add 14 lb. of 
sugar to a gallon of juice and a little pure acetic 
acid; put it on a slow fire and stir until the 
sugar dissolves ; when cold, bottle and tie 
down. 

2. Use pineapples of good flavor, cut or chop 
them up, and set aside from twenty-four to 
thirty-six hours; press and proceed as directed 
for strawberry syrup. 

3. Take a convenient number of the fruit; 
pare and mash them in a marble or porcelain 
mortar, with a small quantity of sugar; ex- 
press the juice; for each quart of juice take 1)4 
pt. of water and 6 lb. of sugar ; boil the sugar 
and water, and add the juice; remove from the 
fire; skim and strain. 

4. Oil of pineapple „ 1 drm. 

Tartaric acid. . . 1 drm. 

Simple syrup 6 pt. 

Raspberry Syrup, Artificial. — 

1. Orris root (best) 1 oz. 

Cochineal 2 drm. 

Tartaric acid 2 drm. 

Water 2 pt. 

Powder the orris root coarsely together with 
the cochineal; infuse in the water with the 
acid for twenty-four hours; strain, add 4 lb. of 
sugar, raise to the boiling point and strain 
again. 

2. Six pt. simple syrup, 2 pt. water, 2 oz. tar- 
taric acid, 2 oz. essence raspberry. Coloring 
sufficient. Coloring for raspberry, blackberry, 
etc., syrups may be made by boiling 1 oz. 
cochineal with y% teaspoonf ul cream of tartar ; 
filter. 



3. Take any quantity of fully ripe fruit; free 
them from stalks; place them in a tub and 
crush them with a wooden spatula; after they 
have been mashed, let them remain for three 
or four hours, and strain the crushed berries 
through a strong flannel bag, or strainer, into 
a suitable vessel. Dissolve % oz. citric acid in 
3 oz. water, and add this quantity to each gal- 
lon of juice; mix 14 lb. broken sugar to every 
gallon of juice; put on a slow fire and stir until 
all the sugar is dissolved (not boil); takeoff the 
fire, and when cold, bottle and cork for future 
use. If too thick when cold, it may be 
brought to a proper consistency by the addi- 
tion of water. 

4. Take fresh berries and inclose them in a 
coarse bag; press out the juice, and to each 
quart add 6 lb. white sugar and 1 pt. of water ; 
dissolve, raising it to the boiling point ; strain ; 
bottle and cork hot, and keep in a cool place. 
Raspberry syrup is improved by adding 1 part 
of currants to 4 parts of raspberries. 

5. Five quarts raspberries, 12 lb. white sugar, 
1 pt. water. Sprinkle some of the sugar over 
the fruit in layers, allowing the whole to stand 
for several hours ; express the juice and strain, 
washing out the pulp with the water ; add the 
remainder of the sugar and water ; bring the 
fluid to the boiling point, and then strain. This- 
will keep for a long time. 

6. Imitation.— Three oz. bruised orris root, 2 
oz. acetic acid, 1 oz. acetic ether, 1 pt. of alco- 
hol. Cochineal to color. Mix and allow to stand 
a few days; filter and use to flavor simple sjrrup. 

Rose Syrup.— One gal. simple syrup, 1 oz. es- 
sence rose. Color pink with prepared cochineal 
and acidulate lightly with a solution of citric 
acid. 

Sarsaparilla Syrup. — 1. One gallon simple 
syrup, 2 oz. essence sarsaparilla. Color with 
caramel. 

2. One gallon simple syrup, essence sarsapa- 
rilla, q. s., 1 oz. powdered extract licorice, 15 
drops oil of sassafras, 15 drops oil of winter- 
green, 10 drops oil of anise seed. Stir the oils 
with the powdered licorice ; add a portion of 
the syrup; stir smoothly, and mix the whole 
together by agitation. 

3. Oil of wintergreen 10 drops. 

Oil of anise 10 drops. 

Oil of sassafras . 10 drops. 

Pluid ext. of sarsaparilla 2 oz. 

Simple syrup — . . 5 pt. 

Powdered ext. of licorice J^ oz. 

4. Parrish's. — 

Simple syrup 4 pt. 

Comp. syrup sarsaparilla 4 fl. oz. 

Caramel 1% oz. 

Oil of wintergreen 6 drops. 

Oil of sassafras 6 drops. 

Sherbet Syrup.— 

Vanilla syrup 3 pt. 

Pineapple syrup 1 pt. 

Lemon syrup 1 pt. 

Sherry Cobbler Syrup.— To 1 pt. good sherry 
add an equal measure of heavy simple syrup 
and one lemon cut in very thin slices. Allow 
the syrup to stand a few hours; strain through 
a sieve, and bottle for use. 

Simple Syrup. — Take of — 

White sugar (com.) 14 lb. 

Water 1 gal. 

Dissolve with the aid of a gentle heat, strain,, 
and when cold add the whites of two eggs, pre- 
viously rubbed with a portion of the syrup, 
and mix thoroughly by agitation. (The egg al- 
bumen is added to produce froth.) 

Solferino Syrup.— 

Brandy 1 pt. 

Simple syrup 2 pt. 

Syrup of Strawberry.— 1. Put 2 parts of straw- 
berries deprived of the calyx , without crush- 
ing them, into a large mouthed jar; add to 
them 23^ parts of sugar, and frequently shake* 



Syrups. 



549. 



Tanning. 



keeping the vessel in a cool place. The sugar 
absorbs the juice, leaving the fruit shriveled 
and tasteless, the latter being removed by 
means of a strainer without pressure. Mix the 
clear syrup with 20^ of alcohol. (Source some 
German journal.) I have made syrups of straw- 
berry and of pineapple in this way for soda 
water, not adding any alcohol, but I bottled it 
as soon as made. These syrups were excellent, 
and I have kept some of them for three years 
without change, only that a slight sediment 
would form, which was easily separated. But 
this syrup will spoil as soon as exposed to the 
air, except when kept on ice. The above addi- 
tion of alcohol overcomes this defect. 

2. Proceed as for raspberry syrup 4; but the 
fruit, being more stubborn, will require a good 
beating with the spatula to mash them; when 
they have stood three or four hours, strain and 
press the juice out by squeezing the strainer 
between the hands; add to the iuice the same 
quantity of citric acid; dissolve in each gal. 14 
Id. of loaf sugar; simply warm the juice suffi- 
ciently to dissolve the sugar; take from the fire, 
and when cold, bottle and cork till required. 

3. Take of— 

Fresh ripe strawberrries . ... 10 qt. 

White sugar 24 lb. 

Water 34 gal. 

Spread a portion of the sugar over the fruit, 
in layers, let it stand four or five hours, ex- 
press the juice, strain, washing out the marc 
with water; add remainder of sugar and water, 
raiso to the boiling point and strain. 

4. Use strawberries of a good flavor; do not 
forget that if the berries possess no flavor, you 
cannot expect to obtain a syrup of fine flavor. 
Avoid also rotten berries, because unless you 
do, you may be sure to And as flavor the smell 
of the rotten berries in your syrup. Mash the 
fruit in a barrel or other suitable vessel, by 
means of a pounder, and leave the pulp for 
twelve or twenty-four hours at a temperature 
between 70° and 80°; stir occasionally, press, 
set the juice aside for one night, add for every 
pound avoirdupois of juice 1 oz. avoirdupois of 
cologne spirit or deodorized alcohol; mix, set 
aside for another night and filter through 
paper. 

For 1 lb. of the filtered juice take iy 2 lb. of 
sugar and heat to the boiling point, taking 
care to remove from the fire or turn off the 
steam as soon as the mixture begins to boil; 
remove the scum and bottle in perfectly clean 
bottles, rinsed with a little cologne spirit. 

This syrup, as well as those made by the same 
process, is strong enough to be mixed with two 
or three times its weight of simple syrup for 
the soda fountain. 

Syrup of Tolu.— 

Tincture of tolu ....40 grm. 

Powdered gum arabic 40 grm. 

Simple syrup 920* grm. 

Make a thick mucilage with the gum and a 
little of the syrup, and incorporate therewith 
the tincture; then add the rest of the syrup 
gradually. The gum serves both to suspend 
the resin in the form of an emulsion and to 
prevent the syrup from being too thin. 

Vanilla Syrup.— 

1. White syrup 2 gal. 

Citric acid 1 oz. 

Extract vanilla 2 fl. oz. 

The acid should be dissolved in n small quan- 
tity of the syrup before adding to the other 
ingredients. 

2. Fluid extract of vanilla 1 oz. 

Simple syrup 3 pt. 

Cream (or condensed milk) 1 pt. 

May be colored with carmine. 

3. Simple syrup 1 gal. 

Extract vanilla 1 oz. 

Citric acid ^ oz. 



Stir the acid with a portion of the syrup; 
add the extract of vanilla; mix. 

4. Simple syrup, 4 pt.; extract of vanilla 2 
oz. 

Violet Syrup.— 1. Refined sugar, 5 k.; fresh 
violets, tops of the flowers only, 0-525 k.; water, 
2,600 1. Bruise the violets ia a mortar; put in a 
water bath with 1*5 1. water at 60° C. Agitate 
for some minutes and press out the flowers. 
Put them back in the water bath; add the rest 
of the boiling water; infuse for twelve hours ; 
allow it to settle; add the sugar, and dissolve 
by heat. 

2. Pick 1 lb. of fresh gathered violet petals, 
and put them in a jar having a tight fitting 
cover. Boil 3 lb. of distilled water;, pour it 
boiling over the violets, and let them steep for 
twelve hours, keeping the jar closed. Strain 
the whole through a broth napkin, previously 
rinsed in boiling water, and then dried. Let 
the infusion rest, and pour it off carefully into 
a sugar boiler, so that the sediment may not be 
mixed; add 5 lb. of loaf sugar, broken in pieces, 
and boil until the syrup registers 30° on the 
saccharometer. When cold, bottle the syrup, 
and keep in a cool place. To obtain tnis syrup 
of a pleasing color, none but silver or untinned 
copper stewpans should be used. 

Wintergreen Syrup. — 

Oil of wintergreen 25 drops. 

Simple syrup 5 pt. 

Burnt sugar (to color) q. s. 

Tables, Varnisli for. See Varnislies. 

Tallow Candles. See Candles. 

Tan. See Cosmetics. 

Tannin or Tannic Acid. —The active 
constituent of gallnuts, sumac, and the other 
astringents, is, when pure, a colorless, inodorous 
body, soluble in water, alcohol, and in ether, 
which dissolves one-tenth part of its weight. 
It possesses in a high degree that peculiar taste 
known as astringent, but is quite free from 
bitterness. Tannin is found in a great variety 
of vegetable matters, very few woods and 
barks being entirely free from it. 

Tanning-. See also Mats, Leather, 

Skins.— Additional information on tanning is 
given in the Appendix.— To tan or taw skins 
with the hair on for rugs and other uses, first 
thoroughly wash the skin and remove all fleshy 
matter from the inner surface, then clean the 
hair or wool with warm water and soft soap, 
and rinse well. Take 34 lb. each common salt 
and ground alum and y& oz. borax, dissolve in. 
hot water and add sufficient rye meal to make 
a thick paste, which spread on the flesh side of 
the skin. Fold it lengthwise, the flesh side in, 
the skin being quite moist, and let it remain 
for ten days or two weeks in an airy and shady 
place, then shake out and remove the paste 
from the surface and wash and dry. For a 
heavy skin a second similar application of the 
salt and alum may be made. Afterward pull 
and stretch the skin with the hands or over a 
beam, and work on the flesh side with a blunt 
knife. 

Fur Skins (any kind), to Tan. —After cutting 
off the useless parts and softening the skins by 
soaking in warm water, take away the fatty 
part from the inside, after which soak the skins 
in tepid water for two hours. Mix equal parts 
of borax, saltpeter, and Glauber salts (sulphate 
of soda) in the proportion of about % oz. of 
each for each skin, with water q. s. to make a 
thin paste. Spread with a brush over the inside 
of the skin, applying more on the thicker parts 
than on the thinner. Double the skin together, 
flesh side inward, and place in a cool place. 
After standing twenty -four hours, wash the 
skin clean, and apply the following mixture in 
the same manner as before : 1 oz. sal soda, % 
oz. borax, 2 oz. hard Avhite soap, melted slow- 
ly together without being allowed to boil; fold 
together again and put in a warm place twenty- 
four hours. After this dissolve 3 oz. alum, 7 



Tanning. 

oz. salt, \y% oz. saleratus in sufficient hot rain 
water to saturate the skin; when cool enough 
not to scald the hands, soak the skin in it for 
twelve hours; wring out and hang it up to dry. 
When dry, repeat the soaking and drying two 
or three times till the skin is sufficiently soft. 
Lastly, smooth the inside with fine sandpaper 
and pumice stone. 

Skins, to Tan with the Hair On.— 1. Stretch 
the skin tightly and smoothly upon a board, 
hair side down, and tack it by the edges to its 
place. Scrape off the loose flesh and fat with a 
blunt knife, and work in chalk freely, with 
plenty of hard rubbing. When the chalk be- 
gins to powder and fall off, remove the skin 
from the board, rub in plenty of powdered 
alum, wrap up closely, and keep it in a dry 
place for a few days. By this means it will be 
made pliable, and will retain the hair. 

2. Softwater 10 gal. 

Wheat bran y%, bushel 

Salt 7 lb. 

Sulphuric acid 2% lb. 

Dissolve altogether and place the skins in the 
solution, and allow them to remain 12 hours ; 
then remove and clean them well, and again 
immerse 12 hours,or longer if necessary, The 
skins may then be taken out, well washed, and 
dried. They can be beaten soft if desired. 

3. Saltpeter 2 parts. 

Alum 1 part. 

Mix. Sprinkle uniformly on the fles*h side, 
roll up, and lay in a cool place. Spread it out 
to dry, scrape off the fat and rub till pliable. 

Barko meters.— Guiseppe Tagliabue, of New 
York, whose large experience entitles him to 
rank as an authority on the subject, writes: 

Barkometers, as at present made, are based 
upon Baume's hydrometer scale, the differ- 
ence being solely that on the barkometer one 
degree is but one-tenth of one degree Baume ; 
thus to 60 barkometer scale is to 6 Baume. 

The discrepancy consists in the numerous in- 
struments in the market which are made, price 
being the only consideration, accuracy and 
consequence being sacrificed. Let it be stipu- 
lated that the barkometer scale be Baume, 
graduated as previously stated, viz.: One-tenth 
of one degree Baume being one degree bar- 
kometer scale, and the Baume standard being 
that adopted by the Manufacturing Chemists' 
Association of the United States, specific grav- 
ity 1,835 equaling 66 Baume; there»will then be 
no discrepancy in the instruments. 

Some tanners use Twaddell's hydrometer; the 
scale of this is converted into specific gravity 
by multiplying by five and adding 1*000. Thus 
Twaddell's 

20x5+1*000= specific gravity, 1*100. 

In taking hydrometer readings, the correct 
manner is to read the instrument at the level 
of the liquid immediately below the upper con- 
cave surface formed by the affinity of the 
liquid for glass, etc. This, in testing opaque 
liquids, cannot be done; so an allowance or de- 
duction must be made from the apparent indi- 
cation caused by the liquid ascending the stem 
of the barkometer. Practice will soon accus- 
tom the operator to what allowance should be 
made for this error in reading. Temperature 
must of course be accurately observed when 
using the barkometer, the same as in the use of 
any hydrometer, but as these are very sensi- 
tive instruments, being graduated to the tenth 
of one degree Baume, the effect of temper- 
ature is very apparent. This solution to the 
question of the barkometer standard, I think, 
is far preferable to that proposed of taking a 
number and adopting the mean of the major- 
ity, as in this latter case one of those selected 
being erroneous, the standard would be in 
error. In this case there would be no scien- 
tific base upon which the standard was based. 
By adopting Baume as standard, it rests with 
the manufacturer of the instruments to give 



550 Tattooing:* 






proper care to insure uniformity of indica- 
tions.— Shoe and Leather Reporter. 

Buckskins, to Tan.— Take a skin, either green 
or well soaked, and flesh it with a dull knife; 
spread the skin on a smooth log and grain it by 
scraping with a sharp instrument; rub nearly 
dry over the oval end of a board held upright. 
Take the brains of a deer or a calf, dry by the 
fire gently, put them into a cloth and boil un- 
til soft, cool off the liquid until blood warm, 
with water sufficient to soak the skin in, and 
soak until quite soft and pliable, and then 
wring out as dry as possible; wash in strong 
soap suds and rub dry and smoke well with 
wood smoke. Instead of brains, oil or lard 
may be used, and the skin soaked therein six 
hours. This is called Indian tan. 

Tan Shoes, Dressing for. See Shoes., 
Tan, Dressing' for. 

Saturating Tapes (Madsen).— Stockholm 
pitch, 8 parts; wax, 2 parts; tallow, 1 part. 
Tapeworm, a Rapid Cure for.— A. J. 

Schafish, of Washington, says that in treating 
some cases of tapeworm, he employed no pre- 
liminary provisions beyond forbidding the pa- 
tient to take any breakfast the day on which 
it is intended to remove the worm, and giving 
him a large dose of Rochelle salts the preced- 
ing night. At ten o'clock in the morning he 
had the following at one dose : Recipe— bark of 
pomegranate root, ^ oz.; pumpkin seed, % 
drm.; ethereal extract of male fern, 1 drm.; 
powdered ergot, y% drm.; powdered gum ara- 
ble, 2 drm.; Croton oil, 2 drops. The pome- 
granate bark and pumpkin seed were thor- 
oughly bruised, and, with the ergot, boiled in 
8 oz. of water for fifteen minutes, then strain- 
ed through a coarse cloth. The Croton oil 
was first well rubbed up with the acacia and 
extract of male fern, and then formed into an 
emulsion with the decoction. In each case the 
worm was expelled alive and entire within two 
hours. No unpleasant effects followed. In 
each case the worm was passed with the head 
firmly fastened to the side of its body at about 
the widest part, from which it was with diffi- 
culty removed; and the worm was twisted and 
doubled into various knots.— The Druggists 1 
Circular. 

Taps, to Harden. See Hardening. 

Taps, to Temper. See Tempering. 

Tarj Barbadoes.— A mineral pitch, a 
bitumen. 

Tartar Emetic. — The double tartrate of 
antimony and potash, or potassio-tartrate of 
antimony, is much used along with tannin in 
fixing coal tar colors upon cotton. 

Tartar, Essence of.— A name sometimes 
given to a solution of tartaric acid in water. 

Tartar, Liquid (called also protartar 
spirits), is a mixture of the tartaric and sul- 
phuric acids, diluted with water, and weighted 
more or less with alkaline salts. It is a clear 
liquid, colorless or slightly tinted, having an 
intensely sour taste. It is used by some: 
dyers for leveling a variety of colors, amoiii.; 
other? , aniline blues upon wool and worsted. 

Tattooing, to Reinove,-l. The opera- 
tion is performed by applying nitric acid with 
the stopper of the bottle (a better instrument 
would be a glass rod pointed, to carry the 
acid), just sufficient to cover the stain, so as to 
avoid making a larger scar than needful, the 
acid to remain about one and a half minutes, 
until the cutis vera is penetrated and a 
crusted appearance shown, then washed off 
with clean cold water. In a few days after 
this treatment a scab forms, which contains 
the tattoo mark or stain; remove it, and 
should inflammation supervene, poultice and 
bathe with warm water. In this way the skin 
with the stain is not only removed almost pain- 
lessly, but the nitric acid at the same time, to a 
certain extent, seems to decolorize the stain. 






Tayidermy. 



551 



Teeth. 



Of course large tattoo marks, greatly extend- 
ing over the surface, must necessitate the 
operation being performed differently. 

2. Dr. Variot, of the Paris Biological Society, 
advises the following method: Tattoo the 
skin, in the usual way, with a concentrated 
solution of tannin, following the original de- 
sign. Then apply a crayon of nitrate of silver 
until the part tattooed with the tannin black- 
ens. Wipe off excess of moisture and allow 
matters to take their own course. Slight pain 
continues for two to four days, and after two 
months the cicatrix which results will] almost 
disappear.— American Druggist. 

3. These are best removed by the following 
plan : "Wash the part thoroughly with common 
dilute acetic acid. Half an hour later use- 
Caustic potash 4 grn. 

Water 1 oz. 

After the lapse of another half hour, use- 
Dilute hydrochloric acid 1 drm. 

Water 1 oz. 

This should be repeated daily. Stronger so- 
lutions may be used, if they can be borne. 

4. It is said that milk pricked under the skin 
in the same way as the ink was originally ap- 
plied will change the blue color to red and 
finally cause it to disappear. 

5. A writer in the Chemical News has stated 
that if the tattooing is performed with some 
carbonaceous matter, the marks can be made 
to disappear by being first well rubbed with a 
salve of pure acetic acid and lard, then with a 
solution of potash, and finally with hydrochlo- 
ric acid. A dermatologist should be consulted if 
possible. 

Taxidermy, Preparations for. See 
Anatomical Preparations. Also Soaps, 
Arsenical. 

Tea, Apple.— Roast 8 fine apples in the 
oven or before the fire ; put them in a jug 
with 2 spoonfuls of sugar, and pour over them 
1 qt. of boiling water. Let the whole stand one 
hour near the fire. 

Tea, for Dispensing.— To 2 oz. syrup add 
4 oz. compound tea extract and 2 oz. fruit acid 
solution. 

Tea, for Icing.— Cream for icing, 2 pt.; 
strong tea, 4 oz.; sugar, 1 oz.; yelks of 4 eggs. 
Mix well and strain, ready for icing. 

Tea, Hamburger.— Hamburger tea con- 
tains 32 parts of senna leaves, 16 of manna, 8 of 
coriander, and 1 of tartaric acid, ground up to- 
gether. 

Tea, Solidified.— One hundred grm. of 
ground sugar and 10 grm. starch sugar are 
boiled with the quantity of water required for 
solution, until the mass becomes tenacious, but 
yet remains transparent. After cooling, 50 
grm. of tea previously mixed with 50 grm. of 
dry sugar, are added. The plastic mass is 
pressed into moulds, and when solidified forms 
the preserved tea. 

Teeth, The.— These should be well cleaned 
with a soft brush and powder every morn- 
ing before breakfast. After dinner or other 
meal they may have the brush passed lightly 
round them for a few seconds, and the mouth 
should be washed out with a weak solution of 
permanganate of potash or other antiseptic. 
To scrub the teeth, more especially if the 
brush be hard, several times daily, is injurious 
to their structure. 

Teeth, Cements for. See Cements.— One of 

the most important points to attend to in fill- 
ing or stopping teeth is, that each tooth must 
be thoroughly cleaned out, and wiped per- 
fectly dry, before inserting or applying the 
cement, of whatever kind it may be. With- 
out careful attention to this matter, the ce- 
ment will not adhere, or will soon become 
loose, and drop out or off, and the operation 
prove a failure. When a defective tooth is con- 



veniently situated, it may often be filled by the 
party himself, by the exercise of a little skill 
and care, particularly if it be a hollow one 
with a clearly defined central cavity. When 
the reverse is the case, it is generally neces- 
sary that the operator should be a second 
party.— CooZet/'s Cosmetic Arts. 

Dentists are more numerous in America than 
in England, and few would probably care to 
fill their own teeth. Too much attention can- 
not be given to the teeth, and the dentist should 
be consulted and the teeth examined twice 
yearly. 

Odontalgic Drops, Toothache Drops. See also 
Odonotalig Elixir and Tinctures below. — As 
nearly all of them contain highly volatile in- 
gredients, as ether, alcohol, etc., they should 
be kept in closely stoppered or corked bottles, 
and the mouth should be closed immediately 
on their application, and kept so for some time. 
As many of them contain active ingredients, 
care should also be taken not to swallow 
them. 

1. Liquor of ammonia (0 - 8800— 0'885) 1 part. 
Ninety per cent, alcohol ...... 3 or 4 parts. 

A little oil of cloves or of cajeput, or of both, 
is sometimes added. Very effective, if properly 
applied. 

2. Ether l^fl.drm. 

Alcohol lj^fl.drm. 

Camphor 1 drm. 

Dissolve, and add, of— 

Liquor of ammonia (0'88O- 0*885) ^ fl.drm . 

Very serviceable. 

3. Creosote 1 drm. 

Ninety per cent, alcohol 1 drm. 

Oil of cloves ^ fl.drru. 

Excellent for rotten or decayed teeth. 

4. Dr. Blake's.— 

Alum (in fine powder) 1 drm. 

Sweet spirits of niter 1 fl. oz. 

Agitate them together occasionally for an 
hour. A bad chemical mixture, of little value, 
since the alum is nearly insoluble in the in- 
tended menstruum. Sweet spirits of niter is 
a name for an alcoholic solution of nitrous 
ether. 

5. Boerhaave's Odontalgic— 

Ltroy. 

Opium \& drm. 

[avdps. 

Camphor (powdered) 4 or 5 drm. 

Oil of cloves 2 fl.drm. 

Ninety per cent, alcohol (strong- 
est) lj^fl. oz. 

Agitate the mixture occasionally for a week, 
and, after repose, pour off the clear portion. 
Often serviceable, and much esteemed by some 
persons, as toothache drops. 

6. Dr. Copland's.— 

Powdered opium 10 grn. 

Camphor 10 grn. 

Oil of cloves 1 drm. 

Oil of cajeput 1 drm. 

Ninety per cent, alcohol (strong- 
est) M fl. oz. 

Ether }& fl. oz. 

Mix, and agitate the bottle occasionally for a 
day or two, as the last. 

7. Cottereau's .— A nearly saturated ethereal 
solution of camphor, to which as much of the 
strongest liquor of ammonia is added as can be 
without clouding the liquid. If the latter oc- 
curs, the addition of a few drops of alcohol will 
restore it. A useful remedy. 

8. Righini's.— 

Creosote 5 drm. 

Rectified spirit 5 fl.drm. 

Tincture of cochineal (strong)... 2 fl.drm. 
Oil of peppermint (English) — 14 drm. 
Mix. Resembles No. 3. 



Teeth. 



552 



Teeth. 



9. American Toothache Drops.— Made by 
Majewskyin Warsaw, have different compo- 
sitions. Those which took the prize at Vienna 
consisted of common salt and brandy col- 
ored with harmless cochineal red. 

10. Hydroclorate of morphia 30 grn. 

Concentrated tincture of pelli- 
tory (made with 90% alcohol).. 2% A- oz. 

Oil of cloves — j| 11. oz. 

Chloroform V< z fl. oz. 

Agitate them together until mixed. Used 
as toothache drops, observing- to shake the bot- 
tle well before use, and to keep it closely corked 
or stopped and in a cool place. An excellent 
remedy. 

Pastes for the Toothache, Odontalgic Pastes, 
Pastae Odontalgics, Pates Odontalgiques. — 

1 . Root bark of pellitory . . 1 drm. 

Hydrochlorate of morphia . . .5 grn. 

Triturate until reduced to fine powder, then 
add, of— 

Honey, finest, thick 3 drm. 

Oil of cloves or of cajeput 20 drops. 

Concentrated tincture of pelli- 
tory q. s. 

Form the whole into a smooth paste. Very 
effective. 

2. Pellitory root, in fine powder. . . 1 part. 

Mastic, in fine powder 1 part. 

White sugar, in fine powder 1 part. 

Chloroform q. s. 

Make them into a paste, and at once put it in 
a stoppered bottle. It must be kept in a cool 
place. 

3. De Handel's — 

Powdered opium ^ drm. 

■ Camphor, powdered.... 1 drm. 

Extract of belladonna 1 drm. 

Extract of henbane 1 drm. 

Oil of cajeput 15 drops. 

Tincture of cantharides 15 drops . 

Mix, adding distilled lettuce water, q. s. to 
form a paste. 

4. Rust's — 

Powdered opium . 10 grn. 

Extract of henbane. . . . 10 grn. 

Powdered pellitory root 20 grn. 

Extract of belladonna 20 grn. 

Oil of cloves . . . 15 drops. 

Mix thoroughly. 

5. Turton's.— 

Pellitory root, powdered 1 drm. 

Lump sugar, powdered 1 drm. 

Camphor, powdered 30 grn. 

Concentrated tincture of pelli- 
tory q. s. 

To form a paste. 

6. Vohler's.— 

Dragon's blood, powdered 1 drm. 

Opium, powdered 2 drm. 

Gum mastic, powdered 4 drm. 

Gum sandarac, powdered ... 4 drm. 

Oil of rosemary 25 drops. 

Tincture of opium ... q. s. 

To form a paste. 

A small quantity of one of the preceding is 
inserted in the hollow of the aching tooth, or 
placed against the corresponding gum. They 
must on no account be swallowed 

7. Myrrhine Tooth Paste.— This favorite Pari- 
sian specialty is said by the Pharm. Era to 
consist of— 

Precipitated chalk. 54 parts. 

Arrowroot . . 5 parts. 

Powdered myrrh 7 parts. 

Cinnamon 1 part. 

Sufficient glycerine to make a paste. A mix- 
ture 1 part glycerine and 2 parts chloroform 
water is better than glycerine alone. 



8. Take sugar of milk, 100 parts; pure tannin, 
15 parts; lake, 10 parts; oils of mint, aniseed and 
orange flowers, sufficient quantity. Rub to- 
gether the lake and tannin, gradually add the 
sugar of milk, and then the oils (Recom- 
mended.) 

Tooth Pastes for Cleansing the Teeth. See also 
Tooth Powders below. — 

1. Carbon Tooth Paste, Dentifrice Carbon- 
ique, Opiat Carbonique, etc.— 

Chippings of Turkey stone (in 

very fine powder) 2 oz. 

Cylinder charcoal (in very fine 

powder) 2 oz. 

Prepared chalk 2 oz. 

Cochineal 1% drm. 

Cloves l^drm. 

Honey 5 oz. 

Eau de Cologne q. g. 

Mix as before. In some samples powdered 
pumice stone replaces the Turkey stone. Much 
prized by smokers and persons with rotten 
teeth and foul breath ; but is not fit for very 
frequent use. 

2. Winckler's Roseate Dentifrice or Tooth 
Paste.— 

Cuttle fish bone 1 part. 

Conserve of roses (red) 3 parts. 

Otto of roses (per ounce) -j Irons 

Mix as before. The otto is dissolved in a lit- 
tle rectified spirit before adding it to the paste, 
or else rubbed up with the dry cuttle fish bone. 
Cleans and whitens the teeth rapidly. 

3. Violet Tooth Paste. 

Prepared chalk 3 oz. 

Cuttle fish bone (powdered) 2 oz. 

White sugar (powdered) 2 oz. 

Orris roqt (powdered) 1 oz. 

Smalts..! \ drm 

Syrup of violets (to mix) q. s. 

A fashionable tooth paste, highly esteemed 
for its power of cleaning the teeth and its del- 
icate color and odor. 

4. Ward's Tooth Paste, Zieter's Antiscorbutic 
Dentifrice.— 

Prepared chalk 2 oz. 

Myrrh .-.. 14 oz. 

Rhatany root %>& oz. 

Cuttle fish bone jg oz. 

Orris root ».. y± oz. 

Hon ^ {orq° Z s. 

A very useful dentifrice in foul, spongy, and 
scorbutic gums, loose and rotten teeth, etc. 

5. Take of — 

Burnt hartshorn (or prepared 
chalk) 3 oz. 

Cuttle fish bone 2 oz. 

Orris root 1^ oz. 

Armenian bole (or rose pink) 1J^ oz. 

Oil of cloves, or essence of am- j 15 to 20 
bergris or musk \ drops. 

6. Magic Tooth Paste.— 

White marble dust 2 oz. 

Pumice stone (in impalpable 

powder)... 1% oz. 

Rose pink }^ oz. 

Honey ■ 4 oz. 

Ottoof roses.. ,. \ ^ 

Mix as before. A favorite nostrum for rap- 
idly cleaning and whitening the teeth, but one 
not adapted for free or frequent use. 

7. Soap Tooth Paste, Spanish Dentifrice.— 

Castile soap (air dried, in fine 
powder) 2 oz. 

Cuttle fish bone 2 oz. 

Narbonne honey 4 or 5 oz. 

Aromatics or perfume (at will) . . q. s. 
with or without the addition of a little 90# al- 
cohol. 






Teeth. 



553 



Teetli. 



A very excellent preparation, superior to all 
the other pastes for cleaning the teeth and re- 
moving tartar and animalcules from them. 

Tooth Powders.— See also Pastes for Cleaning 
above. These formulas are of many years, 
standing. The following receipts are particu- 
larly recommended, as they come from a re- 
liable authority: 
1. Piesse & Lubin's Tooth Powder.— 

Precipitated chalk 1 lb. 

Orris powder 1 lb. 

Carmine 34 drm. 

Powdered sugar 34 lb. 

Otto of roses and neroli, each ... 1 drm. 
2 .Opiate Tooth Powder.— 

Honey H lb. 

Precipitated chalk 34 lb. 

Orris powder 34 lb. 

Tincture of opium and myrrh, ea. 34 oz. 

Essence of cloves 34 drm. 

Essence of nutmeg 34 drm. 

Essence of rose J4 drm. 

3. Cuttle fish powder ...8 oz. 

Rock alum 1 oz. 

Cream of tartar 2 oz. 

Orris root 1 oz. 

Burnt hartshorn. 2 oz. 

Oil of rhodeum 6 drops. 

4. Charcoal of the areca nut. 

5. Prepared chalk 2 oz. 

Cuttle fish 1 oz. 

Orris root 1 oz. 

Myrrh 3*£ oz. 

Sulphate of quinine 10 grn. 

6. Orris root 4 oz. 

Cuttle fish 2 oz. 

Cream of tartar 1 oz. 

Myrrh J4 oz. 

Oil of cloves 16 min. 

7. Peruvian bark. 1 oz. 

Cream of tartar 2 drm. 

Myrrh 1 drm. 

Cuttlefish 4 drm. 

Oil of cloves 8 drops. 

8. Cuttle fish 8 oz. 

Cream of tartar 4 oz. 

Orris root 2 oz. 

9. Anadoli. —Tooth Powder by Kreller, Nur- 
emburg.— 

Soap, powdered 42 parts. 

Starch powder 44 parts. 

Levantine soapwort 12 parts. 

Oil of bergamot and lemon to color. 
Tooth Powders, Dentifrices, Poudres pour 
les Dents, etc. — The general principles which 
should be kept in view in the selection of the 
materials, and in the preparation of tooth 
powders, as well as the best method of using 
them, ought to be very well understood. It 
may, however, be useful to repeat here that 
great care should be taken to finely pulverize 
all the dry ingredients, and to reduce the harder 
and gritty ones to the state of impalpable pow- 
der, either by patient levigation or trituration 
or by elutriation. To insure the perfect mix- 
ture of the ingredients, they should be stirred 
together until they form an apparently homo- 
geneous powder, which should then be passed 
or rubbed through a fine gauze sieve. Those 
which contain volatile or perishable substances 
or which, like charcoal, are affected by contact 
with the air, should be put up in dumpy, wide 
mouthed bottles and kept closely corked. 

1. Prepared chalk mixed with 34 its weight to 
an equal weight of cuttle fish bone and aroma- 
tized, or not, with 8 or 10 drops of oil of cloves, 
or with 5 or 6 drops each of the oils of cloves 
and cassia, or with 1 drm. of orris root per oz. 
A simple and really excellent tooth powder for 
frequent use. 

2. Prepared chalk, burnt hartshorn and cuttle 
fish bone, equal parts, scented as before. Acts 
rather more rapidly than the preceding. 

3. Burnt hartshorn mixed with half its 
weight of cuttle fish bone, as before. Resembles 



the last in quality, but preferred to it by some 
persons* 

4. Prepared chalk mixed with | to ^4 its 
weight of pumice stone in impalpable powder, 
as before. Acts more rapidly than the preced- 
ing, but is less fitted for frequent use. 

5. To any one of the preceding add about % 
to 3^3 its weight of powdered Castile soap. 
Rapidly whitens the teeth and removes tartar. 
The preceding, with this addition, are highly 
esteemed in fashionable life. 

6. As the last, but using hydrate of alumina 
instead of soap. Recommended by M. Bon- 
namy f or its power of rapidly whitening and de- 
odorizing the teeth. It is perfectly harmless. 

7. Prepared chalk 4 oz. 

Cuttle fish bone 3 oz. 

Orris root 2 oz. 

Dragon's blood 1 oz. 

Oil or essence (as last) 34 drm. 

Mix; 1 or 2 oz. of red bole or rose pink are 
often added. 

Aromatic Tooth Powder.— This name is com- 
monly given to any powder strongly aromatized 
with cassia, cloves, and the like. The following 
is the composition of three samples from West 
end houses : 
1 Cuttle fish bone 4 oz. 

Red bole... 2 oz. 

Calamus aromaticus — 134 oz. 

Bicarbonate of soda 2 drm. 

Cassia 134 drm. 

Cloves 134 drm. 

Musk seed 134 drm. 

Yellow sandal wood 34 drm. 

2. Prepared chalk 2 oz. 

Bone ash 2 oz. 

Pumice stone 134 oz. 

Red bole 134 oz. 

Cardamom seeds , 34 oz. 

Cloves 34 oz. 

Cassia 34 oz. 

Orris root 34 oz. 

Oil of orange peel 15 drops. 

Essence royale 15 drops. 

3. Cuttle fish bone ..2 oz. 

Powdered oyster shells 2 oz. 

Pumice stone 2 oz. 

Rose pink 2 oz. 

Dragon's blood 1 oz. 

Cloves 34oz. 

Cassia 34 oz. 

Oil of rhodium 12 drops. 

Essence royale 12 drops. 

Some samples of similar composition con- 
tained 34 to \ part of powdered soap. 

4. Asiatic Dentifrice.— 

Red cordal 5 oz. 

Prepared oyster shells. 5 oz. 

Pumice stone 3 oz. 

Venetian red 3 oz. 

Oil of cloves 34 fl.drm. 

Oil of cassia 34 fl.drm. 

Essence of vanilla 34 fl.drm. 

Essence of musk 34 fl.drm. 

5. Sozodont (Liquid).— Take of potassium car- 
bonate, 3^ oz.; honey, 4oz.; alcohol, 2 oz.; water, 
10 oz.; oil wintergreen and oil rose, sufficient to 
flavor. This is a liquid wash, and is inserted 
here as it could be more readily found. 

6. Camphorated Chalk.— Precipitated chalk, 1 
lb.; powdered orris root, J4 lb.; powdered cam- 
phor, 34 lb. Reduce the camphor to powder 
by rubbing it in a mortar with a little spirit; 
then sift the whole well together. 

7. Coral Tooth Powder, Coral Dentifrice.— 

Red coral 3 oz. 

Red bole 3 oz. 

Cuttle fish bone 3 oz. 

Dragon's blood 134 oz. 

Cinnamon % oz. 

Cochineal 3 drm. 

Cloves -. 1 drm. 

Cream of tartar 434 oz. 



Teeth. 



554 



Teeth. 



8. Impalpably pulverized charcoal. 1 oz. 

Sugar 1 oz. 

Volatile oil of cloves 3 drops. 

Make into a homogeneous powder under a 
muller. 

9. Impalpably pulverized charcoal. 1 oz. 

Red bark 1 oz. 

Pulverized sugar 4 drm. 

Volatile oil of mint 4 drops. 

10. Impalpably pulverized charcoal. 1 oz. 

Sulphate of quinine 2 grn. 

Magnesia 2 grn. 

Perfume with some drops of rose water or 
essence of mint, cinnamon, or with powdered 
rose leaves, or orris root. 

11. Farina Tooth Powder (Piesse).— 

Burnt horn 2 lb. 

Orris root 2 lb. 

Carmine 1 drm. 

Very fine powdered sugar % lb. 

Otto of neroli . y% drm. 

Otto of lemons 34 oz. 

Otto of bergamot 34 oz. 

Otto of orange peel 34 oz. 

Otto of rosemary 1 drm. 

12. Magic Tooth Powder.— The so-called ma- 
gic tooth paste consists of very fine white mar- 
ble dust, 2 oz.; pumice stone in impalpable 
powder, 1)4 oz.; rose pink, % oz.; otto of roses, 
7 or 8 drops. Mix with sufficient honey to make 
a paste. This will rapidly clean the teeth, but 
it is not adapted for free or frequent use. 

13. Pate Mineral, by M. Berteaux de Chaille- 
voix, Paris. 

Absolute alcohol. 7 drm. 

Sulphuric acid 3 drm. 

Ammonias aqua 4 scr. 

Mix with finely powdered asbestos, to a con- 
sistence equaling a common honey paste. Put 
up in ground stoppered bottles. 

14. Odontine.— There are several dentrifices 
advertised under this name, two or three of 
which have acquired a very large sale in the 
fashionable world. That of a certain eminent 
West end perfumery house appears to have the 
following composition: 

Cuttle fish bone 1 part. 

Castile soap 1 part. 

Red coral 1 part. 

Tincture of cochineal (to color)., q. s. 

Honey (to mix) q. s. 

Essential oil (to aromatize) q. s. 

15. "Pearl Dentrifice, Pearl Tooth Powder.— 

White marble dust 4 oz. 

Cattle fish bone 1 oz. 

Smalts (finest) 1 drm. 

Essence de petit grain 10 to 12 drops. 

Mix. A favorite with ladies who have white, 
healthy teeth. Precipitated chalk or heavy 
carbonate of magnesia is commonly substitut- 
ed for the marble dust, but the quality of the 
product suffers in all but color. 

16. Peruvian Bark Tooth Powder.— Peruvian 
bark in powder, M lb.; bole armeniac, 1 lb.; 
orris powder, 1 lb.; cassia bark, y<& lb.; pow- 
dered myrrh, \& lb.; precipitated chalk, y Q lb.; 
otto of cloves, 34 oz. 

17. Quinine Tooth Powder. — Precipitated 
chalk, 1 lb.; starch powder, 34 lb.; orris pow- 
der, Yq lb.; sulphate of quinine, 1 drm. Sift. 

18. Rose Tooth Powder.— Precipitated chalk, 
lib.; orris powder, y% lb.; rose pink, 2 drm.; 
otto of rose, 1 drm.; otto of santal, 34 drm. 

19. Myrrh Dentifrice.— 

Cuttle fish bone 6 oz. 

Burnt hartshorn 2 oz. 

Myrrh 2 oz. 

Orris root 2 oz. 



Mix. A good powder, often serviceable in 
foul gums, loose teeth, etc. 

20. Violet Tooth Powder.— 

Precipitated chalk 6 oz. 

Cuttle Ash bone 3 oz. 

Rose pink (bright) U% oz. 

Orris root 134 oz. 

Essence of violets (orris) J^ fl.drm. 

Indigo (pure, to strike a violet 
tint) q. s. 

Odontalgic Elixirs, Tooth Elixirs.— These, 
when employed to relieve toothache, are ap- 
plied like the drops previously noticed. When 
used to medicate the gums, they are commonly 
applied with the tip of the finger, or the brush, 
either alone, or diluted with an equal bulk, or 
twice or thrice their bulk, of water. When in- 
tended to correct or disguise foulness of the 
breath, or to perfume it, they are either ap- 
plied in the way last mentioned or are diluted 
with 6 or 8 times their bulk of water, the mix- 
ture being then used as a rinse or wash for the 
teeth and mouth. The following are chiefly 
nostrums of the first class referred to : 

1. Cinnamon 1% drm. 

Cloves 13^3 drm. 

Nutmeg - (grated) 13^ drm. 

Vanilla 3^ drm. 

Camphor 15 grn. 

Lump sugar (hard, dry) \% oz. 

Pound and rub them together in a mortar 
until reduced to powder; put this into a bottle; 
add of — 

Tincture of pellitory 2 fl. oz. 

Proof spirit, or French brandy 
(strongest) 3^ pt. 

Digest, with agitation, for 8 or 10 days, and 
after repose, decant or filter. For toothache, 
foul breath, sore and scorbutic gums, etc. 

2. Desforge's.— 

Gum guaiacum (in coarse pow- 
der) 23^ oz. 

Cinchona bark (bruised) lj^ oz. 

Pellitory root (bruised) lj^ oz. 

Cloves 34 oz. 

Yellow rind of oranges 1 drm. 

Gum benzoin 1 drm. 

Hay saffron 1 drm. 

Rectified spirit y& P^ 

French brandy , 34 Pt. 

Mix, etc., as the last. Uses, the same. 

3. Lefandiniere's Elixir for the Teeth and 
Gums.— 

Guaiacum raspings 34 oz. 

Cloves 34 oz. 

Pellitory root (bruised)., 1 drm. 

Nutmegs (grated) j4 drm. 

Oil of rosemary -j <j°ops. 

Oil of bergamot..... -j 6 dr ° r pg> r 

Brandy % Pt. 

Digest for a week, with aeritation, and then 
decant or filter. In toothache, scorbutic gums, 
fetid breath, etc. 

4. Elixir of Roses.— 

Eauderose... •. 2 fl. oz. 

Spirit of horseradish 1 oz. 

Spirit of scurvy grass 1 oz. 

Camphor (powdered) 12 grn. 

Cochineal (powdered) 12 grn. 

Otto of roses j 3 dr o r ps . 4 

Sugar candy (powdered) % oz. 

Digest for a week, decant, and strain 
through muslin. In scurvy of the gums, and 
to perfume the breath. 



Teeth. 



555 



Teeth. 



5. Vining's Tooth Elixir.— 

Cinnamon (crushed) % oz. 

Unbleached J amaica ginger 

(grated) y% oz. 

Cloves 1 drm. 

Hay saffron „ 1 drm. 

Oil of peppermint y& drm. 

Oil of orange peel y, drm. 

Otto of roses 10 drops. 

Rectified alcohol y pt. 

Digest fifteen days, as before. For tooth- 
ache, foul breath, etc. \ 

Odontalgic Tinctures, Toothache Tinctures, 
Tincturce Odontalgics. — These are applied in 
the same way as the toothache drops previously 
noticed. They are also often called essences, 
etc. The following are a few examples : 

1. Tincture of Pellitory.— 

Pellitory root (bruised) 1 oz. 

Rectified spirit 14 pt. 

"Digest a week, with frequent agitation, then 
express the tincture, and after repose, decant 
or filter it. 

2. Ethereo-alcoholic Tincture of Pellitory. — 

Pellitory (bruised) 1 oz. 

Ether (pure) 2 fl. oz. 

Ninety per cent, alcohol 3 fl. oz. 

Digest them together, in a stoppered bottle 
n a cool place, as before, but avoid filtration. 
Some persons use equal parts of ether and 
90$ alcohol, but the product does not keep so 
well. An excellent remedy for toothache and 
faceache, more active than the preceding 
often giving almost immediate relief in the 
former. Two similar tinctures are in the Paris 
Codex. The addition of a little oil of cloves or 
of cajeput is sometimes made to them. 

3. Ethereal Tincture of Pellitory.— 

Pellitory (bruised) 1 oz, 

Ether (pure) 8^ flu. oz. 

And proceed as before. Very active, but not 
so convenient as the last, from its extreme vol- 
atility. It must be kept in a well stoppered 
bottle and in a cool place. 

4. Compound Tincture of Pellitory. — 

Pellitory (bruised) 4 arm. 

Camphor 3 drm. 

Oil of cloves ..2 drm. 

Opium (powdered) 1 drm. 

Ninety per cent, alcohol 6 fl. oz. 

Digest for eight days. This is nearly similar 
to Prof. Brande's formula given below. The 
product is a most serviceable form of tooth- 
ache drops. 

5. Tincture of opium 2 fl.drm. 

Ether 4 fl.drm. 

Oil of cloves ^fl.drm. 

Mix, with agitation, and shake it each time 
before use. The product is a favorite form of 
toothache drops with many persons, and repre- 
sents the composition of several odontalgic 
nostrums. 

6. Creosote 1 drm. 

Chloroform 2 drm. 

Ninety per cent, alcohol 3 fl.drm. 

Mix, etc., as the last. Very serviceable in 
toothache arising from caries. 

7. Brande's Tooth Tincture, Brande's Odontal- 

gic Essence.— 
_ Troy. 

Pellitory of Spain (bruised) 1 oz. 

Camphor M oz. 

Opium 14 oz. 

Avoir. 

Oil of cloves 2 fl.drm. 

Ninety per cent, alcohol y pt. 

Digest, with agitation, for ten days, then 
decant the clear portion, express and filter 
the rest and mix the two together.— Vide No. 4. 

8. Horn's Liton, infallible cure for toothache, 



contains 5 parts of phosphate of lithia dissolved 
in 400 parts of alcohol. 

Tooth Washes, Liquid Dentifrices, etc. — 1. 
Hudson's Tooth Tincture. — A mixture of 
about equal parts of tincture of myrrh, tinc- 
ture of cinchona, cinnamon water, and eau 
d'arquebusade (or other like aromatic spirit), to 
whicn a little sugar and mucilage are added. 
As the last ; also to fix the teeth. 

2. Ruspini's Tooth Tincture.— 

Orris root, in coarse powder.. .... 2 oz. 

Cloves, in coarse powder 14 oz. 

Ambergris 5 gr. 

Ninety per cent, alcohol y pt. 

Digest, with agitation, for a fortnight. Used 
as the above ; and, particularly, to sweeten the 
breath. It has long been a popular and fash- 
ionable dentifrice, etc. 

3. Mouth "Wash, Camphorated Eau de Co- 
logne.— 

Eau de Cologne 1 qt. 

Camphor , 5 oz. 

Lotion of Myrrh, Dr. Kirkland's Lotion.— 

1. Tincture of myrrh 1 oz. 

Water 2 oz. 

Mucilage •. . ^ oz. 

Agitate them well together, and again each 
time before use. As a wash in rotten and 
loose teeth, foul, spongy and ulcerated gums, 
fetid breath, etc. It is often very serviceable 
where there is a scorbutic taint. 

2. Dr. Kirkland.— 

Tincture of myrrh 1 part. 

Lime water 1 part. 

Used as the last. 

3. Compound. Take of — 

Tincture of myrrh MA- oz. 

Honey of roses y fl. oz. 

Lime water , , , y± pt. 

Used as No. 1. 

4. Tannin (tannic acid) ..... 4 M y drm. 

Tincture of tolu 2 fl.drm. 

Tincture of myrrh 6 fl.drm. 

Spirit of horseradish 2 fl. oz. 

Agitate them together until solution be com- 
plete. Useful in loose teeth, foul and spongy 
gums, etc., particularly of a scorbutic kind. 

Emulsion or Milk of Myrrh, Myrrh Mixture, 
Myrrh Water.— 

1. Myrrh „ J£ oz. 

Powder it, add of — 

Mucilage, thick 2 fl.drm. 

Triturate to a perfectly smooth paste, and, 
triturating all the time, add gradually, of — 
"Water, warm y pt. 

Agitate the whole till cold, and then strain 
the liquid through muslin. 

2. Myrrh 2 drm. 

Sal ammoniac 1 drm. 

Water, cold ,,. y pt. 

As the last. 

3. Tincture of. myrrh l^fl oz. 

Mucilage, thick y oz. 

Water, cold 8 oz. 

Mix by agitation. A fashionable and useful 
dentifrice and wash in foul and rotten teeth, 
spongy and ulcerated gums, etc. 

Eau Odontalgique of Dr. O'Meara, Paris.— 

Vitivert of India 1 drm. 

Pyrethrum root y oz. 

Cloves 6 grn. 

Orris root 12 grn. 

Coriander 12 grn. 

Alkanet 12 grn. 

Essence of mint (English) 12 drops. 

Essence of bergamot 6 drops. 

Alcohol36° 2 oz. 



Teeth. 



556 



Temperature, 



Bruise the solid materials in a mortar and 
place them, together with the alcohol and es- 
sences, in a tightly covered vessel. Macerate 
for eight or ten days, stirring frequently dur- 
ing the interval, and at the end of that time 
decant and filter the liquor. 

Tooth Wash, Soap.— 1. Camphor, M oz.; tinc- 
ture of myrrh, 2 oz.; tincture of Peru balsam, 
2 oz.; rectified spirit, 1 pt.; oil of spearmint, 10 
drops. 

2. Tooth Soap. — Precipitated chalk, 1 lb.; 
powdered orris, X A lb.; powdered myrrh, 2 oz.; 
powdered white soap, 3 oz ; powdered saffron, 
1 oz.; oil of lavender, 2 drm. 

3. Air dried Castile soap, in powder, 2 oz.; 
euttle fish, in powder, 2 oz.;. honey, 4 or 5 oz.; 
aromatics and perfumes to suit. 

Liquid Dentifrice. Odontine.— Dr. Fr. Hoff- 
man's — 

Quillaia 4 oz. 

Cudbear 1 drm. 

Alcohol, 50^ 32 fl. oz. 

Digest together in a closed vessel for several 
days and filter. To the filtrate, measuring 32 
fl. oz., add— 

Heliotropin. 2 gr. 

Oil of peppermint 20 gtt. 

Oil of anise 10 gtt. 

Alcohol 1 fl. oz. 

Allow to stand in a warm place for several 
days, filter if necessary, and complete by add- 
ing— 

Glycerine 2 fl. oz. 

Sozodont.— The reddish liquid consists of a 
solution of 5 grm. oil soap in 6 grm. glycerine, 
30 grm. spirits, 20 grm. water, perfumed with a 
few drops of oil of peppermint, oil of cloves, 
oil of cinnamon and oil of anise, and colored 
with cochineal. The powder is a mixture of 
carbonate of lime, magnesia and Florentine 
orris root. None of the ingredients can be 
considered objectionable. 

Vegetable Tonic Tooth Wash.— 

1. Soap bark, ground 2 lb. 

Water 1 gal. 

Add honey 4 oz. 

Simmer in warm water several hours; let it 
stand overnight; strain through muslin. To 
the fluid product add an equal amount of al- 
cohol in which has been dissolved— 

G-um myrrh 1 oz. 

Oil tea berry 1 oz. 

Color with red sanders, digest one week and 
filter. This is about the best tooth wash that 
can be made. 

2. For diseased and inflamed gums, 2 parts of 
golden seal, 1 part of powdered burnt alum, 
and 2 parts of glycerine, made into a paste and 
rubbed on the gums and around the teeth at 
night, strengthens and restores the gums to 
health, provided no tartar is present to cause 
the disease, which must be removed first before 
applying. 

Tooth Washes— 1. Dissolve 2 oz. of borax in 3 
pt. water; before quite cold add thereto 1 tea- 
spoonful of tincture of myrrh and 1 table- 
spoonful of spirits of camphor; bottle for use. 
One wineglassf ul of the solution, added to ^ pt. 
of tepid water, is sufficient for each application. 
This solution, applied daily, preserves and 
beautifies the teeth, extirpates tartarous ad- 
hesion, produces a pearl like whiteness, arrests 
decay, and induces a healthy action to the gums. 

2. Take of— 

Soap tree bark, in powder........ 2 oz. 

Orris root, in powder, 1 oz. 

Canada snake root, in powder. . . }4 oz. 

Cloves, in powder. ^ oz. 

Alcohol 10 fl. oz. 

Water ..5 fl. oz. 

Honey ■. 2 oz. 

Mix the alcohol and water and exhaust the 



powders by the process of percolation; add the 
honey to the percolate, and filter through 
paper. 

3. Eau de Botat (dentifrice).— 

Anise l z. 

Cloves 2 drm. 

Cinnamon 2 drm. 

Oil of mint i gcr 

Brandy 1% lb. 

Tincture of amber l drm. 

After six days 1 infusion, filter. 

4. Carbolized Tooth Wash.— 

Water 1,000 parts. 

Essence of meat 2 parts. 

Tincture of saponine 50 parts. 

Pure carbolic acid 10 parts. 

Mix. A dessertspoonful in a quarter of a tum- 
blerful of water serves as an excellent prepara- 
tion for cleansing and preserving the teeth. 

Eau de Cologne Dentifrice.— This may be 
made with tincture of quillaia (1 in 5). Thus- 
Salicylic acid 2 drm. 

Tincture of quillaia 2 oz. 

Eau de Cologne 3 oz. 

Glycerine „. 1 oz. 

Orange flower water 7 oz. 

Distilled water. 7 oz. 

Mix, shake up with powdered pumice until 
clear, and filter. 

Foaming Tooth Wash.— The following for- 
mula was given in The Chemist and Druggist 
Diary, 1884: 

Quillaia bark, in coarse powder. . 4 oz. 

Glycerine 3 oz. 

Rectified spirit 5 oz. 

Water 30 oz. 

Macerate for seven days and filter through 2 
drm. of magnes. carb. with which have been 
mixed oil of wintergreen, 20 drops, and oils of 
neroli and cloves, 4 drops each. Finally add 1 
drm. each of benzoic acid and tincture of pelli- 
tory; color with cochineal or saffron. 

Teeth., Soap for. See Soaps. 

Temperature, Effects of.— 

Deg. Fo 

Cast iron melts, Morveau, at 8696 

Gold melts 2200 Kane, Morveau 2518 

Copper melts 1996 Kane, Daniell 2548 

Silver melts, Daniell 2233 

Brass melts, Daniell 1869 

Iron, bright cherry red, Poilett 1000 

Red heat visible in daylight, Daniell 680 

Zinc begins to burn, Daniell 941 

Zinc melts 793 Gmelin, Daniell 648 

Mercury boils 644 Daniell, Graham.. 662 

Whale oil boils, Graham 630 

Pure lead melts 612 Parkes, Daniell.. 609 

Linseed oil boils 600 

Sulphuric acid boiis 545 Philips, Gra- 
ham 620 

Bismuth melts 518 Gmelin, Philips. . . 476 

Tin melts 442 

Arsenious acid volatilizes 380 

Metallic arsenic sublimes 356 

Oil of turpentine boils, Kane 315 

Etherification ends 302 

Sat. sol. of acetate of soda boils.. 256 
Sat. sol. sal ammoniac boils, Taylor. 257 
Sat. sol. nitric acid 1*42 boils, and sol. 

soda 1-44 .- 248 

Sat . sol. niter boils 238 

Sulphur melts 232 Turner, Fownes. . 226 

Sat. sol. of salt boils, Paris Codex 221 

Sat. sol. of alum, carb. soda, and 

sulph. zinc, boil 220 

Sat. sol. of chlorate and prussiate of 

potash boil 218 

Sat. sol. of sulph. of iron, sulph. of 

copper, nitrate of lead, boil 216 

Sat. sol. of acetate of lead, sulph. and 

bitartrate of potash, boil 214 

Water begins to boil in glass, 213'5 or 213 



Tempering. 



557 



Tempering. 



Deg. F. 
Water boils in metal, barometer at 

30° 213 

Alloy of 5 bismuth, 3 tin, 2 lead, 

melts 211 

Alloy of 8 bismuth, 5 lead, 3 tin, 

melts, Kane 201 

Sodium begins to melt 194 

Nitric acid 1*52 boils 185 

Starch dissolves in water 180 

Rectified spirit boils, benzole distills 176 
Alcohol, sp. gr. 0-796 to 0*800, boils. . . 173 
Beeswax melts 151 Kane, Lepage. . . | 142 

Pyroxylic spirit boils, Scanlan 150 

Chloroform, and ammonia, of 0*945, 

boil 140 

Potassium melts, Daniell 136 

Acetone, pyroacetic spirit, boils, 

Kane 132 

Mutton suet and styracine melt 122 

Bisulphide of carbon boils, Graham 116 
Pure tallow melts 115 Lepage, Thom- 
son 92 

Spermaceti and stearine of lard melt 112 

Phosphorus melts 99 

Ether, 0.720 boils. Temperature of 

the blood 98 

Acetous fermentation ceases, water 

boils in vacuo 88 

Vinous fermentation ends, acetous 

fermentation begins 77 

Oil of anise liquefies, congeals at 60.. 62 
Gay Lussac's alcoholometer gradu- 
ated at 59 

Syrups to be kept at 55 

Sulphuric acid, sp. gr. 1*741, congeals 

41 or 42 

Olive oil freezes 36 

Water freezes 32 

Milk freezes 30 

Vinegar freezes 28 

Wine freezes 20 

Cold produced by snow and salt 

Brandy freezes 7 

Mercury freezes 39*40 

See also Thermometer. 

* Tempering. See also Hardening and 
Casehardening. 

Axes, Tempering of.— The poll should be 
heated in a charcoal fire until it is little more 
than a cherry red. Then change ends and heat 
the bit to a cherry red. Cool the bit only in 
cold, salt water. Immerse in the water at 
once, otherwise there may be a fire crack in it 
that will spoil it. 

Scour with brick; put the poll in the fire end- 
ways. The temper should run to a blue. Do 
not use a blast. 

Burglar and Drill Proof Diamond Chill.— Take 
1 gal. urine and add to it 1 oz. borax and 1 oz. 
salt. 

Cold Chisels, Tempering.— Heat the chisel at a 
low heat, so as not to raise a scale. Dip in a 
brine of clear salt and water. About 1 qt. of 
salt to 10 qt. of water is the right proportion. 
Leave heat enough in the tool to run the tem- 
per down to a required hardness, which is 
shown by the pigeon blue color. Take care to 
make the chisel stout enough that it won't 
spring- in the using. 

Drill, Tempering of.—l. A drill heated to a low 
red, and plunged in a strong solution of chloride 
of zinc, will drill glass. 

2. Heat the drill and rub in cyanide of potas- 
sium. The drill should be hot enough to melt 
the potassium. Heat again to a dark cherry 
red, and cool it in a very strong brine made 
with warm, soft water. Do not draw the tem- 
per. The drill will look white, but be hard and 
tough. 

3. The drill should be heated to a cherry in a 
charcoal fire, then plunged in cold water, to 
which a handful of salt is added. Make the 
drill bright. Draw to a light straw color. 

Screw Gauges.— Heat in melted lead; harden 
in cold water or brine pickle; polish bright; 



draw to color (straw) in not sand. If the steel 
is homogeneous, there will be no change in 
size. 

Gravers, to Temper.— Instruments larger than 
drill may be tempered in mercury the same as 
above, but lead may be used as a substitute for 
mercury. The lead is lessened about half an 
inch, and the instrument, made light red hot,, 
is pressed into the cut. The melted lead then 
surrounds it. 

Gun Springs, to Temper.— To temper gun 
springs, heat them evenly to a low red heat in 
a charcoal fire, and quench them in water with 
the cold chill off, keeping them immersed until 
reduced to the temperature of the water. 
Place an iron pan containing lard oil and tal- 
low, in about equal quantities, over a fire, and 
place the springs therein, and heat the pan until 
its contents take fire; then hold the springs 
in the flames, turning them over an I over and 
dipping" them occasionally in the oil to keep 
them blazing; when the oil adhering to them 
blazes freely when they are removed from the 
flames, place them aside to cool off. 

Steel, to Give a Temper to Cut Porphyry. — 
Make your steel red hot, and plunge it into 
distilled water from nettles, acanthus and 
pilosella, or in the very juice pounded out from 
these plants. Success doubtful. 

Knife Blades, to Temper.— Be careful about 
heating, otherwise the blade will be warped 
out of shape. When the blade is heated evenly, 
plunge perpendicularly in a bath of raw linseed 
oil. The temper should be drawn on a hot iron. 
The blades may be heated and hardened be- 
tween two straight pieces of iron. 

Tempering Liquid.— 1. Saltpeter, 1 oz.; alum, 
pulverized, 2 teaspoonfuls ; salt, 1 teacup ; soft 
water, 2 gal.; never heat over a cherry red nor 
draw any temper. 

2. Water .7^ gal. 

Saltpeter 5 oz. 

Sal ammoniac 5 oz. 

Alum 5 oz. 

Draw no temper. 

3. Water 2 gal. 

Saltpeter 2 oz. 

Alum 2 oz. 

Sal ammoniac (pulverized) 1 oz. 

Salt 1)4 lb. 

Heat to a cherry red, plunge in, draw no 
temper. 

4. Water ... 2 gal. 

Saltpeter J^ oz. 

Pulverized borax ^ oz. 

Pulverized sal ammoniac % oz. 

White vitriol 1 oz. 

Salt M pt. 

5. Put ^£ oz. of corrosive sublimate in 3 qt. 
of soft water and add 1 handful of common 
salt. Dissolve, and it is ready for use. This 
gives toughness and hardness to steel. It is a 
dangerous poison. 

6. Alum 1 oz. 

Saltpeter 1 oz, 

Sal ammoniac 1 oz. 

Salt.... % lb. 

Soft water 13^ gal. 

Draw no temper. 

Mill Chisels, Tempering for Cutting French 
Burr.— If cast steel is made white-hot it is 
spoilt ; yet if a person takes a chisel, mill pick, 
or other pointed tool to be repaired, the smith 
pushes it into the fire. The point is soon white 
hot. They will now push it in and out of the fire 
a few times, and at last bring it out red-hot 
and work it. Of course it is already spoiled ; 
and no matter how low it is tempered, it is next 
to useless. Take one to the smith, and see that 
he puts the body of the tool in the fire, leaving 
the two thin ends uncovered till the middle is 
red-hot. As soon as the middle is red-hot pull 
back, and let the thin end just get a dull red 
heat. It must now be hammered edgeways 



Tempering. 



558 



Tempering. 



first and flatways last of all. It is best to 
hammer it on the flat part of the anvil, as 
drawing steel on the edge of the anvil, although 
a great deal quicker, makes it short in the 
grain, and always causes the tool to break in 
the thinnest place. Serve the other end the 
same, only repeat as soon as it loses its 
dull red color. The lighter the blows in work- 
ing steel the tougher it is. The point should 
be quite as thin as a fitter's chipping chisel, 
only a little longer, then they will not require 
doing up so often. When the ends are drawn 
out the middle will have lost its red heat. The 
ends can now be filed a little. Now to temper 
them. Heat them in the flame of the fire, 
using great care. When a very dull red heat 
cool in rain water, with the chill taken off, 
about fi in. from the end, and let down to a 
blue ; if it should be too brittle a little lower. 
Serve the other end the same. Cool all over. 
Grind the edge rather blunt, and for the first 
few blows hit as light as possible. A little 
soapsuds or oil could be poured on the water, 
but the water is the best. The secret is in 
working it at as low heat as possible, only 
keep on repeating very often, and to hit it 
edgeways as little as possible, but flatways as 
much as you like. 

Mill Picks, to Temper.— 1. There is nothing 
peculiar in hardening mill picks, only that they 
should be as hard as possible and moderately 
tough. The greatest care should be taken to 
avoid burning the steel. Where there is much 
of this work to be done, the picks can be heated 
in a pot of cherry red hot lead, then dipped 
plumb into clear water at about 60°. Do not 
draw the temper. The hardening by the ordi- 
nary smith's fire can be well done if charcoal is 
used, and not hurried through the fire. Hurry 
burns the corners. Much also depends upon 
the shape of the pick, as to whether it is a sec- 
tional or leaf pick, or a thick, solid pick, the 
last being the most difficult to manage, on ac- 
count of the sharp edge and thick back. They 
should be laid across the fire, so as to heat the 
eyes as fast as the edge. 

2. Prepare a mixture of — 

Water l\i gal. 

Ammonia V/% oz. 

White vitriol 1^2 oz. 

Sal ammoniac V4, oz. 

Spirits of niter V/% oz. 

Alum V/% oz. 

Salt 3 oz. 

And 1 handful horse hoof parings. 

Keep in a jar tightly corked. The pick should 
he heated to a dark cherry red and cooled 
in this liquid. Do not draw the temper. 

Springs, to Temper. — Tempering of coiled 
springs requires much judgment, based upon 
experience with the particular kind of spring 
that you wish to temper. A coiled spring does 
not give the faintest idea of its form, size, 
length, thickness, kind of steel, or whether it 
is a clock spring or car spring, all of which 
must be considered in the method of treatment. 
As a general rule, springs that are slender and 
liable to lose shape in a common fire should be 



heated in an oven or muffle, and hardened in wa- 
ter or oil. The temper should be drawn in boil- 
ing linseed oil. Springs that have stiffness, like 
car springs, may be heated in a covered forge 
fire to good advantage, and hardened in lard 
oil. The temper can be drawn by burning off. 

To Temper Steel Springs.— Heat to a^ even 
red heat, rather low, to prevent cracking; 
quench in lukewarm water. Place in ladle 
with enough tallow to cover it ; heat until tal- 
low burns with a large flame extending beyond 
ladle, then set the ladle aside and allow it to 
cool. 

Tempering Revolver Springs.—Heat the spring 
to a cherry red, and plunge in linseed oil. To 
draw the temper to the desired degree, hold 
the spring over the fire, and allow the oil to 
burn away, take away from the fire, put on 
more oil, and let it burn away. Burn the oil off 
three times, and plunge in the oil again. The 
spring is then ready for use. Do not overheat 
the steel. Test the temper frequently with a 
file. 

How to Temper a Small Spring.— 1. Heat the 
spring to a light red, plunge in cold water: 
hold the spring over the flame of a small fire of 
shavings until it becoms black, then hold in 
the fire until the black disappears. Cool the 
spring by swinging it in the air. 

2. Heat the spring to a cherry red, plunge in 
cold water, and hold over a small fire until 
warm. Cool with tallow and burn off the tal- 
low over the fire, repeat this process two or 
three times, cool in water. 

The process of tempering steel consists in 
reheating hardened steel to a temperature 
varying with the degree of hardness required, 
and coloring it by immersion in the same man- 
ner. The proper temperature is indicated by 
the color of the thin film of oxide formed on 
the surface of the heated metal, acccordingto 
the following scale : 

Color. For 

220° Pale yellow Lancets. 

230° Straw yellow — Razors and surgical in- 
struments. 
243° Golden yellow. . . Common razors and pen- 
knives. 
255° Brown Cold chisels, shears, scis- 
sors. 
265° Brown, dappled 

with purple... Axes, planes, etc. 

277° Purple Table knives, large shears 

288° Bright blue Swords, coiled springs. 

293° Full blue Fine saws, augers, etc. 

316° Dark blue Hand and pit saws. 

The reheating is generally effected in baths 
of molten metals or metallic alloys having defi- 
nite fusing points. Thus, alloys of tin and 
lead, in varying proportions, may be used up 
to a temperature of 300°; above which boiling 
linseed oil and pure lead are to be employed. 
The tenacity of steel is highly increased by 
tempering with oil instead of water. 

Tempering Steel.— In judging the proper tem- 
perature and corresponding hardness, the fol- 
lowing table serves admirably. It is often dif- 
ficult to heat a piece of steel uniformly; conse- 





Composition of 
Metallic Mixtures. 


Melting 
Point. 


Colors. 




Lead. 


Tin. 








7 
8 

14 

19 

48 

50 

In boiling 


4 
4 
4 
4 

4 

4 

2 

linseed oil 


220° 
228° 
232° 
254° 

265° 

288° 
292° 
316° 


Hardly pale yellow. 




Pale yellow to straw yellow. 


Pairs of scissors 


Straw yellow. 
Brown. 


Clasp knives, joiners' and carpen- 

Swords, cutlasses, watch springs 

Stilettos, boring tools, and fine saws 


Purplish colored. 
Bright blue. 
Deep blue. 
Blackish blue. 














Tenacity. 



559 



Thermometer. 



quently molten metallic mixtures are em- 
ployed, chiefly made up of tin and lead ; the 
bright hardened steel is kept in these molten 
mixtures until it has assumed the temperature 
of the bath. The foregoing tabulated form ex- 
hibits the composition of the metallic baths 
which have been found to be the best for tem- 
pering cutlery 

Tempering Cast Steel. — Dissolve a small 
quantity of sal ammoniac in water, make the 
metal red, drop it into the mixture for a sec- 
ond or two, and take it out, leaving enough 
heat in the metal to draw it back a bit. ] If left 
till cold, the steel will be a great deal too 
hard. 

Taps, Tempering of.— Bear in mind that a tap 
is simply a series of cutters on a bar; hence the 
cutting parts must be uniformly hard enough 
to cut, and the base soft as possible to insure 
durability. This can be best accomplished by 
dipping at as low a heat as possible and making 
the outside hard, while the inside will be com- 
paratively soft when rubbed off ready for 
tempering. Heat a heavy ring (a broken pul- 
ley hub is as good as anything), which have on 
side of your fire for use while hardening taps, 
and also a heavy pair of tongs, made hot in the 
same way. Take the lever end of the tap with 
the hot tongs, and insert the tap in the center 
of the hot ring, but do not let it touch the 
sides. It is better to keep turning it round. 
If the temper draws too fast, where held by 
the tongs, cool it off, move backward and for- 
ward until the right color is attained. This, 
too, depends on quality of steel and the size 
and make of the tap, and lastly the purpose 
for which it is intended. 

Tests, Color, for Temper.— Says Mr. J. Richards : 
" Procure eight pieces of cast steel, about 2 in. 
long by 1 in. wide and % in. thick; heat them 
to a high red heat, and drop them into a salt 
bath. Leave one without tempering, to show 
the white shade of extreme hardness, and grind 
off and polish one side of each of the remaining 
seven pieces. Then give them to an experi- 
enced tool maker to be drawn to seven various 
shades of temper; ranging from the white piece 
to the dark blue color of soft steel. On the 
backs of these pieces paste labels, describing 
the technical name of the shades and the gen- 
eral uses to which tools of corresponding hard- 
ness are adapted. This will form an interest- 
ing collection of specimens, and accustom the 
eye to the various tints, which will, after some 
experience, be instantly recognized when seen 
separately." 

Tempering, by the Thermometer.— Put the ar- 
ticles to be tempered into a vessel containing 
sufficient quantity to cover them of oil and tal- 
low, sand, or a mixture of 8 parts bismuth, 5 
parts lead, and 3 parts tin, the whole to be 
brought up to and kept up at the heat corre- 
sponding to the hardness required, by means of 
a suitable thermometer, till heated equally 
throughout; the articles are then withdrawn 
and piunged into cold water. If no thermom- 
eter is available, it may be observed that oil or 
tallow begins to smoke at 430° or straw color, 
and that it makes fire on a light being pre- 
sented, and goes out when the light is withdrawn 
at 570° or blue. 

Tenacity.— Is the resistance to being pulled 
asunder by the force of tension. 

Terpine.— If oil of turpentine is left for a 
long time in contact with a mixture of nitric 
acid and alcohol, crystals of terpine form. By 
boiling an aqueous solution of terpine with a 
small quantity of sulphuric or other acid, ter- 
pinole is formed, and may be separated by dis- 
tillation. It has the odor of hyacinths. 

Terra Cotta. (Baked Clay.)— This term is 
applied to statues, architectural ornaments, 
etc., made of pure white clay, fine sand and 
powdered potsherds, slowly dried and baked to 
a strong hardness. 



Terra Cotta, Cement for. See 
Cements. 

Terra Cotta, Lacquer for. See Lac- 
quers. 

Test Papers. See Paper. 

Tetter Ointment.— Citrine ointment, 3 
drm.; spermaceti ointment, 3 drm.; balsam of 
Peru, % drm.; carbolic acid, 7% grn.; oil of 
lemon, 15 drops. 

Textile Fibers, Distinction be 

tween, — A. Remont communicates a short 
process to detect or separate these fibers, 
which may suffice for ordinary purposes. The 
fabric to be examined is first dipped, for fifteen 
minutes, in boiling water containing five per 
cent, of hydrochloric acid, for the purpose of 
removing coloring matter and sizing; it is then 
washed and dried. If at all possible, the woof 
is then to be separated from the warp, and 
each examined separately, according to the 
following scheme : 

A. Burn a few fibers. 

1. An odor of burnt urine is developed. If 
this is the case, heat a few fibers with solution 
of soda, and examine the vapor given off; if 
ammonia is present, this indicates the presence 
of an animal fiber. 

B. Dip a few fibers into a boiling solution of 
basic chloride of zinc. 

a. The fiber dissolves completely.— Silk. 

b. On the addition of hydrochloric acid, an 
.abundant iiocculent precipitate is produced. — 
Silk mixed with wood or vegetable fiber. 

c. The chloride of zinc does not dissolve it. 
Remove the fibers to a boiling, moderately di- 
lute solution of soda. 

It dissolves completely. — Wool. 

It dissolves partially.— Wool and cotton. 

2. No odor of burnt urine is developed. — 
Vegetable fiber.— Jour, de Pharm. et de CMm., 
1881, 135. 

Textile Soaps. See Soaps. 

Textiles, to Fireproof. See Fireproof- 
ing. 

Textiles, to Waterproof. See Water- 
proofing. 

Tlieine C 8 Hj N 4 2 .— An alkaloid extracted 
from tea. It is identical with caffeine, and may 
be obtained from tea in the same manner as 
that substance is from coffee. The best gun- 
powder tea contains fully 6% of theine, about 
one-half of which is lost in the present careless 
mode of making infusion of tea for the table. 

Thermometer Scales.— Much annoyance 
is caused by the great difference of thermom- 
eter scales in use in the different civillized 
countries. The scale of Reaumur prevails in 
Germany. As is well known, he divides the 
space between the freezing and boiling points 
into 80°. France uses that of Celsius, who 
graduated his scale on the decimal system. 
The most peculiar scale of all, however, is that 
of Fahrenheit, a renowned German physicist, 
who, in 1714 or 1715, composed his scale, having 
ascertained that water can be cooled under the 
freezing point, without congealing. He there- 
fore did not take the congealing point of 
water, which is uncertain, but composed a mix- 
ture of equal parts of snow and sal ammoniac— 
about 14° R. This scale is preferable to both 
those of Reaumur and Celsius, or, as it is also 
called, centigrade, because: 1. The regular 
temperatures of the moderate zone move with- 
in its two zeros, andean therefore be written 
without + or — . 2. The scale is divided so fine- 
ly that it is not necessary to use fractions 
whenever careful observations are to be made. 
These advantages, although drawn into ques- 
tion by some, have been considered sulliciently 
weightj' that both Great Britain and America 
have retained the scales, while the nations of 
the Continent, France, Spain, etc., use the ol her 
two. 

The conversion of any one of these scales in- 



Thread. 560 



Tinctures. 






to another is very simple, and easily made. To 
change a temperature as given by Fahrenheit's 
scale into the same as given by the centigrade 
scale, subtract 32° from Fahrenheit's degrees, 
and multiply the remainder by |. The pro- 
duct will be the temperature in centigrade 
degrees. 

To change from Fahrenheit's to Reaumur's 
scale, subtract 32° from Fahrenheit's degrees, 
and multiply the remainder by f. The pro- 
duct will be the temperature in Reaumur's de- 
grees. 



with a diamond, the rough back with a file, 
and lightly tap along the furrow with a cold 
chisel. For fixing them where they have to 
stand heat, use Keene's cement. 

Timber, to Fireproof. See Fireproof- 
ing. 

Timber, to Preserve. See Wood, 
Preservation of. 

Tinctures.— Tinctures are alcoholic solu- 
tions of the active medicinal properties of the 
principal ingredients from which they are pre- 



c. 


R. 


F. 


C. 


R. 


F. 


C. 


R. 


F. 


-30 


—24-0 


—22-0 


14 


11'2 


57*2 


58 


46-4 


136 4 


—29 


—23'2 


—20-2 


15 


12-0 


59-0 


59 


47-2 


138-2 


—28 


—22*4 


—18-4 


16 


12*8 


60-8 


60 


48-0 


140 


-27 


—21-6 


—16-6 


17 


13'6 


62-6 


61 


48-8 


141-8 


—26 


—20-8 


—14-8 


18 


14-4 


64-4 


62 


49-6 


143-6 


—25 


—20-0 


—13-0 


19 


15-2 


66.2 


63 


504 


145 '4 


-24 


—19-2 


-112 


20 


16-0 


68-0 


64 


512 


147-2 


-23 


—18-4 


—9-4 


21 


16-8 


69-8 


65 


520 


149 


—22 


—17-6 


—7-6 


22 


176 


71-6 


66 


52-8 


150-8 


-21 


—16-8 


—5-8 


23 


18'4 


73-4 


67 


536 


152 6 


—20 


— 16 


-4-0 , 


24 


19-2 


75-2 


68 


544 


154-4 


—19 


—15-2 


—2-2 ' 


25 


20-0 


77-0 


69 


552 


156-2 


—18 


—14 4 


— 0'* 


.26 


20-8 


78-8 


70 


56-0 


158-0 


— 17 


—13 6 


14 


27 


21-6 


8U-6 


71 


56-8 


159-8 


—16 


—12-8 


32 


28 


22'4 


82-4 


72 


576 


161-6 


—15 


— 12-0 ♦ 


5-0 


29 


23-2 


84-2 


73 


58-4 


163-4 


—14 


—11-2 


6-8 


30 


24-0 


86-0 


74 


59-2 


165-2 


—13 


—10-4 


8-6 i 


31 


24-8 


87-8 


75 


60-0 


167 


-12 


—96 


W4 


32 


256 


89-6 


76 


60-8 


168-8 


—11 


—8-8 


122 


33 


26*4 


91-4 


77 


616 


170 6 


-10 


—8-0 


14-0 


34 


27'2 


93-2 


78 


624 


172-4 


—9 


—7-2 


15-8 


35 


28-0 


95-0 


79 


63-2 


174-2 


—8 


—64 


176 


36 


,28-8 


96-8 


80 


64-0 


176 


—7 


—56 


19-4 


37 


29'6 


98*6 


81 


64-8 


177*8 


-6 


—4'8 


21*2 " 


38 , 


30-4 


100*4 


82 


65-6 


179-6 


-5 


—4-0 


230 


39 


31-2 


102'2 


83 


664 


181*4 


—4 


—32 


24-8 


40 


32-0 


104-0 


84 


67-2 


183-2 


—3 


—24 


26-6 


41 


32-8 


105-8 


85 


68-0 


185-0 


-2 


—16 


28-4 


42 


33-6 


107-6 


86 


68-8 


186-8 


—1 


—0-8 


30-2 


43 


34*4 


109-4 


87 


696 


188*6 





o-o 


320 


44 


352 


111-2 


88 


70-4 


190-4 


1 


0-8 


33*8 


45 


36-0 


113-0 


89 


71-2 


192 2 


2 


1-6 


35'6 


46 


36-8 


114-8 


90 


72 


194-0 


o 


2-4 


37-4 


47 


37 6 


116-6 


91 


72-8 


195 8 


4 


3-2 


39-2 


48 


38-4 


118-4 


92 


736 


197-6 


5 


4-0 


41*0 


49 


39*2 


120-2 


93 


744 


199-4 


6 


4'8 


42-8 


50 


40-0 


122-0 


94 


75 2 


201-2 


7 


5*6 


44-6 


51 


40-8 


123-8 


95 


760 


203 


8 


6'4 


46-4 


52 


416 


125-6 


96 


76-8 


204-8 


9 


7'2 


48-2 


53 


42-4 


127 4 


97 


77-6 


206-6 


"10 


8-0 


50-0 


54 


43-2 


129-2 


98 


78-4 


208-4 


11 


8'8 


51.8 


55 


44-0 


131-5 


99 


79-2 


210*2 


12 


9-6 


536 


56 


44-8 


132-8 


100 


80-0 


2120 


13 


10-4 


55*4 


57 


45*6 


1346 









To change the temperature as given by the 
centigrade scale into the same as given by Fah- 
renheit, multiply the centigrade degrees by | 
and add 32° to the product. The sum will be 
the temperature by Fahrenheit's scale. 

To change from Reaumur's to Fahrenheit's 
scale, multiply the degrees on Reaumur's scale 
by |, and add 32° to the product. The sum will 
be the temperature by Fahrenheit's scale. 

For those who wish to save themselves the 
trouble we have calculated the preceding com- 
parative table. 

Thread, Wax tor. See Waxes. 

Tiers Argent. See Alloys. 

Tiles, to Cleanse. See Cleansing. 

Tiles, Roof, Coating lor.— First dip in 
a hot solution of soft soap, and when dry, dip 
in a strong solution of alum. This treatment has 
proved most successful. 

Tiles, Glazed, to Cut.— Cut the glazed face 



pared. They are compound and simple. The 
menstruum most commonly employed is proof 
spirit (diluted alcohol U. S. P.), sometimes 
called (see alcohol) rectified spirit (alcohol U. 
S. P.), and occasionally ether. Ammonia 
is sometimes conjoined with the spirit, in 
which case the solution is termed an ammo- 
niated tincture. Rectified spirit or druggists' 
alcohol is alcohol with 15/ of water, and its 
specific gravity is - 835. Proof spirit or diluted 
alcohol is* composed of equal parts of rectified 
spirit and water, 0'935. The choice of men- 
struum is usually determined, unless where 
special objects are in view, by their respective 
solvent powers over the ingredients used. Tinc- 
tures may be prepared by digestion, infusion, 
maceration, percolation or displacement, and 
occasionally with either method, with the aid 
of heat. In their preparation by either method, 
the substances acted upon, except balsams, 
oils, etc., should be in the dry state, and made 
into such condition by bruising, slicing, or 
grinding- (in the form of coarse powder usually 



i 






Till. 



561 



Tinning. 



is preferable), that the least impediment shall 
be offered to the action of the menstruum. 
When the substance is fluid, as certain balsams, 
and the essential oils in preparing- the so-called 
essences, the solutions are made by merely 
mixing them with the alcohol. 

To Clarify Tinctures.— In ordinary cases it is 
sufficient for clarifying purposes to allow the 
tincture to stand undisturbed for a few days, 
and then pour off the clear portion, through 
an ordinary filter bag, but a more transparent 
preparation is made by passing it through 
filter paper. ) 

1. To Keep Tinctures. — Tinctures should be 
kept in closely stoppered bottles in order to 
prevent evaporation, by which their relative 
strength would be greatly increased. In the 
case of laudanum and paregoric, serious, and 
even fatal accidents have occurred from neg- 
lect of this precaution. 

2. General Directions for Preparing.— The fol- 
lowing general directions in the preparation 
of tinctures are given in the United States 
Pharmacopoeia. 

Tinctures, when prepared by maceration, 
should be frequently shaken during the pro- 
cess, which should be conducted in glass vessels 
well stopped. When displacement (percola- 
tion) is employed, great care should be taken 
to observe the directions given, so that the 
substances treated may be, as far as possible, 
exhausted of their soluble principles, and a 
perfectly clear tincture obtained. 

Canthc rides, Tincture of. — 
Spanish flies (in coarse powder) . . *4 oz. 

Proof spirit 1 pt. 

Macerate, with agitation, for a week, and 
then filter, with expression. Added to pom- 
mades, oils, and washes, to promote the 
growth of the hair ; but it is inconveniently 
weak for the purpose. It is poisonous if swal- 
lowed. 

Iodine, Tincture of.— 

Iodine ^ oz. 

Iodide of potassium *4 oz. 

Rectified spirit 1 pt. 

Mix, and agitate until solution is complete. 
This is the tinctura iodi of the British Ph. The 
compound tincture {tinctura iodinii composita) 
of the London Ph. contains 4 times this quan- 
tity of the iodide. The tinctura iodinei of the 
Edin. Ph. contains 1J4 oz. (troy) of iodine per 
pt. (without any iodide), or about 2^4 times 
more iodine than the former. Used externally 
as a paint (iodine paint), and caustic ; internal- 
ly, in doses of 5 to 20 drops in scrofula, enlarg- 
ed and indurated glands, etc. 

Tinctures, to Dilute.— The rule is to reduce 
the strength of the tincture one hundred times 
at every dilution, thus : 1 part (by weight) of 
standard tincture (=a)+100 parts diluent = a 1 ; 
1 part a 1 +100 parts diluent=a 2 , and so on. 
The diluent is usually either water or a spirit 
just strong enough to hold the substances in 
solution. 

Tin, Fluxes for. See Fluxes. 

Timber, to Test the Soundness of.— 

To test the soundness of a piece of timber, ap- 
ply the ear to the middle of one of the ends, 
while another person strikes upon the oppo- 
site extremity. If the wood is sound and of 
good quality, the blow is very distinctly heard, 
however long the beam may be. If the wood is 
disaggregated by decay or otherwise, the 
sound will be for the most part destroyed. 

Tin Amalgam. See Amalgam, 

Tin, to Bronze. See Bronzing. 

Tin, to Clean. See Cleansing. 

Tin, to Japan. See Japanning. 

Tin, Lacquer for. See Lacquering. 

Tinning, to Tin Gray Iron Castings. 
—1. Cleanse the castings by pickling in dilute 
sulphuric acid (1 to 20 of water) and scouring 



with sand if necessary. Then boil them in con- 
centrated aqueous solution of stannate of 
soda, with a quantity of granulated tin. To 
copper iron castings, clean the iron as above 
and tumble it for a few minutes in sawdust 
moistened with a solution of copper in two 
gallons of water made slightly acid with sul- 
phuric acid. Wash immediately in hot water. 

2. To tin small castings, clean and boil them 
with scraps of block tin in a solution of cream 
of tartar. 

To Tin Iron Cold.— Take equal parts of quick- 
silver and block tin and melt them together. 
Mix also equal parts of muriatic acid and 
water. Apply the amalgam with a clean rag 
steeped in the acid mixture. 

Tacks, to Tin. — A process of tinning iron 
tacks is to triturate chloride of zinc with a 
large quantity of oil and heat it in an oscillat- 
ing vessel. As soon as this has reached the 
proper temperature, throw in the tacks and 
the necessary quantity of metallic tin, and 
after a few seconds dip them out with wire 
gauze and cast them in water. 

To Give Tin a Crystalline Appearance.— 1. The 
moire metallique, or crystallized tin plate, is 
much used for trunks and fancy articles, and 
is usually prepared from well annealed and 
well tinned charcoal iron plates, by rinsing 
the plates with dilute nitric or nitro-muriatic 
acid, and then with water. The cleansed plates 
are dipped for a few moments in aqua regia 
(nitric acid) and muriatic acid, 3 parts, diluted 
with 1 to 3 volumes of water and heated to 
about 180° F., and after a short exposure, rinsed 
in running water. Repeat, if necessary, until 
the crystals are properly developed; then rinse 
in hot water, and dry in the air. Then oil or 
lacquer. Hot tannin or caustic soda solutions 
may also be used to develop the crystalline 
structure. 

Tin, Crystals on.— 2. Dip the warm plate in 
nitro-muriatic acid diluted with 2 volumes soft 
water just long enough to develop the larger 
figures; then immediately plunge into a large 
quantity of cold water, after which dip in 
boiling water, which on removal will cause the 
plate to dry spontaneously. Lacquer immedi- 
ately. A similar result is obtained by exposing 
the plate as it comPS from the tin bath, and 
while the metal is still in a semi-fused condition, 
to jets of cold air for a few moments. 

3. Crystallized tin plate has a variegated prim- 
rose appearance, produced upon the surface by 
applying to it in a heated state some dilute 
nitro-muriatic acid for a few seconds, then 
washing it with water, drying, and coating it 
with lacquer. The figures are more or less di- 
versified, according to the degree of heat and 
relative dilution of the acid. The Iron and Steel 
Trade Journal (London) tells how this crystal- 
lization is produced. Place the tin plate, slight- 
ly heated, over a tub of water, and rub its sur- 
face with a sponge dipped in a liquid composed 
of 4 parts nitric acid and 2 parts distilled water, 
holding 1 part common salt or sal ammoniac in 
solution. When the crystalline spangles seem 
to be thoroughly brought out, the plate must 
be immersed in water, washed either with a 
feather or a little cotton, taking care n®t to 
rub off the film of tin that forms the feather- 
ing, forthwith dried with a low heat, and 
coated with a lacquer varnish; otherwise 
it loses its luster in the air. If the whole 
surface is not plunged at once in cold water, 
but is partially cooled by sprinkling water on 
it, the crystallization will be finely variegated 
with large and small figures. Similar results 
will be obtained by blowing cold air through a 
pipe on the tinned surface, while it is just>pass- 
ing from the fused to the solid state. 

4. Sulphuric acid, 4 oz.; soft water, 2to 3 oz M 
according to strength of the acid ; salt, 1J4 oz. 
Mix; heat the tin hot over the stove. Apply 
the mixture with a sponge, and wash off at 
once with clean Avater. Dry the tin, and var- 
nish with dammar varnish. 



Tinning. 



562 



Tinning*. 



5. Moire Metallique.— This is produced by the 
action, for a few seconds, of dilute nitro- 
muriatic acid on tin gently heated, then wash- 
ing in hot water, drying, and lacquering. The 
degree of heat and the strength of the acid 
modify the appearance. The following is the 
most approved method of producing this 
effect : The plate iron to be tinned is dipped 
into a tin bath, composed of 200 parts of pure 
tin, 3 parts of copper, and 1 part of arsenic. 
Thus tinned, the sheet iron is then submitted 
to the seven following operations : 

a. Immersing in lye of caustic potassa, and 
washing. 

0. Immersing in diluted aqua regia, and wash- 
ing. 

c. Immersing in lye of caustic potassa, and 
washing. 

cL Quickly passing through nitric acid, and 
washing. 

e. Immersing in a lye of caustic potassa, and 
washing. 

/. Immersing in aqua regia, and washing. 

g. Immersing in a lye of caustic potassa, and 
washing. 

The coat of oxide must be entirely re- 
moved at each washing, and the last washing 
should be in hot water. The varnish recom- 
mended is copal in spirit.— Herberger. 

Tin Plating Processes.— Perhaps the best and 
cheapest substitute for silver as a white coat- 
ing- for tableware, culinary vessels, and the in- 
numerable articles of manufacture requiring 
such a coating is pure tin. It does not com- 
pare favorably with silver in point of hardness 
or wearing qualities, but it costs very much 
less than silver, is readily applied, and easily 
kept clean and bright. 

There are several methods in use by which 
small articles, wire, etc., of iron, copper, brass, 
zinc and composition, are tin plated. These 
are : 1. By contact with melted tin. 2. By tin 
amalgam. 3. By simple immersion. 4. By 
battery. 

The contact process is that by which all sheet 
tin, or, more properly, tinned sheet iron is pro- 
duced. 

1. In tinning hollow ware on the inside the 
metal is first thoroughly cleansed by pickling 
it in dilute sulphuric acid, and scouring it with 
fine sand. It is then heated over a fire to about 
the melting point of tin, sprinkled with pow- 
dered rosin, and partly filled with melted 
pure grain tin covered with rosin to prevent 
its oxidation. The vessel is then quickly 
turned and rolled about in every direction, so 
as to bring every part of the surface in contact 
with the molten metal. 

The greater part of the tin is then thrown 
out, and the surface rubbed over with a brush 
of tow to equalize the coating. The operation 
is repeated, if necessary. The vessels usually 
tinned in this manner are of copper and brass, 
but with a little care in cleansing and manipu- 
lating, iron can also be satisfactorily tinned in 
this manner. 

The vessels must be hot enough to keep the 
tin contained in them fused." 

2. The amalgam process is not used so much 
as it was formerly. It consists in applying to 
the clean and dry metallic surface a film of a 
pasty amalgam of tin with mercury, and then 
exposing the surface to heat, which volatilizes 
the latter, leaving the tin adhering to the 
metal. 

3. The immersion process is best adapted to 
coating articles of brass or copper. When im- 
mersed in a hot solution of tin properly pre- 
pared the metal is precipitated upon their sur- 
faces. One of the best solutions for this pur- 
pose is the following : 

Ammonia alum 17M oz. 

Boiling water 12^6 oz. 

Protochloride of tin 1 oz. 

The articles to be tinned, first thoroughly 
cleansed, are put into the hot solution until 
properly whitened. 



4. A better coating can be obtained by us- 
ing the following bath, and placing the pieces 
in contact with a strip of clean zinc, also im- 
mersed : 

Bitartrate of potassium 14 oz. 

Water (soft) 24 oz. 

Protochloride of tin 1 oz. 

It snould be boiled for a few minutes before 
using. 

5. The following is one of the best solutions 
for plating with tin by the battery process : 

Potassium pyrophosphate 12 oz. 

Protochloride of tin 4^j oz. 

Water 20 oz. 

The anode or feeding plate used in this bath 
consists of pure Banca tin. This plate is joined 
to the positive (copper or carbon) pole of the 
battery, while the work is suspended from a 
wire connected with the negative (zinc) pole. 
A moderately strong battery is required, and 
the work is finished by scratch-brushing. 

6. In Weigler's process a bath is prepared by 
passing washed chlorine gas into a concen- 
trated aqueous solution of stannous chloride 
to saturation, and expelling excess of gas by 
warming the solution, which is then diluted 
with about ten volumes of water and filtered, 
if necessary. The articles to be plated are 
pickled in dilute sulphuric acid, and polished 
with fine sand and scratch -brush, rinsed in 
water, loosely armed with zinc wire or tape, 
and immersed in the bath for ten or fifteen 
minutes at ordinary temperatures. The coat- 
ing is finished with the scratch-brush and whit- 
ing. 

By this process iron— cast or wrought— steel, 
copper, brass, and lead can be tinned without 
a separate battery. The only disadvantage of 
the process is that the bath soon becomes clog- 
ged up with zinc chloride, and the tin salt must 
be frequently renewed. 

7. In Hern's process a bath composed of — 

Tartaric acid 2 oz. 

Water 100 oz. 

Soda 3 oz. 

Protochloride of tin 3 oz. 

is employed instead of the above. It requires 
a somewhat longer exposure to properly tin 
articles in this than in Weigler's bath. Either 
of these baths may be used with a separate 
battery. 

Tinnirtg Iron Articles by Simple Immersion. 
— A solution is first made by dissolving with 
the aid of heat, in an enameled pan, proto- 
chloride of tin (fused), 2% grm.; ammonia 
alum, 75 grm.; water, 5 liters. The chloride of tin 
is readily made by dissolving grain tin in hy- 
drochloric acid, with the aid of heat, care 
being taken to have an excess of metal in the 
dissolving flask. When the bubbles of hydro- 
gen gas which are evolved cease to be given 
off, the action is complete. If the solution be 
evaporated at a gentle heat until a pellicle 
forms on the surface, and the vessel then set 
aside to cool, needle like crystals are obtained, 
which may be separated from the mother 
liquor by tilting the evaporating dish over a 
second vessel of the same kind. When all the 
liquor has thoroughly drained, it should in its 
turn be again evaporated, when a fresh crop 
of crystals will be obtained. The crystals 
should, before weighing, be gently dried over a 
sand bath. When the solution of tin and alum 
has been brought to a boil, the iron articles, 
after being well cleaned and rinsed in water, 
are to be immersed in the liquid, when they 
quickly become coated with a delicately white 
film of a dead or matted appearance, which 
may be rendered bright by means of bran in a 
revolving cask, or in a leathern bag shaken by 
two persons, each holding one end of the bag. 
To keep up the strength of the tinning bath, 
small quantities of the fused chloride of tin 
are added from time to time. 

Copper, Retinning.—l. Make the copper chem- 



Tin. 



563 



Toilet. 



ically clean by washing with a saturated solu- 
tion of zinc in muriatic acid, the acid to ue 
weakened with water to half strength after 
the dissolving of the zinc. Heat the copper 
vessel and pour in a small quantity of metal, 
of tin, 1 part, lead 1 part, and shake or tip 
the vessel until the tinning runs over the parts. 
Or, wipe the melted tin over the bare places 
with a cotton canvas pad. 

2. The best way to tin old copper utensils is 
to thoroughly clean them with sand and oxalic 
acid, and tin with a large copper soldering 
iron, using chloride of zinc and sal ammoniac 
(soldering fluid) for flowing the tin. I It can 
also be done by heating the vessel and flushing 
melted tin over the surface, first sprinkling it 
with powdered resin. You may succeed in this 
after a few trials. 

Tin ? Oxymurlate. — This name is applied 
to a more or less perfect bichloride of tin, in 
solution. For the use of tissue printers, it is 
generally prepared by the action of nitric 
acid upon tin crystals, with due precautions. 
The names nitro-muriate, perchloride and per- 
muriate are sometimes given to similar prepara- 
tions. 

Tin Powder.— 1. (Ph. E). Melt grain tin in 
an iron vessel, pour it into an earthenware 
mortar heated a little above its boiling point, 
and triturate briskly as the metal cools; 
lastly, sift the product, and repeat the process 
with what remains in the sieve. 

2. (Ph. D.) Melt grain tin in a black lead cru- 
cible and, while it is cooling, stir it with a rod 
of iron until it is reduced to powder; let the 
finer particles be separated by means of a sieve, 
and when, after having been several times in 
succession shaken with distilled water, the de- 
canted liquor appears quite clear, let the pro- 
duct be dried for use. 

Tin, to Plate with.. See Electro- 
Metallurgy. 

Tin 9 to Prepare for Tinning.— To pre- 
pare tin for tinning brass, copper and iron. — 
Melt the metal in a crucible which has pre- 
viously been slightly warmed; and at the mo- 
ment the metal begins to set, and when it is 
very brittle, pound it up rapidly, and sift when 
cold t'o remove any large particles. 

Tin, to Solder. See Soldering. 

Tin Tree.— 1. Chloride tin, 3 drm. 

2. Nitric acid, 10 drops. 

3. Piece of zinc attached to copper wire. 

Put No. 1 into a glass vessel with sufficient 
water to 3 parts fill; then add No. 2; shake 
well until dissolved. Now place No. 3 through 
a cork and insert in solution, so that no part 
shall touch top, bottom or side of glass vessel. 
Let the whole rest quietly for a short tin*e. 
The tree will grow and have a very lustrous 
appearance. 

Tinning. See Tin, above, Tinning and Tin 
Plating processes. 

Tin Types. See Photography. 

Tisanes (Ptisans). — Fluid medicines, con- 
sisting for the most part of aqueous infusions, 
or decoctions of substances possessing little ac- 
tivity, and intended to be drunk in consider- 
able quantity. They are much used in France. 

Tissier's Metal. See Alloys. 

Toilet and Toilet Preparations. See 
Cosmetics, and also the following : 

Abrasions, Bandoline (see Hair), Baths, Bay 
Rum (see Hair), Bites and Stings, Boils, Breath, 
Smoker's; Bruises, Burns and Scalds, Chaps,Chil- 
blains, Cold Sores, Cologne, Corns, Cosmetique, 
Court Plaster (see Plasters), Dandruff (see 
Hair), Depilatories (see Hair), Escharotics, Ex- 
tracts, Essences, Eyelashes, Freckles, Feet, 
Hair, Hands (see Skin), Moles, Naevus (see 
Skin), Nails, Oils— Hair (see Hair) ; Pastils, Fu- 
migating, Perspiration, Powders, Pomades, 
Poultices, Rouges and Face Paints, Sachet 
Powders (see Powders), Scalp, Smelling Salts (see 



Salts), Skin, Sweating (see Perspiration), Tattoo 
Marks, Teeth, Warts, Wrinkles. 

French Toilet Articles.— Mr. Martensou, of St. 
Petersburg, who, it will be remembered, was 
one of the Russian delegates to the Interna- 
tional Pharmaceutical Congress, has been an- 
alyzing a number of French preparations for 
the toilet, most of which are familiar to our 
readers, at any rate by name and repute. 

1. Eau de Fleurs de Lys — (Planchon & Riet, 
Paris.)— An infallible banisher of freckles, etc., 
etc. The bottle contains 100 grin, of u 
milky fluid, made up of 97% water, 2'ofo precipi- 
tated calomel, and a small quantity of common 
salt and corrosive sublimate, and scented with 
orange flower water. 

2. Eau de Blanc de Perles. -The bottle contains 
120 grm. of a weak alkaline solution, with a 
thick deposit of lo% of carbonate of lead, and 
scented with otto of roses and geranium. 

3. Nouveau Blanc de Perle, Extra Fin.— (Lubin, 
Paris.)— The bottles contain 35 grm. of a liquid 
consisting of water, holding in suspension 
about equal parts of zinc oxide, magnesic car- 
bonate, and powdered talc, perfumed with 
otto of roses. 

4. Lait de Perles.— A close imitation of No. 3, 
the bottle holding nearly three times the quan- 
tity for the same price. The amount of the 
precipitate in this case is 20$. 

5. Lait de Perles.— (Legrand, Paris.)— The bot- 
tles contains 65 grm. of a thick white fluid, the 
precipitate from which consists of zinc oxide 
and bismuth oxychloride, and is scented with 
rose water. 

6. Lait Antiphelique.—(Can6.es & Co., Paris.) — 
Each bottle contains 110 grm. of a milky fluid, 
smelling strongly of camphor, and having an 
acid reacton. It contains alcohol, camphor, 
ammonic chloride, %% of corrosive sublimate, 
albumen, and a little free hydrochloric acid. 

7. Lait de Concombres.— The bottle contains 160 
grm. of a very inelegantly made emulsion, 
smelling of very common rose water, with an 
unpleasant twang about it, and giving a 
strongly alkaline reaction. It consists of soap, 
glycerin, and cotton seed oil, made into a semi- 
emulsion. 

8. Crime de Fleurs des Lys, Blanc de Ville Onc- 
tueux. — About 30 grm. of a kind of weak oint- 
ment contained in a small pomatum pot prettily 
ornamented. It is simply a salve made of wax 
oil, and possibly lard, mixed with a large pro- 
portion of zinc oxide, and smelling of inferior 
otto of roses. 

9. Pate de Velonas.— This paste consists of al- 
mond, and possibly other meal, mixed with soap 
powder, and has a strong, alkaline reaction. It 
is scented with orris root. 

10. Rouge Vegetal.— The box contains 8^ grm. 
of raspberry colored powder, consisting chiefly 
of China clay and talc, tinted to the proper 
depth with extract of cochineal. 

11. Rouge Extra Fin Fonce.—A small square 
bottle containing 11 grm. of a deep red solu- 
tion, smelling of otto of roses and ammonia. It 
consists of a solution of carmine in ammonia, 
with an addition of a certain amount of alco- 
hol. 

12. Rouge de Dorin, Extract des Fleurs des 
Indes.—A round pot containing a porcelain 
disk, covered with about 6 grm. of a bright red 
paste, which is a mixture of carthamin or 
safflower with talc. This rouge, which differs 
from all the others, is harmless and effectual, 
but must bear a high profit, seeing that the 
ingredients cost only a few cents, while it 
sells in St. Petersburg at a dollar a pot. 

13. Etui Mysterieux ou Boite de Maintenon.— 
A prettily got up box containing red and white 
paint, and two sticks of black and blue cos- 
metic for the eyebrows and veins, with camel's 
hair pencils for applying the latter. Sells in 
St. Petersburg at $1.10. 

11. Philidore.—Rannle Specitique pourbtn- len 
Pellicules de la tete. etc. — The bottle contains 
100 grm. of a strong alkaline solution smelling 



Tobacco. 



564 



Transferring. 






strongly of ammonia, and containing potash, 
ammonia, alcohol, glycerin, and eau de co- 
logne. 

15. Colorigene Rigaud.—A blue bottle contain- 
ing 160 grm. of a clear fluid with a slight black 
deposit, consisting of a mixture of equal parts 
of a 11% solution of sodic hyposulphate and 4% 
solution of lead acetate. Of course the longer 
this solution is kept the more lead sulphate it 
deposits. It sells in St. Petersburg at $1.60 per 
bottle. It is also stated to be much more 
powerful if used in conjunction with the Pom- 
made Miranda Bigaud. This beats Mrs. Allen 
completely out of the field.— Pharmaceutische 
Zeitschrift fur Russland. 

Tobacco, Plug. — Strip the tobacco, sprin- 
kle the leaves with a liquor of white sugar, 
black licorice, and water ; make into rolls, and 
while moist press flat in moulds. 

Toilet Soaps. See Soaps. 
Toilet Powders. See Powders. 
Tokay. See Wines. 
Tombac. See Alloys. 
Tombstones, Ink for. See Inks. 
Toning; Baths. See Photography. 

Tonquinol. — Tonquinol is a new com- 
pound offered as a substitute for musk, and is 
said by the patentees (Germany) to be deriva- 
tive of a nitrited terpene and a nitrited sulpho- 
acid of xylol. Tonquinol is in the form of a 
white crystalline powder, which, after solution 
in 50 parts of alcohol, may be mixed with water 
in all proportions. It is claimed to be very 
permanent and cheaper than Baur's artificial 
musk. 

Tools, to Prevent Rust on. See Rust. 

Tools, Sharpening of.— Glycerine for 
Sharpening Edged Tools,— Instead of oil, 
which thickens and makes the stones dirty, a 
mixture of glycerine and alcohol is used by 
many. The proportions of the mixture vary 
according to the instrument operated upon. 
An article with a large surface, a razor for in- 
stance, sharpens best with a limpid liquid, as 
three parts of glycerine to one of alcohol. For 
a graving tool, the cutting surface of which 
is very small, as is also the pressure exercised 
on the stone in sharpening', it is necessary to 
employ glycerine almost pure, with but two 
or three drops of alcohol. 

Tools, Varnish for. See Varnishes. 

Toothache, Remedies for. See Teeth, 
the. 

Tortoise Shell, Cement for. See Ce- 
ments. 

Tortoise Shell, to Finish .—Tortoise shell 
is finished by scraping. Then it is polished with 
pulverized charcoal and water on a woolen 
cloth perfectly free from grease. This is fol- 
lowed by water and washed chalk or whiting, 
the article being moistened with vinegar. 
Finally it is hand-rubbed with dry whiting or 
rottenstone. 

Tortoise Shell, Imitation of.— 1. The 
dark spots in horn that are made to represent 
tortoise shell are produced by using a strong 
aqueous solution of silver nitrate mixed with 
gum arabic so as to flow properly from a brush. 
A little red lead may be mixed with it to give 
body. After standing an hour soak in soft 
water for several hours before finishing. Pieces 
of horn may be united by softening the edges 
with boiling water and then submitting to pow- 
erful pressure while surrounded with boiling 
water. 

2. The imitation of tortoise shell with horn is 
made as follows: Mix an equal quantity of 
quicklime and red lead with soap lees ; lay it on 
the horn with a small brush in imitation of the 
mottle of the tortoise shell ; when it is dry, re- 
peat it two or three times; or grind 1 oz. of 
litharge and ]4 oz. of quicklime together, 



with q. s. of liquid potassium carbonate to 
make it of the consistence of paint. Put 
it on the horn with a brush in imitation of tor- 
toise shell, and in three or four hours it will 
have produced the desired effect. It may then 
be washed off with clean water ; if not deep 
enough, it may be repeated. The original prep- 
aration consists in roasting the horn over a fire 
made of the stalks of furze; when rendered soft 
it is slit on one side, and kept expanded flat be- 
tween a pair of tongs; it is then placed between 
iron plates, which are greased. The horns are 
suffered to remain until they are cooled ; they 
are then soaked in water enough to be pared 
down to the required thinness, with .a large 
knife worked horizontally on a block. Their 
transparency is thus acquired ; and after being 
immersed in lye, they are polished with whiting 
and the coal of burnt willow. 

Tortoise Shell, Japan. See Japans. 

Tortoise Shell, to Join or Weld.— 1. 
Bring the edges of the pieces of shell to fit each 
other, observing to give the same inclination 
of grain to each; then secure them in a piece 
of paper, and place them between hot irons or 
pincers; apply pressure, and let them cool. 
The heat must not be so great as to burn the 
shell ; therefore try it first on a white piece of 
paper. 

2. Small pieces of good tortoise shell may be 
joined so as to form one large apparently seam- 
less piece in the following manner : Slope off 
the margins of the shells for a distance of about 
a 34 of an in. from the edge. Then place them 
so that the margins overlap one another ; and 
thus arranged put them in an iron press and 
immerse in boiling water for some time. The 
pieces by this means become so perfectly united 
that the joint cannot be seen. The filings and 
very small scraps may be softened in hot water 
and consolidated by hydraulic pressure in metal 
moulds. Protracted heating of tortoise shell 
darkens it, and greatly lessens its beauty. 

Touch Paper. See Pyrotechny. 

Tourbillion. See Pyrotechny. 

To urnay's Metal. See Alloys. 

Toys, Composition for. See Compo* 
sitions. 

Toys, Paints for. See Paints. 

Toys, Varnish for. See Varnishes, 

Tracing Cloth.— 

1. Boiled linseed oil (bleached) ..... .10 lb. 

Lead shavings y% lb. 

Zinc oxide 2J^ lb 

Venetian turpentine 34 lb. 

Boil for several hours, then strain, and dis- 
solve in the strained composition 2^j lb. white 
gam copal. Remove from the fire, and when 
partly cold, add oil of turpentine (purified), 
sufficient to bring it to proper consistence. 
Moisten the cloth thoroughly in benzole and 
give it a flowing coat of the varnish. 

2. Varnish the cloth with Canada balsam dis- 
solved in turpentine, to which may be added a 
few drops of castor oil, but do not add too 
much, or it will not dry. Try a little piece 
first with a small quantity of varnish. The 
kind of cloth to use is fine linen; don't let the 
varnish be too thick. 

Tracing Paper. See Paper, 

Tracings, to Color.— It is always best to 
color tracings on the back, as the ink lines are 
liable to be obliterated when the color is ap- 
plied. Mix the colors very dark, so that they 
may appear of proper depth on the other side. 
If ink or color does not run freely on tracing 
cloth, mix both with a little ox gall. 

Transfer Ink. See Inks. 

Transfer I*aper. See Paper. 

Transferring.— Engravings, to Transfer.— 
Soak the picture in water. Varnish the plate 
of glass with dammar varnish or Canada bal- 



Transferring. 



565 



Transferring. 



sam. When just tacky, remove the picture 
from the water and place it face downward on 
the varnish side of the glass, gently rub it on, 
seeing that no air bubbles are left between 
paper and varnished glass. Let it dry until 
perfectly hard. Then with the wet finger tip 
rub off the paper until little more than the 
design is left. Varnish a second time and allow 
to dry. The result is apt to be either too pale 
or too obscure. 

Transfers to Boxwood, for Engraving.— A so- 
lution of potash or lye is used to soften prints, 
by means of which, and heavy pressure, they 
are transferred to boxwood and then re-en- 
graved by hand. In order to make a printing 
block without re-engraving as above, the pho- 
to process must be employed. 

Transferring to Glass. — Any picture, print or 
even clipping from newspapers, any engrav- 
ing, no matter in how many colors, or on what 
kind of paper, may be transferred to glass, 
says a contemporary, only the treatment of 
the different kinds of paper differs. Proceed 
in the following manner : Place the object to 
be transferred, face downward, upon a larger 
sheet of manila paper; prepare a solution of 
from one to three per cent, of nitric acid in 
water, according to thickness and strength of 
paper, and how strong it was sized ; ordinary 
newspapers and printings or engravings on un- 
sized glaze paper require even less than one 
per cent, nitric acid — one of the purposes of 
adding nitric acid is to remove the sizing out 
.of the paper. This solution apply with a 
sponge to the back of your object to be trans- 
ferred; be careful not to overdo it; you only 
wautto render the paper soft but not wet. 
Continue sponging with this solution until you 
see the printing plainly; that is, until the paper 
becomes quite transparent. 

To prepare the glass for transferring-, proceed 
as follows: Clean the glass plate thoroughly 
with alcohol by means of a ball of clean cotton; 
dry it off well; wash it with turpentine; dry it 
off again; place the glass plate upon a smooth 
elastic layer— for instance, flannel— and with 
this elastic layer upon a table, or better yet, 
upon a rubber blanket in the litho hand-press. 
Now coat the cleaned surface with a thin coat 
of half turpentine and half dammar varnish; let 
it dry from ten minutes to one day according 
to temperature and thickness of dammar var- 
nish. The coating should not be allowed to dry 
entirely; it should be a trifle adhesive. Lay 
your impression face downward upon the 
glass plate; it is important that neither acid 
nor water touches the surface during the en- 
tire process. To properly lay down the im- 
pression, take it up with both hands by holding 
the left hand under corner and the right hand 
upper corner; be careful not to get any air 
buboles under the sheet. This is best accom- 
plished by marking upon the plate the exact 
position and size of the sheet. 

Laying down the paper first, adjust the right 
hand upper corner to the mark on the plate, 
hold it there with the tip of your finger and 
adjust the left hand lower corner, but be care- 
ful to avoid air bubbles. 

Press the sheet to the adhesive dammar coat. 
This may be done in many different manners. 
It does not require a very strong pressure, but 
Of should be observed that each and every spot 
has to be pressed repeatedly against the plate. 
When the paper sticks quite smoothly to the 
plate, fan it perfectly dry, and then, with wet 
finger tips, slowly rub off the paper. 

If this is done with great care, you will re- 
move every vestige of paper, and the print, of 
whatever color or nature it may be, will remain 
on the glass plate. Upon this apply another 
coat of dammar varnish containing very little 
turpentine. With too much turpentine, you 
run the risk of washing the entire picture from 
the plate again. 

Transferring Engravings to Paper. — 1. The 
liquid used for this purpose may be made by 



dissolving 1)4 drm. of common yellow soap in 1 
pt. of hot water, adding when nearly cool, % fl. 
oz. of spirit of turpentine and shaking thor- 
oughly together. Apply the fluid liberally to 
the surface of the engraving or other printed 
matter with a soft brush or sponge (being care- 
ful not to smear the ink, which soon becomes 
softened), and allow it to soak for a few min- 
utes. Then well damp the plain paper, on which 
the transfer is to be made, place it upon the 
engraving and subject the whole to moderate 
pressure for about one minute. On separating- 
them a reversed transfer will be found on the 
paper. The transfer will not be equal in inten- 
sity to the original, as only a part of the print- 
er's ink is removed. If the ink be very old, a 
longer soaking and more pressure may be 
necessary. —English Mechanic. 

2. Engravings may be transferred on white 
paper as follows: Place the engraving a few 
seconds over the vapor of iodine. Dip a slip of 
white paper in a weak solution of starch, and 
when dry, in a weak solution of oil of vitriol. 
When again dry, lay a slip upon the engraving- 
and place both for a few minutes under a 
press. The engraving will be reproduced in all 
its delicacy and finish. 

Transfer Ornamenting.— There are many dif- 
ferent ways of putting on the ornament, some 
preferring one way, others a different method, 
according to circumstances and individual skill. 
We shall endeavor to give the most simple and 
successful method known. 

First, let it be understood that all pictures 
that show the colors complete are only suitable 
for white or very light colored brown ; those 
that are covered with a white grounding, gold, 
metal, or silver leaf, can be used on any color, 
light or dark. After getting the work ready 
for ornamenting, give the picture a smooth, 
thin coat of some quick drying copal varnish, 
thinned with turpentine (other preparations 
are used of which we will speak hereafter), 
being careful not to go beyond the outline of 
the design. Allow it to dry until it has a good 
tack, and put it on the work in its proper 
place. Roll it smooth with an India rubber 
roller, or smooth it with a paper folder, until 
every part adheres well. (For very large 
pieces, it is well to lay them, after they have 
the right tack, between 2 sheets of damp blot- 
ting paper. It will stretch the paper and make 
a smooth transfer.) Now wet the paper, 
smoothing it down at the same time, until it 
has absorbed all the water possible; leave it 
about a minute, and pull off the paper carefully. 
Should any parts of the design still adhere to 
the paper, press it down again, wet-rub it until 
it separates easily. 

After having removed the paper, press the 
design on well and wash and dry it off. Should 
any blisters appear, prick them with a pin and 
press down. In a few hours the design may be 
varnished, which will increase the brilliancy of 
the colors. 

An improved method has been invented by 
Mr. C. P., of New York City, which saves time 
and works with more certainty. The design is 
coated with a transfer cement of his own manu- 
facture, without regard to outline, transferred 
as usual, and the traces of the cement around 
the design washed off, with the detergent (also 
his own invention), which will remove every 
particle of cement without injuring the colors 
or gold in the least. A few drops poured on a 
sponge or chamois skin are sufficient. 

For fine ornaments, having many fine lines 
and touches, it is necessary to use these prepa- 
rations to make a neat job. 

Pictures, to Transfer to Wagons— Cover 
the picture entirely (taking care not to 
go beyond the outlines) with a slight coat of 
fixing varnish, then put the picture on the ob- 
ject to be ornamented, being careful to place 
it properly at once, to avoid spoiling it by 
moving. The varnish newly applied being too 
liquid, the picture should be allowed to dry lor 



Transferring. 



566 



Turbines. 



about ten minutes, and placed on the object to 
be ornamented, when just damp enough to be 
adherent ; this done, cover the back of the pic- 
ture with a piece of cloth steeped in water; 
then, by means of a knife or penholder, rub it 
all over, so as to fix every part of it ; then re- 
move the piece of cloth and rinse the paper 
with a paint brush steeped in water ; at the end 
of a few minutes the paper will come off, leav- 
ing the painting transferi^ed. Care must be 
taken that the piece of cloth, without being 
too wet, is sufficiently so for the paper to be 
entirely saturated. The picture must now be 
washed with a wet brush, and dried very 
lightly with some blotting paper. Keep the 
ornamented article in a warm, dry place, until 
dry. The polishing varnish should not be ap- 
plied until the next day, keeping the pictures 
meanwhile out of the dust. The latter var- 
nish should be applied as lightly as possible. If 
dark colored objects are to be ornamented, the 
picture should first be covered with a mixture 
of white lead and turpentine, following the 
outlines of the design, and covering it entirely. 
When this coat is perfectly dry, proceed as 
above. 

Prints, to Transfer to Glass, Steel, Etc.— 
To transfer prints to polished steel, or to 
glass, make a varnish as follows : Gum sand- 
arac, 4oz.; mastic, 1 oz.; Venice turpentine, 1 
oz.; alcohol, 15 oz.; or any smaller quantity in 
proportion. Digest in a bottle, with frequent 
shaking. Moisten the print slightly upon the 
back by laying a wet cloth upon it ; then var- 
nish the steel plate or glass with a thin even 
coat ; lay the print with the face next to the 
varnish, commencing on one side so as not to 
inclose air bubbles, pressing it down close with 
the fingers if the print is small, or a soft roller 
if the print is large. Be careful that all parts 
of the print are in contact with the varnish. 
JLay aside to dry. After it is dry, wet the back 
with water and cautiously rub the paper off 
with the fingers; rub lightly toward the last 
with plenty of water, and the surface of the 
varnish will come up smooth with the ink of 
the print solidly embedded. Then a thin coat of 
mastic varnish will give it a finish. 

Transferring Prints to Glass. — First coat 
the glass with dammar varnish or else with 
Canada balsam mixed with an equal volume 
of oil of turpentine, and let it dry until it 
is very sticky, which takes half a day or more. 
The printed paper to be transferred should be 
well soaked in soft water and carefully laid 
upon the prepared glass, after removing sur- 
plus water with blotting paper, and pressed 
upon it, so that no air bubbles or drops of water 
are seen underneath. This should dry a whole 
day .before it is touched ; then with wetted 
fingers begin to rub off the paper at the back. 
If this be skillfully done, almost the whole of 
the paper can be removed, leaving simply the 
ink upon the varnish. When the paper has 
been removed, another coat of varnish will 
serve to make the whole more transparent.— 
Nat. Druggist. 

Transferring Writing to Type Metal. — 
Sprinkle the ink lines, while moist, with gum 
arabic in finest powder. When perfectly dry 
dust off excess, stretch the paper on a smooth 
level backing, and pour on the fusible metal. 

Transferring Varnish for. See Var- 
nishes. 

Trappistine. See Iiiquors. 

Treacle.— The name used by the English to 
denote molasses. 

Trees, Cement for e See Cements, 

Trees, Fruit. — Coating for Amputated 
Branches and Wounds in. — Shellac, dissolved in 
alcohol, forms an excellent coating lor ampu- 
tated branches and for wounds of fruit trees, 
making a water-proof artifical skin, under 
which the wood grows until the wound is 
healed. See also Wax, Grafting. 



To Prevent Ants from Injuring.— Make a line 
of gas tar round the stem of the tree, or if it 
be trained on a. wall, make a horizontal line 
near the ground on the wall, and one around 
the stem; this will prevent ants from ascend- 
ing. 

Trees, to Protect, from Mice.— A mixture of 
tallow, 3 parts; tar, 1 part. Applied to the bark 
while hot, will protect fruit trees against mice. 

Tree Stumps, to Remove. See Stumps, 
Removal of. 

Tripe, Curing- of.— In New York it is par- 
tially parboiled, but in some other places only 
washed with cold water before sent to market; 
it is generally cured by pickling in hot vinegar 
and spices, after cooking. 

Tripoli. —The remains of very minute 
shells, which can be easily seen with the aid of 
the microscope. Tripoli is used with oil, then 
dry. It is grayish-yellow in color, and is ex- 
tensively used to polish the softer metals. 

Trituration.— The reduction of friable 
substances with the pestle. A circular or 
rotary motion is given to the pestle. Sand is 
added to reduce resins, but should only be used 
when the resin is afterward to be gotten into 
solution. 

Trona.— A native sodium carbonate, found 
on the banks of the Soda lakes, of Sokena, in 
Africa. 

Troy W eight. See Appendix. 

Tubania. See Alloys. 

Tubes, Zinc, to Bend.— Solder the joint 
evenly, and with as little solder as possible; put 
a cork in one enci, fill with slightly damp sand, 
and ram in tight, closing with another cork; 
heat the tube until just uncomfortably hot to 
the hand, and then bend round a bit of board 
sawn to the curve required. 

Turbines, the Horse Power of.— The 
power of water is its weight multiplied by the 
velocity, and in order to illustrate we will sup- 
pose a turbine wheel, working under 15 ft. 
head, will discharge 3,168 cubic ft. of water per 
minute, and utilize 80$ of the full power of the 
water. Multiply the cubic ft. discharged per 
minute by 62J^, which is the number of lb. each 
cubic ft. of water weighs at the average tem- 
perature, and this product by height of head 
under which the wheels are working, and that 
product divided by 33,000 lb., this number of lb. 
raised 1 ft. high in one minute being 1 horse 
power, which will give the full horse power of 
3,168 cubic ft. per minute, under 15 ft. head; and 
as no wheel will produce 100$, the percentage 
the wheel in question is known to produce or 
utilize must be taken as the actual horse power, 
as in the example here given: 

3168 cubic ft. per minute. 
62^ weight of 1 cubic ft. 

1056 
6336 
19008 

197472 full weight of water. 
15 ft. head. 



987360 
197472 



33000 )2962080( 
261000 



89 76 full value of water. 
80$ utilized. 



322080 71-8080 
297000 



250800 
231000 



net horse power, or 
80$ of the full pow- 
er of water. 



198000 
198000 

It will be seen that the effective horse power 
at 80^ of the full value of the water is 71-80. 



Turmeric. 



56? 



Varnishes. 



We will now suppose the wheel had only uti- 
lized W%, then multiply the full value, 89 76, by 
GO, and the horse power would be 54 - 55. It the 
wheel would utilize 75%, the effective horse 
power would be 67'32. From the explanation 
and example given it can easily be ascertained 
what number of horse power any wheel will 
produce with a given number of cubic ft. of 
water per minute, on any head, provided the 
percentage the wheel in question will utilize is 
known. 

Turmeric.— The root of a plant (Curcuma 
hmija) growing in India, China and Madagascar, 
and now chiefly cultivated in Bengal. The 
roots are long and vary in thickness from that 
of a quill to about half an in. in diameter. 
They are wrinkled, and have joints or ring-like 
swellings at short intervals. Outwardly the 
color is a yellowish gray, while inwardly it is 
of a deep yellowish brown, darkest in the mid- 
die. When reduced to powder it is of a bright 
yellow. See Paper, Test. 

Turner's Cement. See Cement. 

Turpentine.— This valuable fluid is the 
product of several trees, principally Pinus 
palustris and P. tcecla. Most of it comes from 
the United States, generally in large barrels, of 
the consistence of treacle or honey. The oil is 
obtained by distillation and the remainder is 
the common resin; sometimes called rosin, 
which is applied to a variety of uses. There are 
several kinds of turpentine, viz., Venice tur- 
pentine, procured from the Abies la/rix, Stras- 
burg, from Abies pectinata, Bordeaux turpen- 
tine, from ohe Pinus pinaster, and Chio turps, 
from the Pistacia terebinthis. 

Turpentine Chio. (Factitious), Terebinthina 
Chia Factitia. — Black rosin, 7 lb.; melt, remove 
the heat, and stir in balsam of Canada, 7 lb. 
Some add a few drops of the oils of fennel and 
juniper. This article is now very generally 
sold in trade for genuine Chia turpentine. 

Turpentine, Oil of. See Oils. 

Turpentine, Venice, Terebinthina Veneta.— 
Genuine Venice turpentine is the product of 
the Larix Europcea, but this is now scarcely 
ever met with in trade. That of the shops is 
wholly a factitious article, made as follows : 
Black rosin, 48 lb.; melt, remove the heat, and 
add oil of turpentine, 2 gal. 

Tutania. See Alloys. 

Tutenag. See Alloys. 

Tutty Powder.— Impure oxide of zinc. 
A substance which collects in the chimneys of 
the furnaces in which the ores of zinc are 
smelted. 

Twine, Gloss for. —To lib. starch add (at 
blood heat) blood albumen, 2 oz.; water glass 
(syrupy), 3 oz.; curd soap, 34 oz. (dissolved in 
warm water). Beat together and let it stand 
forty-eight hours or more before applying. 

Type Metal. See Alloys. 

Typewriter Ribbons, to Ink. See 
Ink*. 

Umbrellas, Varnish for. See Var- 
nishes. 

Umbrellas, to "Waterproof. See 
"W aterproonng. 

Ultramarine, Artificial. —1. Kaolin, 37 
parts; sodium sulphate, 15 parts; sodium car- 
bonate, 22 parts; sulphur, 18 parts; charcoal, 8 
parts; intimately mix and heat for twenty- 
four to thirty hours in crucibles; the prod- 
uct is then heated in cast iron boxes, at a 
moderate temperature, till the required tint is 
obtained; finally it is pulverized, washed, and 
dried. 

2. Gmelin.— Sulphur, 2 parts; sodium carbon- 
ate (dry), I part ; mix well ; gradually heat 
them in a covered crucible to redness, or till 
the mixture fuses, then sprinkle in by degrees 
another mixture of sodium silicate and alumin- 
ate of soda (containing 72 parts of silica and 
70 parts of alumina), and continue the heat for 



an hour. The product contains a little free 
sulphur, which may be separated by water. 

3. Robiquet.— By exposing to a low red heat, 
in a covered crucible, as long as fumes are 
given off, a mixture of 2 parts pure kaolin 
and 3 parts each of anhydrous sodium carbon- 
ate and sulphur. See also Pigments. 

Usquebaugh. See Liquors. 

Valence. See Quantivalenee. 

Vanilla Beans, to Pulverize.— Rub 
well with a little sugar. 

Varnishes and Varnishing.— Varnish is 
a solution of resin in oil, turpentine, or alcohol. 
The oil dries and the other two solvents evap- 
orate, in either case leaving a solid transparent 
film of resin over the surface varnished. In 
estimating the quality of a varnish the follow- 
ing points must be considered : 

1. Quickness in drying. 

2. Hardness of film or coating. 

3. Toughness of film. 

4. Amount of gloss. 

5. Permanence of gloss of film. . 

6. Durability on exposure to weather. 

The quality of a varnish depends almost en- 
tirely upon that of its ingredients ; much skill 
is, however, required in mixing and boiling the 
ingredients together. Varnish is used to give 
brilliancy to painted surfaces, and to protect 
them from the action of the atmosphere, or 
from slight friction. It is often applied to 
plain unpainted wood surfaces in the roofs, 
joinery, and fittings of houses, and to intensify 
and brighten the ornamental appearance of the 
grain. Also to painted and to papered walls. 
In the former case, it is sometimes flatted, so 
as to give a dead appearance, similar to that 
of a flatted coat of paint. 

Ingredients of Varnish.— Gums are exudations 
from trees. At first they are generally mixed 
with some essential oil ; they are then soft and 
viscous, and are known as balsams; the oil 
evaporates and leaves the resin, which is solid 
and brittle. Resins are often called gums in 
practice, but a gum, properly speaking, is sol- 
uble in water, and therefore unfit for varnishes, 
while resins dissolve only in spirits or oil. Gum 
resins are natural mixtures of gum with resin, 
and sometimes with essential oil found in the 
milky juices of plants. When rubbed up with 
water, the gum is dissolved, and the oil and 
resin remain suspended. 

Solvents must be suited to the description of 
gum they are to dissolve. Boiling linseed oil 
(and sometimes other oils, such as rosemary) is 
used to dissolve amber, gum animi, or copal. 
Turpentine for mastic, dammar, and common 
resin. Methylated spirits of wine for lac and 
sandarac. Wood naphtha is frequently used 
for cheap varnishes; it dissolves the resins 
more readily than ordinary spirits of wine, but 
the varnish is less brilliant, and the smell of the 
naphtha is very offensive; therefore it is never 
employed for the best work. 

Driers are generally added to varnish in the 
form of litharge, sugar of lead, or white cop- 
peras. Sugar of lead not onl y hardens, but com- 
bines with the varnish. A large proportion of 
driers injures the durability of the varnish, 
though it causes it to dry more quickly. 

I. For Body and Luster. — 



Amber. 
Anime. 
Copal. 




Elemi. 

Lac. 

Mastic. 




Sandarac. 


II. For Odor.— Benzoin. 




III. For Tinctorial Effect 


.— 


Annatto. 

Gamboge. 

Saffron. 


S< 
T 


icotrine aloes, 
armeric. 
L-agon's blood. 


Rec 
Coc 
lnd 


1 sandal wood. 

hineah 

igo. 



IV. For Color and Body.— asphaltum. 

V. For Toughness and Elasticity.— Caout- 
chouc. 

Amber.— 1. Amber, 1 lb.; melt, add Scio tur- 
pentine, \i lb.; transparent white resin, 2 oz.; 



Varnishes. 



568 



Varnishes. 



hot linseed oil, lpt,; and afterward oil of tur- 
pentine, q. s., as above. Very tough. 

2. (Hard.)— Melted amber, 4 oz.; hot boiled oil, 
1 qt.; as before. 

3. (Pale.)— Very pale and transparent amber, 4 
oz.; clarified linseed oil and oil of turpentine, 
of each 1 pt.; as before. 

Amber varnish is suited for all purposes, 
where a very hard and durable oil varnish is 
required. The paler kind is superior to copal 
varnish and is often mixed with the latter to 
increase its hardness and durability. (See Am- 
ber.) 

4. Varnish, Black. (Black Amber Varnish.)— 
Amber, 1 lb.; fuse, add hot drying- oil, }4 pt.; 
powdered black rosin and asphaltum (Naples), 
of each 3 oz.; when properly incorporated and 
considerably cooled, add oil of turpentine, 1 pt. 
This is the beautiful black varnish of the coach- 
makers. It is also fit for metals. 

5. (Ironwork, Black.)— Asphaltum, 48 lb.; fuse, 
add boiled oil, 10 gal.; red lead and litharge, of 
each 7 lb.; dried and powdered white copperas, 
3 lb.; boil for two hours, then add dark gum 
amber (fused), 8 lb.; hot linseed oil, 2 gal.; boil 
for two hours longer, or till a little of the 
mass, when cooled, may be rolled into pills ; 
then withdraw the heat, and afterward thin 
down with oil of turpentine, 30 gal. Used for 
the ironwork of carriages and other nice pur- 
poses. 

6. (Black Japan.)— Naples asphaltum, 50 lb.; 
dark gum anime, 8 lb.; fuse, add linseed oil, 12 
gal.; boil, add dark gum amber, 10 lb.; pre- 
viously fused and boiled with linseed oil, 2 gal.; 
add the driers and proceed as last. Used for 
wood or metals. 

7. Pale Amber Varnish.— Fuse 6 lb. of fine 
picked, very pale, transparent amber in the 
gum pot, and pour in 2 gal. of hot clarified oil. 
Boil it until it strings very strong. Mix with 4 
gal. of turpentine. This will be as fine as body 
copal, will work free and flow well upon any 
work it is applied to; it becomes very hard, is 
durable, and is excellent to mix in conal var- 
nishes, to give them a hard and durable quality. 
Amber varnish will always require a long 
time before it is ready for polishing. 

8. Tough Amber Varnish.— Amber, V/% lb.; 
melt, add Scio turpentine, % lb.; transparent 
white resin, 3 oz.; hot linseed oil, 1}4 pt.; add suf- 
ficient oil of turpentine to make of the proper 
consistency. Very tough. 

Aniline Varnishes. — 1. These are very useful, 
as the color is intense, even when in a very thin 
film. Use alcohol to dissolve the shellac or 
sandarac. Prepare also an alcoholic solution 
of the aniline colors; add this to the varnish. 
Warm the object slightly. 

2. Oollodion can also be used to carry the ani- 
line colors, and gives a very thin coating. 

Aniline Black Varnish. — An aniline black 
varnish of recent Parisian production is the 
following : Dissolve 6% drm. avoirdupois ani- 
line blue, 1% drm. f uchsine, and 4>£ drm. naph- 
thaline yellow, in 1 qt. alcohol. The whole is 
dissolved by agitation in less than twelve hours. 
One application renders an object ebony black; 
the varnish can be filtered and will never de- 
posit afterward. 

Anti-rust Varnish.— Take the first three in- 
gredients in a pounded condition, and digest 
them by a regular heat until melted, then add 
the turpentine very gradually, stirring all the 
while. Rosin, 120 parts; sandarac, 180 parts; 
gum lac, 60 parts; essence of turpentine, 120 
parts. The mixture should be digested until 
dissolution, then add rectified alcohol, 180 parts. 
Filter through fine cloth or thick bibulous 
papers, and preserve in well stoppered bottles 
or cases. 

Asphalt Varnish.— 1. Boil coal tar until it shows 
a disposition to harden on cooling; this can be 
ascertained by rubbing a little on a piece of 
metal. Then add about 20% of lump asphalt, 
stirring it with the boiling coal tar until all the 
lumps are melted, when it can be allowed to cool 



and kept for use. This makes a very bright 
varnish for sheet metals, and is cheap and dur- 
able. 

2. Asphalt Varnish for Metals.— Boil ordinary 
tar until on cooling it shows a tendency to 
harden, add about £ asphaltum shaved fine 
until all is melted; then cool. 

Asphalt Varnish for Microscopists. — (Car- 
penters—Dissolve y% drm. caoutchouc in min- 
eral naphtha, and then add 4 oz. asphaltum, 
using heat if necessary. 

Balloon Varnish.— 1. Good boiled linseed oil, 
if allowed a sufficient time to dry and harden, 
forms an excellent varnish for balloon cases. 

2. India rubber, 1 lb., cut small; oil of tur- 
pentine, 6 lb.; boiled drying oil, 1 gal. Digest 
the Indian rubber in the turpentine, in a warm 
place, for a week, frequently shaking the ves- 
sel during the whole time, then place it in a 
water bath and gradually heat it until the 
solution be completed; next add the oil, pre- 
viously made warm, gently simmer for five 
minutes, stirring all the while, after which 
closely cover it over, and when cold strain it 
through flannel. 

3. Birdlime, 1 lb.; boiled linseed oil, 3 pt.; tur- 
pentine, q. s. Boil the birdlime with 1 pt. of 
the oil in an iron pot, over a slow fire, for 
about half an hour, or until the former ceases 
to crackle, then add the rest of the oil, pre- 
viously heated, and again boiled for one hour, 
stirring well all the time, being careful that it 
does not boil over, as it is very liable to do so. 
When it has boiled sufficiently, may be known 
by its admitting of being drawn into threads 
between two knives. As soon as this occurs, 
remove the pot from the fire, and when cooled 
a little, add a sufficient quantity of spirits of 
turpentine, warm, to reduce it to a proper 
consistence, and work it well up. 

These varnishes are better applied lukewarm 
to the silk, previously stretched out tight. In 
about twenty-four hours they will dry. 

Bamboos, Varnish for.— A varnish prepared 
by dissolving 3 oz. white shellac in 10 fl. oz. of 
methylated spirits, applied to the bamboo with 
a camel's hair brush, will give you a beautiful 
transparent coating, while showing the natural 
color of the wood. 

Basket Varnish — 

Orange shellac 8 oz. 

Yellow resin 1 oz. 

Benzoin J^ oz. 

Bismarck brown 34 oz. 

Methylated spirit 1^ pt. 

Vegetable naphtha J^pt. 

Bessemer 's Varnish.— This consists of a pale oil 
copal varnish, diluted with about six times its 
volume of oil of turpentine, the mixture being 
subsequently agitated with about ^ part of dry 
slaked lime, and decanted after a few days' re- 
pose. Five parts of the product mixed with 4 
parts of bronze powder forms Bessemer's gold 
paint. 

Black Varnish.— 1. In an iron pot, over a slow 
fire, boil 45 lb. of foreign asphaltum for at 
least six hours, and during the same time boil 
in another iron pot 6 gal. of oil which has been 
previously boiled; during the boiling of the 6 
gal. introduce 6 lb. of litharge gradually, and 
boil until it feels stringy between the fingers; 
then ladle it into the pot containing the boil- 
ing asphaltum. Let both boil until, upon trial, 
it will roll into hard pills; then cool, and mix 
with 25 gal. of turpentine, or until it is of a 
proper consistence. 

2. Black varnish suitable for covering places 
where a japanned surface has been injured or 
scratched: Fine lampblack or ivory black, 
thoroughly mixed with copal varnish. The 
black must be in fine powder, and it would mix 
the more readily if made into a pasty mass with 
turpentine. 

3. Black varnish can be made by putting 48 
lb. foreign asphaltum into an iron pot and 
boiling for four hours; during the first two 






Varnishes. 



569 



Varnishes. 



hours*introduce 7 lb. of ,red lead, 7 lb. litharge, 
3 lb. dried copperas, and 10 gal. boiled oil; add 
one 8 lb. run of dark gum with 2 gal. of hot oil. 
After pouring the oil and gum, continue the 
boiling two hours, or until it will roll into hard 
pills like japan. When cool, thin it off with 30 
gal. of turpentine or until it is of proper con- 
sistence. This varnish is specially adapted for 
iron work. 

4. Black Varnish for Coaches.— 

Asphaltum — V/% oz. 

Amber 40 , oz. 

Resin TVs oz. 

Drying linseed oil 1*4 pt. 

Melt together in an iron pot. When partly 
cool, add warm oil of turpentine; 134 pt. 

5. Black Varnish for Coal 'Buckets.— 

Asphaltum V/i lb. 

Lampblack % lb. 

Resin . . M lb. 

Spirits of turpentine V& qt. 

Dissolve the resin and asphaltum in the tur- 
pentine; form a paste with the lampblack and 
linseed oil, q. s.; mix with the other. Apply 
with a brush. 

6. Black Japan Varnish. — 

Naples asphaltum 50 lb . 

Dark gum anime 8 lb. 

Fuse, add 12 gal. linseed oil ; boil, then add of 
dark gum amber, 10 lb., previously fused and 
boiled in 2 gal. linseed oil; next add q. s. of 
driers and thin with oil of turpentine. 

7. Black Varnish for Shoe and Harness 
Edges.— Cut in.— 

Ninety -eight per cent, alcohol... }& pt- 

Shellac 1)4 oz. 

Rosin 1 oz. 

Pine turpentine. )4 oz. 

Lampblack % oz. 

This varnish may also be applied to cloth or 
wood, where a gloss is desired, after painting. 

8. Black Varnish for Straw Hats. — 

Best black sealing wax }£ oz. 

Rectified 90$ alcohol 2 oz. 

Powder the sealing wax, and put it with the 
90$ alcohol in a phial; digest them in a sand 
bath, or near a fire till the wax is dissolved; lay 
on warm with a fine, soft hair brush before a 
fire or in the sun. 

9. Black Varnish for Zinc— Bottger.— Dis- 
solve 2 parts copper nitrate and 3 parts cop- 
per chloride (cryst.) in 64 parts water, and add 
8 parts nitric acid. 

10. Puscher.— Dissolve equal parts of potassi- 
um chlorate and copper sulphate in 36 times as 
much water, warm, and the solution is left to 
cool. Immerse the articles in the solution, and 
when black, rinse with water and dry. 

11. Brunswick Black— Black pitch and gas 
tar asphaltum, 25 lb. of each; boil gently for 
five hours, then add 8 gal. linseed oil ; litharge 
and red lead, 10 lb. of each; boil, and when 
cooled a little, thin with 20 gal. oil of turpen- 
tine. 

12. Many recipes for making this varnish do 
not mention the secret, viz., to boil the as- 
phaltum until all the moisture is driven off. 
Take 7 lb. pitch and 7 lb. asphaltum, boil in an 
iron pot for seven to ten hours, with frequent 
stirring. When all moisture is out, add 2 gal. 
boiled oil, previously heated; then add 2% lb. 
red lead and 2)4, lb. litharge, and boil for three 
hours, or until some of it will set hard. Then 
let it cool down, and add 5 gal. turpentine, or as 
much as will reduce it to the consistence best 
suited for your work. This varnish should dry 
in twenty minutes to one hour, according to 
the state of the atmosphere. You can try 
leaving out the red lead, but add the extra in 
asphaltum, and also vary the quantity of oil. 
If wanted good and cheap, and twenty-four 



hours will suit, add more oil, less turps. — 
Mayer. 

13. A brilliant black varnish for iron, stone, 
or wood can be made by thoroughly incorpor- 
ating ivory black with common shellac var- 
nish. The mixture should be laid on very thin. 
But ordinary coal tar varnish will serve the 
same purpose in most cases quite as well, and 
it is not nearly so expensive. 

Brilliant Varnish, Soft. — Sandarac, 6 oz.; 
elemi (genuine), 4 oz.; anime, 1 oz.; camphor, 
\i oz.; alcohol, 1 qt. 

Body Varnish.— Prep. 1. Finest African copal, 
8 lb.; fuse carefully, add clarified oil, 2 gal.; 
boil gently for four hours and a half, or till 
quite stringy, cool a little and thin with oil of 
turpentine, 314 gal. Dries slowly. 

2. Pale gum copal, 8 lb.; clarified oil, 2 gal.; 
dried sugar of lead, J^ lb.; boil as before, then 
add oil of turpentine, 3 X A gal., and mix it while 
still hot with the following varnish: 81b. pale 
gum anime; linseed oil, 2 gal.; dried white cop- 
peras, Mlb-? boil as before and thin with oil of 
turpentine, 3)4 gal.; the mixed varnishes are to 
be immediately strained into the cans or cis- 
tern. 

Bookbinder' 1 's Varnish. — 1. Pale gum sanda- 
rac, 3 oz.; alcohol, 20 fl. oz.; dissolve by cold 
digestion and frequent agitation. 

2. Dissolve pale shellac in wood naphtha. 

3. Mastic, 6 oz., in drops; 3 oz. coarsely pounded 
glass, separated from the dust by a sieve; 32 
oz. 90$ alcohol. Place the ingredients in a sand 
bath over a fire and let them boil, stirring them 
well. When thoroughly mixed introduce 3 oz. 
spirits of turpentine, boil for half an hour, 
remove from the fire, cool, and strain through 
cotton cloth. 

4. Three pints of 90$ alcohol, 8 oz. sandarac, 
2 oz. mastic, in drops, 8 oz. shellac, and 2 oz. 
Venice turpentine. Prepare as for No. 1. 
Apply lightly on the book with a piece of cot- 
ton wool, a small sponge, or a brush. 

Varnish, for Bookbinders, Colorless.— 5. Mr. A. 
Schmidt gives the following directions for mak- 
ing these and several other beautiful varnishes : 
For l*/2 lb. good shellac take 2 oz. crj'stallized 
carbonate of soda and M 8'al. water; put the 
whole in a clean iron or copper vessel of double 
the capacity, and under constant stirring, 
bring it to boiling over a slow fire, The shellac 
will dissolve, and if it is intended to make col- 
orless French varnish, the solution has to be 
run through a woolen cloth. For brown book- 
binders' varnish, or a colorless varnish for 
maps, photographs, etc., the solution has to 
boil for about an hour longer but only sim- 
mering, and then to cool very slowly without 
stirring; better let it stand overnight, and let 
the fire go out under it. In the morning a 
wax like substance will be found on the sur- 
face of the solution, and the other impurities 
of the shellac as a deposit on the bottom of the 
vessel. The solution is likewise to be run 
through a woolen cloth and then filtered. 
To make a transparent brown varnish— book- 
binders 1 varnish— this filtered solution has to 
be precipitated with diluted sulphuric acid 
(1 part acid to 20 parts water), the precipitate 
collected on a coarse muslin cloth, and washed 
out with cold clear water till it runs through 
without taste. Then fill a stone or wooden 
vessel with boiling water, and throw the pre- 
cipitate in it; it will directly soften and stick 
together; this half mass has to be kneaded in 
the hands, doubled up, melted, and drawn out 
till it assumes a fine silky luster, then drawn 
out to the desired thickness in sticks, like 
candy, and it is then ready for solution. To 
make the bookbinders 1 varnish, dissolved part 
of the precipitate in 1)4 parts 95% alcohol. To 
make the colorless varnish, dissolve % part of 
the precipitate in the same quantity of alcohol. 
Add 3 drm. lavender oil to each pint. The col- 
orless varnish will look like whey, but more 
transparent. 

Boots, Varnish for.— There is no waterproof 



Varnishes. 



570 



Varnishes. 



varnish that does not more or less injure the 
leather. 

Beeswax 18 parts. 

Spermaceti 6 parts. 

Oil of turpentine .' 66 parts. 

Asphalt varnish 5 parts. 

Powdered borax 1 part. 

Vine twig, black 5 parts. 

Prussian blue 2 parts. 

Nitro benzol 1 part. 

Melt the wax, add powdered borax, and stir 
till a kind of jelly has formed. In another pan 
melt the spermaceti, add the ashpalt varnish, 
previously mixed with oil of turpentine ; stir 
well, and add the wax. Lastly, add the color, 
previously rubbed smooth with a little of the 
wax. Perfume with nitro benzol. Apply in 
small quantities, wipe with a cloth, and brush. 

Bottle Caps, Varnish for.— 

Gamboge 2 parts. 

Ruby red shellac 2 parts. 

Venice turpentine 1 part. 

Strong alcohol 20 parts. 

Bottles, Varnish, Stoppers for.— Varnish bot- 
tles are best closed with stoppers formed of 
good and pure wax, or corks may be used which 
have previously been dipped in molten wax. 
If corks are employed with no wax coating, 
they very often stick fast in the bottles, and 
particles are often removed which render the 
varnish impure. 

Brass Colored Varnish.— Dissolve 1 oz. each of 
pale shellac and gum sandarac in % pt. of 
■9056 alcohol. 

Bronze for Statuary, Varnish.— Cut best hard 
soap, 50 parts, into fine shavings; dissolve in 2 
parts water ; add solution blue vitriol, 15 parts 
in water, 60 parts ; wash with water, dry slow. 
Dissolve in turpentine. 

Bronze Varnish for Small Castings.— Ten parts 
diamond f uchsin and 5 parts Hof mann's methyl 
violet are dissolved in water or sand bath in 
100 parts alcohol of 95$; then add 5 parts benzoic 
acid, and boil from 5 to 10 minutes, until 
the whole has acquired a brilliant bronze color. 
This varnish adheres firmly to all articles, 
possesses a beautiful gloss, and is very durable. 

Brown Hard Spirit Varnish.— 1. Sandarac. 
4oz.; pale seed lac, 2 oz.. elemi, 1 oz.; alcohol, 
lqt.; digest with agitation till dissolved, then 
add Venice turpentine, 2 oz. % 

2. Gum sandarac, 3 lb.; shellac, 2 lb.; recti- 
fied spirit (65 over proof), 2 gal.; dissolve, add 
turpentine varnish, 1 qt.; agitate well and 
strain. Very fine. 

3. Seed lac and yellow resin, of each V/% lb.; 
rectified spirit, 2 gal. 

4. Gum juniper, 6 oz.; shellac, 6 oz.; salt of 
tartar, J^oz.; Venice turpentine, 1% oz.; and 4 
pt. of 90% alcohol, mixed together. 

Cabinet Makers' 1 Varnish.— Very pale shellac, 
5 lb.; mastic, 7 oz.; alcohol, of 90$, 5 or 6 pt.; 
dissolve in the cold with frequent stirring. 
Used for French polishing, etc. It is always 
opaque. A similar varnish, made with weaker 
spirit, is used by bookbinders to varnish mo- 
rocco leather book covers. 

Carriage Varnish, Best Pale.— Eight lb. of 
second sorted African copal, 2J-6 gal. of 
clarified oil; boil till very stringy. One 
fourth lb. of dried copperas, Ya lb. of 
litharge, 5^ gal. of turpentine; strained. 
Eight lb. of second sorted gum anime, 2^ 
gal. of clarified oil. 34 lb. of dried sugar of lead, 
34 lb. of litharge, 5Y> gal. of turpentine; mix 
with the first while hot. This varnish will dry 
hard, if well boiled, in four hours in summer 
and six in winter. As its name denotes, this is 
intended for the varnishing of the wheels, 
springs, and carriage parts of coaches, chaises, 
etc.; also it is that description of varnish which 
is generally sold to and used by house painters 
and decorators, as from its drying quality and 
strong gloss it suits their general purposes 
well. 

Second Carriage Varnish.— Eight lb. second 



sorted gum anime, 2% gal. of fine clarified oil, 
5J4 gal. of turpentine, 34 lb. of litharge, 34 lb. 
of dried sugar of lead, 34 lb. of dried copperas; 
boil and mix as before. When three runs 
are poured into the boiling pot, the regular 
proportion of driers put in, and well boiled, 
this varnish will dry hard and firm in four 
hours in winter, and in two in summer; it is 
principally intended for varnishing dark car- 
riage work or black japan, and is also used by 
house painters for dark work. 

Quick Drying Carriage Varnish.— Eight lb. of 
fine pale gum anime, 2 gal. of clarified oil, 33^ 
gal. of turpentine; to be boiled four hours. 
This, after being strained, is put into the two 
former pots, and well mixed together; its effect 
is to cause the whole to dry quicker and firmer, 
and enable it to take the polish much sooner. 

Canada Balsam Varnish.— Ground Glass, to 
Bender Transparent.— Take 4 oz. Canada bal- 
sam and bake in oven until quite brittle 
when cooled Dissolve this in 12 oz. benzole in 
which 12 oz. mastic has been previously dis- 
solved. 

Changing Varnish.— To Imitate Gold or Silver. 
— Put 5 oz. ' gum gamboge in 40 oz. spirits of 
turpentine; 134 oz. annatto into 10 oz. spirits 
turpentine; 5 oz. dragon's blood into 40 oz. 
spirits of turpentine; make the 3 mixtures in 
separate vessels. The mixtures must be kept 
in a warm place and exposed to the sunlight 
for 2 or 3 weeks. Add together such quantities 
of each mixture as will produce the desired 
color. 

Chimneys and Stove Pipes, Varnish for.— 
Asphaltum 2 lb., boiled linseed oil 1 pt., oil of 
turpentine 2 qt. Fuse the asphaltum in 
an iron pot, boil the linseed oil, and add while 
hot. Stir well and remove from the fire. 
When partially cooled add the oil of turpen- 
tine. 

Chinese.— 1. Disolve 1 part of shellac and a 
small piece of camphor in 15 parts alcjhol. Let 
the bottle remain in the sun for 2 days, shaking 
frequently; then sti'ain. After standing, pour 
off the clear portion. 2. Two oz. mastic and 
gum sandarac ; 20 f 1. oz. strong alcohol ; dis- 
solve. Dries in six minutes. 

Collodion.— Add 1 oz. castor oil to 1 qt. collo- 
dion. This is a very useful varnish for varnish- 
ing maps, etc. 

Colorless Varnish, Luning's.— Dissolve 23^ oz. of 
shellac in 1 pt.90$ alcohol, boil a few minutes with 
5 oz. of well-burnt and recently heated animal 
charcoal. A small portion of the solution should 
then be filtered, and if not colorless, more char- 
coal must be added. When all color is removed 
press the liquor through a piece of silk, and 
afterward filter through fine blotting paper. 
This kind of varnish should be used in a room 
at least 60° F., perfectly free from dust. It 
dries in a few minutes, and is not liable after- 
ward to chill or bloom. It is particularly 
applicable to drawings and prints that have 
been sized, and may be advantageously used 
upon oil paintings which are thoroughly hard 
and dry, as it brings out the colors with the 
purest effect. This quality prevents it from 
obscuring gilding, and renders it a valuable 
varnish for all kinds of leather, as it does not 
yield to the warmth of the hand and resists 
damp, which subjects leather to mildew. Its 
useful applications are very numerous, indeed 
to all the purposes of the best hard spirit var- 
nish. 

Colorless Varnish for Leather.— Pale shellac, 
5 oz.; borax, 1 oz.; water, 1 pt.; digest nearly at 
the boiling point, until dissolved, then strain. 

Colpins s India Rubber Varnish.— Fuse India 
rubber in a closed vessel for about 3 hours. 
Then remove and stir for about 10 minutes, 
close and repeat the operation each day untii 
small bubbles appear on the surface; then strain. 

Common Work, Varnish for.— This varnish is 
intended for protecting surfaces against at- 
mospheric exposure. It has been used for coat- 
ing wood and iron work with great advantage. 



Varnishes, 



571 



Varnishes. 



Take 3 lb. of resin and powder it, place it in a 
tin can, and add zj4 pt. of spirits of turpentine, 
well shake, and let it stand, occasionally shak- 
ing it for a day or two. Then add of boiled oil 
5 qt., well shake altogether, and allow it to 
stand iu a warm room till clear. The clear por- 
tion is decanted and used, or reduced with 
spirits of turpentine until of the proper con- 
sistency. 

Common Varnish. — Digest shellac, 1 part, 
with alcohol, 7. or 8 parts. 

Composition Varnish.— Gum copal, 90 lb.; al- 
cohol, 9 gal.; benzine, 10 gal.; and, by process of 
churning, amalgamate them into varnishJ Then 
take gum gamboge, 6 lb.; orange aniline, 6 oz.; 
alcohol, 1 gal. When this mixture is thorough- 
ly dissolved, filter it into the varnish and mix 
well together. This composition of materials 
secures a compound which, in cheapness, hard- 
ness of surface obtained by its application, and 
in its adaptability for protecting and embel- 
lishing the surface of walnut and other woods, 
is a valuable substitute for gum shellac varnish. 
The color may be changed by using for orange 
a different shade of aniline.— Mayer andLowen- 
stein. 

Confectioner •?/, Varnish for. — Take ^ lb. or 
more of gum benzoine, put it into a bottle and 
cover it with fourth proof alcohol, cork up 
tightly and let it digest for at least two weeks, 
shaking up once or twice a day. After which 
time you may pour gently off any quantity you 
may require for present use. It should be the . 
thickness of thin syrup; if used too thick, it is 
apt to appear in streaks on the work when dry; 
if too thick, dilute it with alcohol. This var- 
nish is perfectly harmless and very fragrant, 
resembling somewhat the odor of vanilla. It 
will also keep for years, growing better with 
age. It is a nice varnish for all kinds of choco- 
late work and candies, pulled and clear. It 
iorms, when dry, a thin glossy film or skin over 
them, which prevents the access of the mois- 
ture of the surrounding atmosphere, and tends 
to keep them from becoming sticky for a much 
longer period of time.— British Confectioner. 

Copal Varnish, Quick Drying.— Eight lb. best 
African copal, 2 gal. clarified oil, J4 lb. dried 
sugar* of lead, 3J^ gal. turpentine, boiled 
till stringy, and mixed and strained; 81b. fine 
gum anime, 2 gal. clarified oil, M lb. white cop- 
peras, 3}£ gal. turpentine; boiled as before; to 
be mixed, and strained while hot, into the other 
pot. These two pots mixed together will dry 
in six hours in winter and in four in summer; 
it is very useful for varnishing old work on 
dark colors. 

White Copal Varnish.— 

Copal 4 oz. 

Camphor ^ oz. 

White drying oil 3 oz. 

Essential oil of turpentine 2 oz. 

Reduee the copal to powder, mix the cam- 
phor and drying oil, then heat on a slow fire, 
and add the oil of turpentine, and strain. 

Copal Varnish.— Dissolve 1 part of cam- 
phor in 12 parts (by weight) of ether; to 
the solution add 4 parts of clear copal, pre- 
viously powdered fine. Leave the mixture in 
a moderately warm place in a well-stoppered 
bottle, frequently agitating until the copal is 
partially dissolved. Then add 4 parts of ab- 
solute alcohol and 14 of a part of essence of 
turpentine. The result should be a viscid 
liquid, almost homogeneous. If this be set 
aside for a few days it will separate into two 
layers, the lower of which contains the most 
copal, but the higher stratum will be found to 
give the most brilliant varnish, although it is 
at the same time as limpid water. 

Copal Varnish with Ammonia.— Grind copal 
to a course powder and pour ammonia over it 
until the whole mass is swelled up. Heat this 
to about 100° F., then add alcohol until the 
mixture is of the desired consistency. 

Best Body Copa). Varnish for Coach Makers. 



—Fuse 8 lb. of fine African gum copal : add 2 
gal. of clarified oil; boil very slowlv for 4 
or 5 hours, until quite stringy ; mix off with 
3^ gal. of turpentine; strain off, and pour it 
into a cistern. 

Varnish, Copal.— 1. Turpentine.— Oil of tur- 
pentine, 1 pt.; set the bottle in a water bath, 
and add in small portions at a time, 3 oz. of 
powdered copal that has been previously melt- 
ed by a gentle heat, and dropped into water ; in 
a few days decant the clear. Dries slowly, but 
is very pale and durable. Used for pictures, 
etc. 

2. Oil.— Pale hard copal, 2 lb.; fuse, add hot 
drying oil, 1 pt.; boil as before directed, and 
thin with oil of turpentine, 3 pt., 12 oz., or q. s. 

3. Clearest and palest African copal, 8 lb.; 
fuse, add hot and pale drying oil, 2 gal.; boil 
till it strings strongly, cool a little, and thin 
with hot rectified oil of turpentine 3 gal., and 
immediately strain into the store can. Very 
fine. Both the above are used for pictures. 

4. Spirit.— Coarsely powdered copal and glass, 
of each 4 oz. ; alcohol, of 90%, 1 pt. ; cam- 
phor, y» oz.; heat it in a water bath so that the 
bubbles may be counted as they rise, observing 
frequently to stir the mixture ; when cold de- 
cant the clear. Used for pictures. 

5. Copal melted and dropped into water, 3 oz.; 
gum sandarac, 6 oz.; mastic and Chio turpen- 
tine, of each2^oz.; powdered glass, 4 oz.; al- 
cohol, of 85#, 1 qt.; dissolve by a gentle heat. 
Used for metal chairs, etc. 

Copal Varnish (Spirit).— 1. Melt in an iron 
pan at a slow heat, copal gum, powdered, 8 
parts, and add balsam capivi, previously 
warmed, 2 parts. Then remove from the fire, 
and add spirits of turpentine, also warmed 
bef oi'ehand, 10 parts, to give the necessary con- 
sistence. Gum copal is made more soluble in 
spirits of turpentine by melting the powdered 
crude gum, and allowing it to stand for some 
time loosely covered. 

2. Pounded copal, 24 parts ; spirits of turpen- 
tine, 40 parts ; camphor, 1 part. 

3. Copal in powder, 16 parts ; camphor, 2 
parts ; oil of lavender, 90 parts. Dissolve the 
camphor in the oil, heat the latter, and stir in 
the copal in successive portions until complete 
solution takes place. Thin with sufficient tur- 
pentine to make it of proper consistence. 

Cotton Cloth, Varnish for (so that it can be 
written on).— Apply to the fabric a preparation 
of gum (gum arabic and water) and allow it to 
dry, then press the place with a moderately hot 
iron. If the fabric is glazed or starchy, it is 
best to wash out the starch before applying the 
preparation. 

Crystal Varnish.— 1. Genuine pale Canada 
balsam and rectified oil of turpentine, equal 
parts; mix, place the bottle in warm water, 
agitate well, set it aside, in a moderately warm 
place, and in a Aveek pour off the clear. Used 
for maps, prints, drawings, and other articles 
of paper, and also to prepai'e tracing paper 
and to transfer engravings. 

2. Mastic, 3 oz.; alcohol, 1 pt.; dissolve. Used 
to fix pencil drawings. 

Dammar Varnish.— Gum dammar, 10 parts; 
gum sandarac, 5 parts; gum mastic, 1 part. 
Digest at a low heat, occasionally shaking, 
with spirits of turpentine, 20 parts. Add spirits 
of turpentine until of the consistence of 
syrup. 

Dark Varnish for Light Woodwork.— Pound 
up and digest shellac, 16 parts; gum sandarac, 
32 parts ; gum mastic, 8 parts ; gum elemi, 8 
parts ; dragon's blood, 4 parts ; annatto, 1 part; 
with white turpentine, 16 parts ; and alcohol, 
256 parts. Dilute with alcohol if required. 

Davies" 1 Varnish.— India rubber shreds, 30 grn.; 
Egyptian asphaltum, 4 oz.; solvent naphtha 
(mineral), 10 oz. Dissolve the India rubber in 
the naphtha, then add asphaltum, use heat if ne- 
cessary, but look out for fire, better use a water 
bath. 

Dead Surf ace Varnish.— Varnishes that leave 



Varnishes. 



572 



Varnishes. 



a dead surface on drying, capable of substitu- 
tion for ground glass, as for glass stereographs, 
and of use in retouching negatives, may be 
made by mixing solutions of resine with liquids 
in which they are insoluble. A solution of san- 
darac resin in ether, when mixed with one 
fourth as much benzole, affords an excellent 
imitation of ground glass ; one of dammar resin 
in benzole, when mixed with ether, also gives 
a good dead surface ; water instead of the ether 
renders it, at the same time, semi-opaque. A 
mixture of benzole with common negative 
varnish frequently, but not always, gives a 
beautiful dead surface. In all cases a great 
deal depends on the purity of the ingredients. 
It is recommended to dissolve from 3 to 5 parts 
of sandarac in 48 parts of ether, and to add 24 
parts of benzole ; or as much as may be neces- 
sary to produce the desired result. The follow- 
ing, by Hughes, is said to give a perfectly color- 
less varnish of this kind : Ether, 560 grn.; ben- 
zole, 240 grn.; sandarac, 40 grn; Canada balsam, 
10 grn.; the resins are first to be dissolved in the 
ether, and the benzole added to the solution. 

Drawings, Varnish for.—l. Put a drop or two 
of acetic acid in the ink, and when the drawing 
is dry varnish with mastic varnish. 

2. Boil parchment cuttings until a size is pro- 
duced. 

Dry Plates (Ashman's), Varnish for.— 
Commercial japanner's gold size. 2 parts. 

Refined benzole 2 parts. 

This should be applied when the plate is thor- 
oughly dry but not warm. Drain off the excess 
of varnish and let the plate dry overnight. See 
also Negative Varnishes, below. 

Dull Varnish.— A varnish which does not re- 
flect light is prepared by mixing a solution of 
resin with some liquid in which resin is insol- 
uble. A mixture of 3 to 5 parts of sandarac 
dissolved in 48 parts of ether and 2% parts of 
benzole resembles ground glass when dry. A 
solution of dammar resin in benzol mixed with 
ether gives a good dull varnish. Water renders 
the varnish semi-opaque. Hughes recom- 
mends the following receipt : 

Ether 560 grm. 

Benzol 240 grm. 

Sandarac 40 grm. 

Canada balsam 10 grm. 

Science Record, 1874. 

Earthenware, Varnish for.— Equal parts pul- 
verized glass and soda are mixed. The mixture 
is then dried over a good fire and spread upon 
burnt vessels while they are still hot. 

Electrical Varnish. — A varnish formed by dis- 
solving orange shellac in 95$ alcohol is indis- 
pensable for all kinds of electrical work, and 
for finishing wood and metal work. It jnay be 
readily colored by the addition of pigments. 
For brown the red and black may be mixed; 
for purple the red and blue; for yellow, finely 
powdered yellow ocher or chrome yellow may 
be added; for a dead black varnish, alcohol, 
with a small percentage of shellac varnish 
added, mixed with calcined lampblack, answers 
an excellent purpose. 

Engraving on Copper, Varnish for. — 

Yellow wax 1 oz. 

Mastic 1 oz. 

Asphaltum >£ oz. 

Melt, pour into water and form into balls for 
use. A softer varnish for engravers is made 
with— 

Tallow 1 part. 

Yellow wax. . ..... . 2 parts. 

Or— 

Wax 2 oz. 

Common turpentine 1 drm. 

Olive oil 1 drm. 

Engraver's Stopping-OutVamish.— Take lamp- 
black and turpentine to make a paste. 



Engraving on Glass, Varnish for.— 

1. Wax 1 oz. 

Mastic 3^ oz. 

Asphaltum J4 oz. 

Turpentine ^ drm. 

2. Mastic 15 parts. 

Turpentine 7 parts. 

Oil of spike 4 parts. 

3. Asphaltum 1 oz. 

Wax 4 oz. 

Mastic 2 oz. 

Turpentine 2 drm. 

Engravings and Drawings, to Varnish.— Size 
with weak isinglass size (1 oz. to the pint of 
water), give 2 coats, then varnish with mastic 
varnish. 

Etching Varnish (Lawrence).-* 
1. White wax 2 oz. 

Black pitch ^ oz. 

Burgundy pitch ^ oz. 

Melt together, add by degrees powdered as- 
phaltum, 2 oz., and boil till a drop taken out on 
a plate will break when cold by being bent 
double two or three times between the fingers; 
it must then be poured into warm water and 
made into small balls for use. 

2. Callot's and Florentine Hard Varnish.— 

Linseed oil 4 oz. 

Mastic . .4 oz. 

Melt together. 

3. Callot's Soft Varnish.— 

Linseed oil 4 oz. 

Gum benzoin y% oz. 

White wax X oz. 

Boil to %. 

Fans, Varnish for.— Fifteen parts mastic are 
dissolved with 40 parts sandarac in 250 parts of 
alcohol, and 20 parts of Venice turpentine are 
added. 

Ferrotype Varnish.— A varnish may be made 
as follows: 

Alcohol (95$ strong) 50 parts. 

White shellac 12 parts. 

To which add a few drops of oil of lavender. 

Finishing Varnish, to Harden.— A newly var- 
nished carriage is liable to spot. To prevent 
this, some wash the carriage two or three 
times in clean cold water, applied with a sponge 
instead of using a hose; this will help harden 
the surface and prevent it, to some extent, 
from being injured by the mud or water get- 
ting splashed on the job. Never let mud dry 
on the surface, and then wash off expecting to 
see no spots on the varnish. You will certainly 
be disappointed, and the only way to remedy 
the evil will be to have it revarnished. Soft 
water is better than hard water for the wash- 
ing of carriages, as the lime which is in the 
hard water is very liable to injure the varnish. 

Flanders Varnish.— Dissolve grain mastic in 
alcohol; this operation is requisite to detach 
the impurities in the resin. The proportion of 
spirit ought to be sufficient to cover the mas- 
tic, and 34 part more. 

Flexible Varnish.— See also Balloon Varnish 
and India Rubber Varnish. 

1. India rubber (cut small), 1)4 oz.; 20 fl. oz. 
chloroform, ether, or carbon bisulphide ; digest 
without heat until the solution is complete. 

2. Same, only substituting gutta percha for 
India rubber. 

3. Dissolve 1 oz. India rubber in 1 pt. benzol by 
digesting with gentle heat. This varnish dries 
badly. 

4. Linseed oil, I gal.; 3 oz. each crude zinc sul- 
phate and lead acetate; 8 oz. litharge; boil 
with constant agitation until it strings well, 
then cool si o wly, and decant the cool portion. 
If too thick, thin with quick-drying linseed oil. 
Use great caution in preparing all varnishes 
which require the use of such inflammable ma- 
terials as carbon bisulphide.. 



Varnishes. 



573 



Varnishes. 



5. Pure Indian rubbber in shavings, 1 oz.; 
mineral naphtha, 2 lb.; digest at a gentle heat 
in a close vessel till dissolved, and strain. 

6. Indian rubber, 1 oz.; drying oil, 1 qt.; dis- 
solve by as little heat as possible, employing 
constant stirring, then strain. 

7. Linseed oil, 1 gal.; dried white copperas and 
sugar of lead, of each 3 oz.; litharge, 8 oz.; boil 
with constant agitation till it strings well, then 
cool slowly and decant the clear. If too thick, 
thin it with quick-drying linseed oil. The 
above are used for balloons, gas bags, etc. 

Flowers, Varnish for.— The following varnish 
is recommended for coating the stalks of 
flowers for the preservation of their color and 
general character : 



Isinglass 

Concentrated glycerine . 



.11 oz. 
9 oz. 



The isinglass to be softened by first soaking 
it in cold water, and then dissolved in the gly- 
cerine by digestion and agitation with the lat- 
ter heated to 212° Fah. over a water bath. 
"When properly prepared this varnish is color- 
less, and when cold resembles rubber in all but 
color. Another varnish recommended for this 
purpose i6 prepared from— 

Bleached gutta percha 1 oz. 

Deodorized benzole. 7 oz. 

The gutta percha is cut into fine shreds and 
gradually added to and agitated with the sol- 
vent kept hot or (warm) over a sand bath — away 
from fire. The whole flower may be dipped 
into this varnish, shaken, and exposed to the 
air to dry. Another preparation suggested for 
this purpose is plain collodion diluted J^$ and 
mixed with 2% of camphor, also dissolved in a 
small quantity of ether and alcohol. 

Gilt Articles, Varnish for.— Gum lac, 125 parts; 
gamboge, 125 parts; dragon's blood, 125 parts; 
annatto, 125 parts; saffron, 32 parts. Dissolve 
each resin in 1,000 parts, by measure, of absolute 
alcohol; 2 separate mixtures must be made 
with the dragon's blood and annatto, in 1,000 
parts of such alcohol; and a proper proportion 
of each should be added with the gamboge to 
the varnish, according to the shade of color 
required. 

Varnish for Imitating Gilding.— A very per- 
fect imitation of gilding on brass and bronze 
articles, it is said, may be made by means of a 
varnish composed of 80 grn. of gum lac, 20 grn. 
of dragon's blood, 5 grn. of turmeric, and 1,660 
grn. of acohol. The metal should be brushed 
with the varnish in all directions, by means 
of a sponge, and then immediately warmed 
over a gentle charcoal fire. The surface at first 
will appear dead, but will soon resemble the 
finest gilding. The varnish should be kept in 
well-corked bottles. 

Glass, Varnish for.—l. Dissolve tragacanth in 
white of an egg beaten up to a froth. Allow it 
to stand for 24 hours. 

2. Pulverize a quantity of gum adragant, and 
let it dissolve for 24 hours in the Avhite of 
eggs, well beaten up; then rub it gently on the 
glass with a soft brush. Not recommended. 

Glass Varnish.— 1. A name applied to a solu- 
tion of sodium silicate, or water glass. 

2. Fuse together 15 parts of powdered quartz 
(or of fine sand), 10 parts of potash, and 1 of 
charcoal. Pulverize the mass, and expose it for 
some days to the air: treat the whole with cold 
water, which removes the foreign salts, etc. 
Boil the residue in 5 parts of water until it 
dissolves. It is permanent in the air, and not 
dissolved by cold water. Used to protect wood, 
etc , from fire. 

Globes, Varnishing.— Varnish them with white 
hard varnish. It would be advisable to touch 
the chafed places up first with a little gum 
water, in which a little sugar candy is put, be- 
fore revarnishing, to keep the paper from ab- 
sorbing the varnish. 



1. Gold Varnish.— 

Shellac 16 parts. 

Gum sandarac ." 3 parts. 

Mastic 3 parts. 

Crocus 1 part. 

Gum gamboge 2 parts. 

All bruised, with alcohol, 144. 

2. Seed lac 8 parts. 

Sandarac 8 parts. 

Mastic 8 parts. 

Gamboge 2 parts. 

Dragon's blood 1 part. 

White turpentine 6 parts. 

Turmeric 4 parts. 

Bruised, with alcohol, 120. 

3. Turmeric 1 drm. 

Gamboge 1 drm. 

Oil turpentine 2 pt. 

Shellac 5 oz. 

Sandarac 5 oz. 

Dragon's blood 7 drm. 

Thin mastic varnish 8 oz. 

Digest with occasional agitation, for four- 
teen days, in a warm place, then set aside to 
fine, and pour off the clear. 

4. Pulverize 1 drm. of saffron and ^ drm. of 
dragon's blood, and put them into 1 pt. 90% 
alcohol ; add 2 oz. of gum shellac and 2 drm. of 
socotrine aloes ; dissolve the whole by gentle 
heat. Yellow painted work varnished with 
this mixture will appear almost equal to gold. 

Gold Frames, Varnish for Restoring Whitened 
German.— Reduce 30 grn. gamboge and ^ oz. 
dragon's blood to coarse powder, and add to 
30 grn. turmeric powder, and 2^ oz. each of 
shellac and sandarac. Place in a bottle with 1 
pt. turpentine, and, keeping it in a warm 
place for 14 days, shake at intervals, filter, 
and add 4 oz. mastic varnish. This is to be ap- 
plied with a brush to metal coated frames. 

Greenhouses, Varnish for. — Mix together 6 oz. 
finely grated cheese, 3 oz. slaked lime, and 6 oz. 
boiled linseed oil. Mix, and gradually add b oz. 
each of the whites and yelks of eggs; liquefy 
this mixture by heat. Though the ingredients 
of this varnish are somewhat peculiar, it is said 
to produce an excellent transparent varnish. 

Ground Glass Varnish.— 

Sandarac 90 grn. 

Mastic 20 grn. 

Ether 2 oz. 

Benzole }4 to V/% oz. 

The proportion of the benzole added deter- 
mines the nature of the matt obtained. 

Guaiacum Varnish.— Gum guaiacum, 2 oz.; 
shellac, 2 oz.; methylated spirit, 10 oz. Powder 
the gum, dissolve in the spirit, filter, add the 
shellac. Keep in jar surrounded by warm water 
until dissolved. 

Gun Barrels, Varnishes for.— To make a good 
varnish for gun barrels, take- 
Shellac V4 oz. 

Dragon's blood 3 drm. 

. Rectified spirit 1 qt. 

Apply after the barrels are browned. 

Gun Stocks, Varnish for.— Five oz. shellac, Y 2 
oz. sandarac, Venice turpentine, 1 drm.; alcohol, 
2qt. 

Gutta Percha Varnish. — Clean J4 lb. gutta 
percha in warm water from adhering impuri- 
ties, dry well, dissolve in 1 lb. rectified resin oil, 
and add 2 lb. linseed oil varnish, boiling- hot. 

Hats (Straw), Varnish for— Dissolve 1 oz. seal- 
ing wax in 4 oz. strong alcohol. Digest with 
heat over a sand bath. 

Hair Varnish— One part fine chopped hog's 
bristles, drying oil, 10 parts; dissolve by heat. 
Used to give the appearance of horse hair to 
cloth. 

Hare's Colorless, for Photograplis. — Dissolve 
shellac by the aid of heat in 8 parts water and 1 
part pearlash. Precipitate by chlorine and 
dissolve in alcohol. 

Harness Varnish— 1. Isinglass, 1 oz.; indigo, 1 



"Varnishes. 



574 



"Varnishes. 



oz.; logwood, 1 lb.; best glue, 1 lb.; soft soap, 8 
oz.; vinegar, 2 qt.; mix by heat and strain. 

2. Alcohol, 2 gal.; white turpentine, 3 lb.; shel- 
lac, 3 lb.; Venice turpentine, y% pt. When the 
resins are all dissolved, add a little olive oil, 
and color, if desired, with lampblack. 
Frames, Varnishing of.— 

Ninety per cent alcohol 1 pt. 

Sandarac 2 oz. 

Mastic (in drops) ... 1 oz. 

Shellac 2 oz. 

Venice turpentine % oz. 

Place the ingredients on sand bath, let boil, 
stirring well. When well mixed, add 1 Oz. spir- 
its of turpentine, boil y% hour, let cool, and 
strain through cotton cloth, applying the same 
to frame with a brush. 

Frames, Dead Ground Varnish for Imitation, 
etc.— Dissolve 1 lb. of shellac in a little alcohol, 
and 1 lb. of whiting and enough alcohol to 
make 1 gal. of varnish. 
Frames for Hot-Be s. — 

Pulverized white cheese 4 oz. 

Slaked lime 2 oz. 

Boiled linseed oil 4 oz. 

Mix, and add 4 oz. each of whites and yelks 
of eggs, and liquefy the mixture by heat. 
This curious mixture is said to produce a pli- 
able and transparent varnish. 

Furniture Varnish. — 

1. White wax 6 oz. 

Oil of turpentine 1 pt. 

Dissolve by a gentle heat. Used to polish 
wood by friction. See Cabinet Makers 1 and 
Copal Varnishes. 

2. Shellac, lj^j lb.; naphtha, 1 gal.; dissolve, and 
it is ready without filtering. 

3. Shellac, 12 oz.; copal, 3 oz. (or an equivalent 
of varnish); dissolve in 1 gal. of naphtha. 

4. Shellac 1)4 lb. 

Seed lac 4 oz. 

Sandarac. 4 oz. 

Mastic 2 oz. 

Ninety per cent alcohol 1 gal. 

Dissolve. 

5. Shellac 2 lb. 

Benzoin 4 oz. 

Spirit 1 gal. 

6. Shellac 10 oz. 

Seed lac 6 oz. 

Sandarac 6 oz. 

Copal varnish , 6 oz. 

Benzoin 3 oz. 

Naphtha... , 1 gal. 

Tp darken, benzoin and dragon's blood are 
used ; turmeric and other coloring matters are 
also added; and to make it lighter it is neces- 
sary to use bleached lac, though some endeavor 
to give this effect by adding oxalic acid to the 
ingredients; it, like gum arabic, is insoluble 
in good spirit or naphtha. For all ordinary pur- 
poses the first form is best and least trouble- 
some, while its appearance is equal to any 
other. 

White Furniture Varnish— White wax, 6 oz.; 
oil of turpentine, 1 pt.; dissolve by a gentle 
heat. Or white wax, 6 parts; petroleum, 48 
parts; applied to the work while warm, allowed 
to cool, then polished by rubbing with a coarse 
cloth. 

Furniture, to Varnish.— First make the work 
quite clean; then fill up all knots or blemishes 
with cement of the same color; see that the 
brush is clean, and free from loose hairs; then 
dip the brush in the varnish, stroke it along 
the wire raised across the top of the varnish 
pot, and give the work a thin and regular coat; 
soon after that another, and another, always 
taking care not to pass the brush twice in the 
same place; let it stand to dry in a moderately 
warm place, that the varnish may not chill. 
When the work has had about 6 or 7 coats, let 
it get quite hard (which prove by pressing the 



knuckles on it ; if it leaves a mark, it is not 
hard enough); then with the first three fingers 
of the hand rub the varnish till it chafes, and 
proceed over that part of the work intended to 
be polished, in order to take out all the streaks 
or partial lumps made by the brush; then give 
it another coat, and let it stand a day or two to 
harden. 

Impermeable Varnish. — Boiled oil, 180 parts; 
finely powdered litharge, 6 parts; genuine bees- 
wax, 5 parts. Boil until sufficiently thick and 
stringy, then pour off the clear. 

See Waterproof Varnishes below. 

India Rubber Varnish. — 1. Two oz. India rub- 
ber finely divided, placed in a phial and digest- 
ed in a sand bath, with 34 lb. of camphene and 
M oz. of naphtha. When dissolved add 1 oz. of 
copal varnish, which renders it more durable. 

2 Digest in a wide mouthed glass bottle 2 oz. 
of India rubber in shavings, with 1 lb. of oil of 
turpentine, during two days, without shaking; 
then stir up with a wooden spitula. Add an- 
other pound of oil of turpentine, and digest, 
with frequent agitation, until all is dissolved. 
Mix Vyi lb. of this solution with 2 lb. of white 
copal oil varnish, and V/% lb. of boiled linseed 
oil; shake and digest in a sand bath until they 
have united into a good varnish. 

3. Four oz. India rubber in fine shavings dis- 
solved in a covered jar by means of a sand bath 
in 2 lb. of crude benzole, and then mixed with 4 
lb. of hot linseed oil varnish and y% lb. of oil of 
turpentine. Dries well. 

Inflexible.— Shellac, 4 oz.; wood naphtha, 1 pt.; 
lampblack q. s to color; dissolve. 

Insidating Varntsltes.—l. Put 1 oz. shellac 
into a wide mouthed 8 oz. phial containing 5 
oz. of well rectified wood naphtha. Close the 
bottle with a cork, and let it stand in a warm 
place until perfectly dissolved. Shake the mix- 
ture frequently and pass the fluid through a 
paper filter; add rectified naphtha to the solu- 
tion from time to time in such quantities as 
will enable it to percolate freely through the 
filter. Change the filter when necessary. 

2. For Silk Covered Wire. — Mix 6 oz. boiled 
linseed oil and 2 oz. rectified spirits of turpen- 
tine. 

3. For Large Coils.— Cotton covered wires are 
steeped in melted paraffine, to increase their 
insulation. Large electro magnet coils have a 
double, covering of cotton, and the outer layer 
is coated with a thick varnish of shellac dis- 
solved in alcohol. 

Red Varnish for Wood, etc. — Sealing wax 
dissolved in alcohol, and painted on with a 
brush, in successive thin layers, say four or five. 

For Galvanometer Coils. — Gum copal dis- 
solved in ether, painted over each layer of 
wire, and dried on a stove. 

Iron Work, Varnish for.— Dissolve in about 2 
lb. tar oil, % lb. asphaltum, and a like quantity 
of pounded resin, mix hot in an iron kettle, 
care being taken to prevent any contact witn 
the flame. When cold the varnish is ready for 
use. This varnish is for outdoor wood and iron 
work. 

Iron Work, Black.— Put 48 lb. of foreign as- 
phaltum into an iron pot, and boil for four 
hours; during the first two hours introduce 7 
lb. of red lead, 7 lb. of litharge, 3 lb. of dried 
copperas, and 10 gal. of boiled oil; add % lb. 
run of dark gum, with 2 gal. hot oil. After 
pouring the oil and gum, continue the boiling 
two hours, or until it will 'roll into hard pills, 
like japan. When cool, thin it off with 30 gal. 
of turpentine, or until it is of a proper consist- 
ence. 

Italian Varnish.— 1. Boil Scio turpentine till 
brittle, powder, and dissolve in oil of turpen- 
tine. 

2. Canada balsam and clear white rosin, of 
each 6 oz.: oil of turpentine, 1 qt.; dissolve. 
Used for prints, etc. 

Iron and Steel, Black Varnish for.— Boil sul- 
phur in turpentine, apply with a brush and 



Varnishes. 



575 



Varnishes. 



after heating-, the iron becomes of an intense 
and brilliant black. 

Japan Varnish.— Take 12 lb. Naples asphal- 
tum and 2 lb. dark gum anime, melt it, and 
boil for two hours with 3 gal. linseed oil. Then 
boil 2 lb. dark amber with ^ gal. linseed oil, 
add the two together, and boil two hours 
longer, till the mass when cooled is plastic like 
putty. This is afterward dissolved in 7 or 8 
gal. of turpentine, and makes a black japan f or 
wood or meta.o See Japanning, 

Japanese. <—\. Fifteen parts of copal iand 1 
part of camphor are dissolved iu 60 parts' oil of 
turpentine and 15 parts oil of lavender are 
gradually added. 

2. Japanese Varnish, Black.— One part of as- 
phaltum is dissolved in 50 parts boiled oil, and 2 
parts burnt umber are added. Dissolve the as- 
phaltum in a portion of the oil, then add the 
umber, which has been previously ground, in 
the oil ; add the remainder of the oil and cool; 
thin with oil of turpentine. 

3. Twenty-five parts of shellac are dissolved 
in 100 parts wood alcohol. 

4. Kirstein.— 

Mastic 10 parts. 

Oil of lavender 4 parts. 

Camphor V£ part. 

Sandarac 26>£ parts. 

Venice turpentine 2 parts. 

Ether 3 parts. 

Alcohol — 20 parts. 

By weight. The ingredients should be mac- 
erated for two or three weeks, or until they 
are all dissolved. This varnish dries quickly, 
and is colorless, smooth and shining. 

Laoels, Varnish /or.— 1. Dissolve 1 oz. cam- 

Ehor, 2 oz. resin, 4 oz. sandarac, in 24 oz. alco- 
ol. 

2. A very satisfactory varnish is made with 
equal parts of Canada balsam and turpentine. 
The labels should first receive a thin coating of 
mucilage, which must be dried before the var- 
nish is applied. 

3, Sardarac ..53 parts. 

Mastic 22 parts. 

Camphor 1 part. 

Lavender oil 8 parts. 

Venice turpentine 4 parts. 

Ether 6 parts. 

Alcohol 40 parts. 

All by weight. 

Macerate the ingredients for several weeks 
until fully dissolved. The result is a limpid, 
colorles^, brilliant varnish, which dries quickly 
and is not too brittle.— Arch, de Pharm. 

4. African copal ; 60 grm. 

Powdered glass 60 grm. 

Camphor 15 grm. 

Ether . ■ 250 grm. 

Absolute alcohol 60 grm. 

Reduce tne copal to fine powder, and mix the 
glass with it; place both in a 500 grm. bottle 
with the camphor and the ether, close well, and 
set aside for a month, shaking occasionally. 
At the end of this time add the alcohol, and, 
after shaking well, set aside for fourteen days; 
then pour off the clear portion of the varnish. 
Before using this varnish it is advisable to size 
the paper surface with a solution of isinglass in 
spirit, 1 part, and water, 3 parts. 

5. The best varnish for labels is simply melted 
paraffin. Use it as hot as possible, so as to ap- 
ply only a very thin coat by means of a flat fine 
brush. It may be well to place the bottles be- 
fore on a warm place. In place of having to 
wait several hours or a day to dry, as with 
other varnishes, this application is dry when 
cold, thus in a minute or so, and the bottle ready 
for use. 

Lac Varnish.— 1. Seed lac, 8 oz.; alcohol, 1 qt.; 
digest in a close vessel in a warm situation for 
three or four days, then decant and strain. 
Highly recommended. 



2. Substitute lac bleached by chlorine for seed 
lac. Both are very tough, hard and durable, 
the last almost colorless. Used for pictures, 
metal, wood or leather. 

Lac Water Varnish. — 

Pale shellac 5 oz. 

Borax l oz. 

Water l p t. 

Digest at nearly the boiling point till dis- 
solved, then strain. An excellent vehicle for 
water colors, inks, etc., and a varnish for prints 
is made thus of bleached lac. When dry, it is 
transparent and waterproof. 

Leather, Varnish for Fastening to Met al.— Dis- 
solve 1 oz. gum arabic in water and an equal 
amount of isinglass in brandy. 

Leather, Flexible Varnish for. — 

1. Burnt umber 2 oz. 

Asphaltum 1 oz. 

Linseed oil 1 qt. 

Dissolve the asphaltum with heat in a little 
of the oil, then add the umber ground in the 
oil; mix, add the rest of the oil; boil, and when 
cool, thin with turpentine. 

2. Immerse a sheet of paper in a solution of 
gelatine, then dry and soak the paper in a solu- 
tion of tannic acid. The gelatine will be con- 
verted into a kind of varnish. 

BlacK Leather Varnish. — 1. Durable leather 
varnish is composed of boiled linseed oil, in 
which a drier, such as litharge, has been boiled. 
It is colored with lampblack. This varnish is. 
used for making enameled leather. 

2. Shellac 12 parts. 

White turpentine 5 parts. 

Gum sandarac 2 parts. 

Lampblack 1 part. 

Spirits of turpentine 4 parts. 

Alcohol 96 parts. 

Patent Leather. — Patent leather cannot be 
prepared on a small scale and all attempts of the 
amateur will probably end in failure. 

1. The first coat varnish is prepared as fol- 
lows: Prussian blue (containing a trace of 
alumina), 5 oz ; drying oil, 1 gal.: boil to the con- 
sistency of single size, and when cold, grind 
with a little vegetable black. The second coat 
is like the first, except that pure Prussian blue 
is used. The third coat has the oil boiled longer 
and more of the blue and lampblack is added. 

2. The last coat is the same except that it 
must contain \& lb. pure Prussian blue and J4 
lb. of pure vegetable black per gal. 

Le Blond's Varnish.— Heat 1 lb. balsam of co- 
paiba in a sand bath, then add 4 oz. copal, 1 oz. 
each day. The copal must have been previously 
fused and powdered. 

Linseed Oil Varnish.— Boil linseed oil, 60 parts, 
with litharge, 2 parts; white vitriol, 1 part; each 
finely powdered, until all water is evaporated. 
Then set by. Or, rub up borate of manganese, 
4 parts, with some of the oil, then add linseed 
oil, 3,000 parts, and heat to boiling. 

Lithographs and Drawings. — Dextrine, 20 
parts; alcohol, 5 parts; water, 20 parts. Give a 
couple of coats of starch paste, then varnish. 

Lithographic Varnish.— Put 2 qt. of the best 
linseed oil into a saucepan large enough to 
hold 1 gal. The lid should have a long handle, 
so that it may be put on the vessel with safety 
while the contents are burning. Set it on a 
clear fire until white fumes arise. Apply a 
lighted paper occasionally until these fumes 
catch fire and burn. It must now be watched 
carefully, so that the flame shall not become un- 
manageable. If the flame goes down a little 
it may be increased by stirring with an iron 
rod. If it shows a tendency to rise too high, it 
may be removed from the fire, when it will still 
continue to burn. If it rises too high and 
threatens to become dangerous, the lid must 
be put on, when the flame, being deprived of 
the access of air, will be extinguished. If the 
flame has been very high, the lid should be kept 



Varnishes. 



576 



Varnishes. 



on long- enough to allow the whole of the 
oil to cool down a little. The oil is 
burned until it becomes I less. A thick slice of 
bread is now put in and moved about with a 
fork until it is browned. It is then allowed to 
burn a little more, it being set on the fire again 
to revive the flame if the latter has become 
dull. A second slice is now put in and browned 
as before. This proceeding is said to free the 
oil from its more greasy particles. One-fourth 
of the oil may now be taken away. If, on be- 
coming cold, it is of a syrupy nature, it may be 
set aside for thin varnish. The rest having 
been burned again for a short time, y$ part is 
taken away. This is medium varnish. The re- 
mainder is again burned and ^ set aside for 
strong varnish. The fourth portion is again 
burned, and when cold should be thick and 
ropy. It is necessary to take every precaution 
to guard against accident. 

Machinery, Asphaltum Varnish.— First paint 
the articles in a japan color such as the follow- 
ing: 

Asphaltum 3 oz. 

Boiled oil 4 qt. 

Burnt umber 8 oz. 

Mix by heat, and when cooling, thin with tur- 
pentine. Then coat them with a suitable trans- 
parent or light varnish. 
Mahogany.— 1. Sorted gum anime, 8 lb.; clarified 
oil, 3 gal.; litharge and powdered dried sugar of 
lead, of each 34 lb.; boil till it strings well, then 
cool a little, thin with oil of turpentine, 5J^ 
gal., and strain. 

2. Put in a bottle 2 oz. gum sandarac, 1 oz. 
shellac, % oz. gum bengamin, 1 oz. Venice tur- 
pentine and a pt. of 90$ alcohol. Color red with 
dragon's blood or yellow with saffron. Stand 
in a warm spot till gum dissolves, when strain 
for use. 

Maps, Prints, etc., Varnish for. — 1. Gum 
mastic, 5 oz.; gum sandarac, 2 oz.; gum cam- 
phor, 1 oz.; alcohol, 95°, 16 oz. 

2. Balsam of Canada, 2 oz.; spirits of turpen- 
tine, 4 oz. The paper should first be sized with 
a solution of isinglass, and dried before apply- 
ing the varnish. 

3. Use Canada balsam or dammar varnish. 
The principal trouble will be in removing the 
old wax. The paper must be perfectly dry. 

4. Mounted maps are sized with thin white 
glue and varnished with mastic. 

5. A good varnish for paper and maps is 
made with gum mastic, 6 parts; sandarac, 3 
parts ; dissolved in a mixture of 3 parts turpen- 
tine and 32 parts of alcohol. These ingredients, 
with the exception of the turpentine, are placed 
in a copper vessel tinned inside, situated in a 
bath of hot water, and are stirred for several 
hours until the gums are dissolved; the tur- 
pentine is then added, and the stirring con- 
tinued an hour longer, after which strain 
the varnish and set it aside for use. 

Varnishing Paper Diagrams and Maps.— The 
first and most essential operation is the proper 
sizing of the paper, as, if this be imperfectly 
done, almost any kind of varnish will pene- 
trate the paper so as to make oil spots. Glue 
water of the proper consistency is the best 
protective against the absorption of the var- 
nish. It should be of the right strength, how- 
ever. If, after being dried, it cracks in bending 
a corner of the paper, it was not diluted 
enough. When dry, the map is varnished with 
a solution of mastic, sandarac, or some other 
colorless resin in turpentine or alcohol, or a 
mixture of both; experience shows the best 
consistency in order to lay it on evenly with a 
brush. In cold weather it requires more of the 
solvent. 

Mastic Varnish.— Picture Varnish, Turpen- 
tine Varnish.— 1. Fine. Very pale and picked 
gum mastic, 5 lb.; glass pounded as small as 
barley, and well washed and dried, 2^4 lb.; rec- 
tified turpentine, 2 gal.; put them into a clean 
4 gal. stone or tin bottle, bung down secure- I 



ly, and keep rolling it backward and forward 
pretty smartly on a counter or any other solid 
place for at least 4 hours ; when, if the gum is 
all dissolved, the varnish may be decanted, 
strained through muslin into another bottle, 
and allowed to settle. It should be kept for 6 
or 9 months before use, as it thereby gets both 
tougher and clearer. 

2. Second Quality.— Mastic, 8 lb.; turpentine, 
4 gal.; dissolve by a gentle heat, and add pale 
turpentine varnish, % gal. 

3. Gum mastic, 6 oz - : oil of turpentine, 1 qt.; 
dissolve. 

Mastic varnish is used for pictures, etc.; when 
good, it is tough, hard, brilliant, and colorless. 

4. One pt. spirits of turpentine and 10 oz. 
of the clearest gum mastic. Set it in a sand 
bath till it is all dissolved, then strain it through 
a fine sieve, and it is ready for use ; if too thick, 
thin with spirit of turpentine. 

Metals, Varnish for.— 

1. Copal — , 1 part. 

Alcohol 2 parts. 

2. Copal , 1 part. 

Oil rosemary 2 or 3 parts. 

Alcohol 

Apply hot. 

Varnish for Iron and Steel.— 3. Dissolve in 
alcohol- 
Mastic , , 10 parts. 

Camphor 5 parts. 

Sandarac 15 parts. 

Elemi 5 parts. 

Apply cold. 

Varnish for Polished Metal.— 1. Take bleached 
shellac, pounded in a mortar; place the bruised 
fragments into a bottle of alcohol until some 
shellac remains undissolved; agitate the bottle 
and contents frequently and let the whole stand 
till clear; pour off the clear fluid. This forms the 
varnish. Warm the metal surface, and coat with 
a camel hair brush. If not perfectly transpar- 
ent, warm the varnished surface before a fire 
or in an open oven until it becomes clear. 
Common orange shellac answers equally well, 
and for large surfaces even better, as it is more 
soluble than the bleached variety, and coats 
more perfectly, but care must be taken not to 
use the varnish insufficiently diluted. 2. Digest 1 
part of bruised copal in 2 parts of absolute al- 
cohol; but as this varnish dries too quickly, it is 
preferable to take- 
Copal 1 part. 

Oil of rosemary 1 part. 

Absolute alcohol 2 or 3 parts. 

This gives a clear varnish as limpid as water. 
It should be applied hot, and when dry it will 
be found hard and durable. 

Mordant Varnish.— 

1. Mastic lj^j oz. 

Gum gamboge % oz. 

Sandarac V/% oz. 

Turpentine % oz. in 

Spirits of turpentine 9 oz. 

A very simple mordant is made by dissolving 
a little honey in thick glue. It heightens the 
color of gold, and the leaf adheres well. 

2. Spirits of turpentine 9 oz. 

Sandarac V/% oz. 

Gum gamboge % oz. 

Mastic 114 oz. 

3. In 12 oz. spirits of turpentine dissolve 2 oz. 
each of mastic and sandarac, 1 oz. of gamboge, 
and y% oz. of turpentine. 

Negative Varnish.— 

1. Sandarac . 4 oz. 

Alcohol 28 oz. 

( Ml of lavender 3 oz. 

Chloroform ... 5 drm. 

2. White hard varnish 15 oz. 

Methylated alcohol 25 oz. 

This will be found a good and cheap varnish 






Varnishes. 



577 



Varnislies. 



if durability is not required, as it is easily 
rubbed up for retouching upon, and easily 
cleaned off. Very suitable for enlarged nega- 
tives that are not to be retained. 

3. Sandarac 90 oz. 

Turpentine 36 oz. 

Oil of lavender .. 10 oz. 

Alcohol 500 oz. 

This may b e rubbed down with powdered 
resin, and gives a splendid surface for retouch- 
ing: 

4. Sandarac 2 I oz. 

Seed lac .. 1 to \y% oz. 

Castor oil 3 drm. 

Oil of lavender \y % drm. 

Alcohol , 18 fl. oz. 

5. Best orange shellac 114 oz. 

Methylated alcohol 1 pt. 

Keep in a warm place until dissolved; then 
add a large teaspoonful of whiting or prepared 
chalk; set aside to clear, and then decant. This 
is specially recommended for gelatine nega- 
tives. 

6. Bleached lac 30 parts. 

Mastic 10 parts. 

Venetian turpentine 1 part. 

Rectified alcohol' 250 parts. 

The negative must be warmed. 

7. Bleached shellac, 3 oz., dissolved in 24 oz. 
alcohol ; filter when dissolved, which takes one 
or two days, then add gum sandarac, 1 oz.; 
essential oil lavender, 1% oz.; filter again and 
bottle for use. Formula of M. Carey Lea. Said 
to be excellent. 

Negative Retouching Varnish. See Retouch- 
ing Varnish below. 

Matt Varnish. — 

1. Gum mastic 40 grn. 

Gum sandarac 160 grn. 

Methylated spirit 4 oz. 

Benzol lj^ oz. 

Black Matt Varnish.— 

2. Gum mastic 50 grn. 

Gum sandarac 200 grn. 

Methylated ether. 1)4 oz. 

Benzol J^ oz. 

3. A very fine varnish is that recommended 
by M. Leon Vidal. It is composed of sandarac, 
18 parts; mastic, 4 parts; ether, 200 parts; benzol, 
80 to 100 parts. See that the glass is perfectly 
clean. 

Mechanics, Varnish for. — Rosin, 5 parts ; 
dragon's blood, 1 part ; gamboge, 1 part ; gutta 
percha, 2 parts , shellac, 1 part ; volatile tar oil, 
40 parts. This lacquer is very useful, and is 
largely used. 

Metal Surf aces, Varnish for.— To make alco- 
holic lacquers or varnishes adhere more com- 
pletely to polished metal surfaces, 1 part bor- 
acic acid should be added to 200 parts of var- 
nish. This composition will adhere so firmly 
and become so completely glazed as to be re- 
moved only with difficulty. Be careful not to 
add too much of the boracic acid, as it injures 
the gloss in that case.— The Metal Worker. 

Metallic— One lb. of grain tin is melted with 
4 oz. bismuth ; add 4 oz. mercury, and stir till 
cold. Now grind it very fine with varnish or 
white of egg. This is sometimes called var- 
nisher's amalgam. 

Metals,GreenVarnishfor.—l. Dissolve sandarac 
in very strong potash lye until the lye will dis- 
solve no more. Precipitate, after diluting 
with water, with copper acetate. The green 
precipitate which will now be formed is dis- 
solved in oil of turpentine after having been 
washed and thoroughly dried. 

2. To thin copal varnish add 5 parts Chinese 
blue and 10 parts potassium chromate. 

Machinery, Varnish for Foundry Patterns 
and. — A varhisia has been patented in Germany 



for the above purpose, which, it is claimed, dries 
as soon as put on, gives the patterns a smooth 
surface, thus insuring an easy slip out of the 
mould, and which prevents the pattern from 
warping, shrinking, or swelling, and is quite 
impervious to moisture. 

1. This varnish is prepared in the following 
manner: 30 lb. shellac, 10 lb. Manila copal, and 
10 lb. Zanzibar copal are placed in a vessel, 
which is heated externally by steam, and stirred 
during four to six hours, after which 150 parts 
of the finest potato spirit are added, and the 
whole heated during four hours to 87° C. This 
liquid is dyed by the addition of orange color, 
and can then be used for painting the pat- 
terns. 

2. When used for painting and glazing ma- 
chinery, it consists of 35 lb. shellac, 5 lb. Manila 
copal, 10 lb. Zanzibar copal, and 150 lb. spirit. 

Nets, Varnish for.—l. The following is a good 
waterproof composition, and is very pliable: 
Dissolve soft soap in hot water and add a solu- 
tion of sulphate of iron. An insoluble iron 
soap is precipitated, which must be collected, 
washed, and dried. It must be then mixed to 
the right consistence with linseed oil and it is 
then ready to apply. 

2. Try paraffin wax, melted with a small por- 
tion of raw linseed oil, both for lines and nets; 
see that they are perfectly dry before putting 
them into the abov r e hot, and you will say 
you have found nothing to equal it. When 
you take them out, wring them dry before the 
fire in an old duster or cloth. 

Oak Varnish.— 1. Clear pale resin, 33^ lb.; oil 
of turpentine, 1 gal.; dissolve. It may be 
colored darker by adding a little fine lamp- 
black. 

2. To the last add 20 oz. Canada balsam. Oak 
varnish is syn. with common turpentine var- 
nish and wainscot varnish. 

3. Clear Venice turpentine, 4 lb.; oil of tur- 
pentine 5 lb.; mix. Both are good common 
varnishes for wood or metal. 

Oil Varnish.— 
1. Rosin 3 lb. 

Melt, add— 

Venice turpentine 2 lb. 

Pale drying oil 1 gal. 

Cool a little and thin with oil of turpentine, 
1 qt. 

2. Rosin, 3 lb.; drying oil, % gal.; melt 
and thin with oil of turpentine, 2 qt. Both the 
above are good varnishes for common work. 

Paintings, Varnish for. — Take of mastic, 6 
oz.; pure turpentine, % oz.; camphor, 2 drm.; 
spirits of turpentine, 19 oz. Add first the 
camphor to the turpentine; the mixture is made 
in a water bath. Wheii the solution is effected, 
add the mastic and the spirits of turpentine near 
the end of the operation; filter through a 
cotton cloth. 

Paper Var nish. —The following formula affords 
very good varnishes for drawings that have 
been previously sized with gelatine: Canada 
balsam, 1 oz.; oil of turpentine, 2 oz.; or; Cana- 
da balsam, 4 oz.; camphine, 8 oz. 

Patterns, Varnish for.— Alcohol, 1 gal.; shel- 
lac, 1 lb. Lamp or ivory black sufficient to 
color it. See also Machinery Varnishes above. 

Picture Varnish.— Several varnishes are called 
by this name. Pale copal or mastic varnish 
is generally used for oil paintings, and crystal, 
white hard spirit, or mastic varnish, for water 
color drawings on paper. 

Plaster of Paris Casts, to Varnish.— Of white 
soap and wax, take each J^ oz.; of water, 2 pt.; 
boil them together for a short time in a clean 
vessel. This varnish is to be applied, when 
cold, by means of a soft brush. It does not 
sink in; it readily dries ; and its effect maybe 
heightened by lightly using a silk handkerchief. 

Pocket Books, etc., Varnish for.— Use 6 oz. mas- 
tic, in drops. ; 3 oz. coarsely powdered glass, se- 
parated from the dust by a sieve ; 3:2 oz. spirits 
of wine of 40°. Place the ingredients in a sand 



Varnishes. 



578 



Varnishes. 



bath over a fire, and let them boil, stirring well. 
When thoroughly mixed, introduce 3 oz. spirits 
of turpentine, boil for half an hour, remove 
from the fire, cool, and strain through cotton 
cloth. Great care in manipulation is requisite 
to avoid a conflagration. Use a closed fire and 
watch incessantly. 

Print Varnish. — A compound of benzole and 
almond oil. This print varnish does not give 
the slightest glaze to photographs on plain 
paper. 

Printer's Varnish.— This varnisti diluted with 
twice its volume of oil of turpentine forms an 
excellent common varnish. 

Printer's Varnish for Ink.— To each cwt. lin- 
seed oil (clarified) add 50 lb. clear black resin 
and 5 lb. oil of turpentine. The varnish is now 
ready to be incorporated with the coloring 
matter. 

Printer's Tar Oil Varnish.— Linseed oil, 50 
parts ; litharge, 3 parts ; pine resin, 20 parts ; 
tar varnish oil, 10 parts. The litharge is boiled 
with the linseed oil and pine resin until the 
mass commences to draw threads in cooling; 
the varnish oil is then added.— Dingier' s Poly. 
Journal. 

Prints, Varnish for.— 1. Apiece of plate glass 
is heated, and while yet warm, a little wax 
rubbed over it ; water is then poured over the 
plate, and the moistened picture laid thereon 
and pressed closely down by means of a .piece 
of filtering paper. When dry, the picture is 
removed, and will be found to possess a surface 
of great brilliancy, which is not injured by the 
process of mounting. 

2. Boil Chio turpentine till brittle, powder, 
and dissolve in oil of turpentine. 

3. Canada balsam and clear white resin, of 
each 6 oz.; oil of turpentine, lqt.; dissolve. 

4. Digest gum sandarac, 20 parts ; gum mas- 
tic, 8 parts ; camphor, 1 part ; with alcohol, 48 
parts. The map or engraving must previously 
receive 1 or 2 coats of gelatine. 

Retouching Varnish.— 

1. Sandarac 1 oz. 

Castor oil 80 grn. 

Alcohol 6 oz. 

First dissolve the sandarac in alcohol, and 
then add the oil. 

2. Luckardt's.— 

Alcohol 150 parts. 

Sandarac 25 parts. 

Camphor 2J4 parts. 

Castor oil 5 parts. 

Venetian turpentine. . . 2^£ parts. 

3. A good retouching varnish is a boon to all 
retouchers, and those who are unfortunate 
enough to be plagued by too thin films will 
gladly hail a formula which promises this de- 
sideratum. In his recent work on retouching*, 
M. Janssen, the Photo. Correspondent says, re- 
commends the following varnish : 

Alcohol fep. gr. 0*830 60 parts. 

Sandarac 10 parts. 

Camphor ' 2 parts. 

Venetian turpentine 4 parts. 

Oil of lavender 3 parts. 

This varnish may also be used for paper pic- 
tures. The retoucher should not set to work as 
soon as the negative has been varnished, as the 
film will not then be hard enough to bear the 
touch of a lead pencil. The varnished film is in 
best condition for retouching when a day old. 

Rubber, Shellac Varnish for .—Powder shellac 
and soak in well stoppered bottle with ten 
times its weight of strong ammonia. Allow it 
to stand for a number of days, when the shel- 
lac disappears. Sometimes several weeks are 
requix*ed to effect complete solution. If for 
use on overshoes, add a little lampblack. 

Rubbers, Varnish for.— Dissolve 1 oz. finely 
powdered shellac in 10 oz. strong ammonia. 
This must be kept in a bottle with a ground 
glass stopper. After several days the shellac 
will become dissolved. Apply with a rag. 



Sealing Wax Varnish.— Dissolve sealing wax 
of any color in strong alcohol. Apt to be 
rather brittle. 

Shellac Varnish. — 1. a, Shellac, 60 grm.; b, alco- 
hol, 60 grm.; c, castor oil, 25 grm.; d, alcoholic 
solution of anilin dye, a few drops, a and b 
are dissolved and heated until quite thick, then 
a little of d is added, and for every 60 grm. of 
the mixture add 25 grm. of castor oil, and heat 
for a short time. 

2. Harris' .—Put 1 oz. . shellac into a wide 
mouthed 8 oz. phial, containing 5 oz. rectified 
naphtha or wood spirit. Cork and stand in a 
warm place until the gum is dissolved. Shake 
frequently and filter, adding more naphtha to 
assist the filtering, and changing the filter from 
time to time. 

Imitation Shellac Varnish. — The following 
article under this name is used by furniture 
dealers : 

Gum sandarac V/z lb. 

Pale rosin V/% lb. 

Benzine 2 gal. 

Dissolve by gentle heat. The varnish is qu ck 
drying. 

Varnish for Boots and Shoes.— 1. Boi) together 
1 pt. linseed oil, % lb. of mutton suet, the same 
quantity of beeswax, and a small piece of 
resin, and when the mixture becomes milk 
warm apply it with a hair brush. After two 
applications the article will become water- 
proof. Great caution must be exercised in 
melting the above ingredients. 

2. Common tar may be made warm, and 
brushed over the soles of boots and shoes. 
They are then placed near the fire, so that the 
tar may be absorbed. When the absorption 
has taken place, a second or third application 
may be given with advantage. This application 
is not suitable for the upper leathers. 

3. India rubber varnish will be found very 
useful for anointing the upper leather of 
boots and shoes. 

Shoes. See also Blacking. 
Elastic and Clean Varnish for the Leather of 
Ladies' 1 Shoes.— Three pounds of rain water are 
placed in a pot over fire, and when well boiling 
there are added 4 oz. white pulverized wax, 1 
oz. clear, transparent glue, in small pieces, 2 oz. 
pulverized gum Senegal, 2 oz. white soap scraped 
fine, 2 oz. brown pulverized sugar; the ingredi- 
ents are placed in one by one, and every time 
stirred up; it is well to take the pot from the 
fire every time a substance is added, to prevent 
boiling over; when all is added, the pot is re- 
moved from the fire; when sufficiently cooled, 
3 oz. alcohol are added, and finally 3 oz. fine 
Frankfort black, well incorporated by con- 
tiuued stirring. This varnish is put on the 
leather with a brush, and very valuable for 
boots and shoes, as it can be afterward polished 
with a large brush, like ordinary shoeblacking; 
shows a high polish, and does not soil the cloth- 
ing. 
Shoes, Varnish for the Edges of.— 

Alcohol 8 fl. oz. 

Shellac 2 oz. 

Resin 1 oz. 

Turpentine ^ oz. 

Lampblack J4 or y% oz. 

Sign Painter's Varnish.— To 2 qt. drying lin- 
seed oil, add 2 lb. best copal, % lb. lead acetate, 
% gal. turpentine. Boil the copal for several 
hours until very thick, before adding the tur- 
pentine. » 

Silverware, Varnish for.— Gum elemi, 30 parts; 
white amber, 45 parts; charcoal, 30 parts; spirits 
of turpentine, 375 parts. It must be used in a 
heated state, the metal to which it is to be ap- 
plied being also heated. 

Spirit Varnish.— Brown Hard.— 

1. Sandarac 4 oz. 

Pale seed lac 2 oz. 

Elemi (true) 1 oz. 

Alcohol 1 qt. 



Varnishes. 



579 



Varnish.es. 



Digest with agitation till dissolved, then add 
Venice turpentine, 2 oz. 

2. Gum sandarac 3 lb. 

Shellac 2 lb. 

Alcohol, 65 over proof 2 gal. 

Dissolve, add turpentine varnish, 1 qt.; agi- 
tate well and strain. Very fine. 

3. Seed lac V/i lb. 

Yellow resin 1^ lb. 

Rectified alcohol 2 gal. 

4. White Hard.— 

Gum sandarac 5 lb. 

Camphor 1 oz. 

Alcohol, 65 over proof 2 gal. 

Washed and dried coarsely 

pounded glass 2 lb. 

Proceed as in making mastic varnish. When 
strained add 1 qt. of very pale turpentine var- 
jnsh. 

5. Picked mastic 4 oz. 

Coarsely ground glass 4 oz. 

Sandarac 3 oz. 

Pale clear Venice turpentine ... 3 oz. 

Alcohol 2 lb. 

As last. 

•6. Gum sandarac 1 lb. 

Clear Strasburgh turpentine 6 oz. 

Alcohol, 65 over prooi' ... 3 pt. 

Dissolve. 

X Mastic, in tears 2 oz. 

Sandarac 8 oz. 

Gum elemi . . ..1 oz. 

Strasburgh or Scio turpentine 

(genuine) 4 oz. 

Alcohol, 65 over proof .. 1 qt. 

Used on metals, etc. Polishes well. 
8. Soft Brilliant.— 

Sandarac 6 oz. 

Elemi (genuine) 4 oz. 

Anime 1 oz. 

Camphor ^ oz. 

Alcohol 1 qt. 

As before. 

The above spirit varnishes are chiefly applied 
to objects of the toilet, as work boxes, card 
eases, etc., but are also suitable to other arti- 
cles, whether of paper, wood, linen, or metal 
that require a brilliant and quick drying var- 
nish. They mostly dry almost as soon as ap- 
plied, and are usually hard enough to polish in 
twenty-four hours. Spirit varnishes are less 
durable and more liable to crack than oil var- 
nishes^ 

Stopping Out Varnishes, Petit Vernis.— Lamp- 
black made into a paste with turpentine. Used 
by engravers. 

Stoves, Varnish for.— One pt. hot linseed oil is 
added to 2 lb. asphaltum; when thoroughly 
mixed, 2 qt. turpentine are added. Any as- 
phaltum varnish can be used, but this is as 
cheap as any. 

Stove Pipe, to- Protect.— Varnish with— 

Asphaltum 2 lb. 

Boiled linseed oil 1 pt. 

Oil of turpentine 2 qt. 

Fuse the asphaltum in an iron pot, boil the 
linseed oil, and add while hot. Stir well and 
remove from the fire. When partially cooled 
add the oil of turpentine. 

De Sylvestre's Dextrine.— Ten parts of dextrine 
are added to 30 parts of water, and 5 parts of 
•alcohol are then added. 

Table Varnish — 

1. Oil of turpentine i lb. 

Beeswax 2 oz. 

Colophony 1 drm. 

2. Dammar resin 1 lb. 

Spirits of turpentine 2 lb. 

Camphor 200 grn. 



Digest the mixture for twenty-four hoi/vs. 
The decanted portion is fit for immediate use. 
Tar Varnish.— For wood or iron. 

1. Coal tar 1}^ gal. 

Spirits of turpentine % pt. 

Oil of vitriol 3 oz. 

Mix the tar and vitriol together with a stick, 
add the turpentine, and apply with a brush as 
it becomes tuick. 

2. Heat tar to 156° F. and mix with it equal 
parts of hydraulic lime, and Roman or Portland 
cement. The mixture is a thin fluid. When 
dry it is soft and flexible. This varnish pre- 
vents wood from rotting; especiallv good for 
wood under water and for shingles. 

Theatrical Varnish.— For affixing mustaches. 

Resin 4 parts. 

Oil ricini 1 part. 

Methylated spirit . . . v 16 fl. pts. 

Dissolve, strain and perfume. 

Tingry's Varnish. See Mastic. 
Tinner's Varnish.— I. Mix lampblack with 
shellac. 

2. Mix Frankfort black with shellac. 

3. Mix Frankfort black with a mixture of as- 
phaltum and oil of turpentine, then add a little 
linseed oil and minium. The exact proportions 
of tinner's varnishes are immaterial. 

Tools, Varnish for.— Tallow, 4 oz.; resin, 2 oz.; 
melt, and strain while hot. With a brush apply 
a coat to the tools and it will prevent their 
rusting. 

Toy Varnish.— This varnish is similar to com- 
mon spirit varnish, but carefully rectified wood 
naphtha must be used as a solvent. 

Transferring Varnish.— 

Mastic in tears 6^£ oz. 

Resin 12^ oz. 

Pale Venice turpentine 25 oz. 

Sandarac 25 oz. 

Alcohol 5 pt. 

Dissolve in a clean bottle or can in a warm 
place, frequently shaking it. When the gum is 
dissolved strain it through a lawn sieve and it 
is fit for nse. 

Transfer Varnish for Diaphanie, Engravings, 
etc.— 1. Pale Canada balsam and rectified oil of 
turpentine, equal parts. 

2. Mastic in tears and sandarac, each4oz.; 
rectified spirit, 1)4, pt.; dissolve, and add pale 
Canada balsam, y% pt. Melt the balsam with a 
gentle heat, mix with the other ingredients 
and agitate violently. No. 1 is also termed 
crystal varnish. 

Transparent Green, Varnish.— Grind a small 
quantity of Chinese blue and chromate of pot- 
ash together, and mix them thoroughly in 
common copal varnish thinned with turpentine. 
The blue and the chromate must be ground 
to an impalpable powder, and the tone of color 
varied with the amount of each ingredient 
used. A yellow green requires about twice the 
quantity of the chromate of potash to that of 
the Chinese blue. 

Trays {Photographic), Varnish for.— Use as- 
phaltum varnish, or coat the bottom or sides 
of the wooden tray with— 

By weight. 

Resin 1 part. 

Beeswax 2 part?. 

Paralfiue 3 parts. 

Melt the above first, warm the tray, and while 
hot apply composition with a brush. 

Turpentine varnish.— To 1 pt. spirits of tur- 
pentine add 10 oz. clear resin, pounded: pin it 
in a tin can on a stove and let it boil for halt ;m 
hour. When the resin is all dissolved, let it 
cool aud it is ready for use. 
See also Oak and Wainscot varnishes. 
Umbrella Varnish. - Ten parts pulverized 
litharge and 20 parts turpentine are boiled in 
20 parts linseed oil. Dry in the sun. 

Violin Varnish.— 1. The famous Italian violin 



Varnishes. 



580 



Varnishes. 



makers used, it is said, the following sort of 
varnish on their instruments : Rectified alco- 
hol, y<>, gal.; 6 oz. gum sandarac, 3 oz. gum mas- 
tic and \i pt. turpentine varnish. The above 
ingredients are put into a tin can by the stove 
and frequently shaken until the whole is well 
dissolved. It is finally strained and kept for 
use. If upon application it is seen to be too 
thick, thin with an addition of more turpen- 
tine varnish. The wood should be stained be- 
fore applying the varnish. For a red stain use 
camwood, logwood, or aniline. 

2. Red Varnish for Violins.— Dissolve over a 
moderate fire— 

Sandarac 12 parts. 

Shellac 6 parts. 

Mastic 6 parts. 

Elemi 3 parts. 

In 150 parts 95% alcohol which has been colored 
red with cochineal, or if a darker red is re- 
quired, add dragon's blood gum. When the 
above is dissolved add 6 parts Venice turpen- 
tine. As this varnish is highly inflammable, 
use caution as to fire. Find the tone of a piece 
of wood by direct comparison with similar 
notes on the piano or any standard instrument. 
A violin in tone at the proper pitch by a tuning 
fork is very convenient. 

3. Tone of Wood for Same. — Dissolve by 
heat 2 oz. amber in oil of turpentine, 5 oz., and 
drying linseed oil, 5 oz. Color with dragon's 
blood or extract alkanet root. The tone given 
by a piece of wood depends upon its size, 
thickness, etc. Therefore, a test must be com- 
parative. Cut square plates of equal size and 
thickness of a known wood and of the wood to 
be tried. Place the center of the plate upon 
end of a cork or spool placed upon a table near 
the edge. Press the center of the plate of wood 
with the thumb and bow it near one of the 
corners. This will give the lowest note such a 
plate can produce, or the normal tone. The 
higher the tone, the better the wood. 

4. Coarsely powdered gum copal and glass, 
each 4 oz.; alcohol, 64 o. p., 1 pt.; camphor, 3^ 
oz.; heat in a water bath with frequent stir- 
ring, so that the bubbles may be counted as 
they rise until solution is complete, and when 
cold decant the clear portion. When oil var- 
nish is used it is made f rom artists 1 vinegar 
copal. 

5. The true Cremona varnish is of unknown 
formula; its preparation is a lost art. 

Amber, fused 2 oz. 

Oil of turpentine 5 oz. 

Drying linseed oil 5 oz. 

The following is for a spirit varnish: 

Mastic , = 1 dr. 

Sandarac 1 dr. 

Lac 63^ dr. 

Alcohol 5 fl. oz. 

To tinge with yellow, annatto, aloes, gam- 
boge, or turmeric may be used; for red, drag- 
on's blood or red sanders wood. By mixing 
the above, intermediate shades may be ob- 
tained. The formula is only half the art; much 
depends on the application, treatment between 
coats, etc. It should be done by an expert. 

6. The receipt for violin varnish as used by 
German violin makers is four parts sandarac 
resin, 2 parts shellac, 1 part mastic, 2 parts ben- 
zoes resin, 2 parts Venetian turpentine, and 32 
parts of alcohol. The solid ingredients are 
first dissolved in the alcohol and the Venetian 
turpentine added afterward, and finally the 
whole carefully filtered to get rid of all dust. 
Brushes to be kept scrupulously clean. For 
staining, Campeachy wood is used, mixed with 
about J4 yellow dyewood, and boiled for two 
hours in 5 times its weight of water in a cop- 
per or earthenware vessel; no iron should come 
in contact with it, as this makes the solution 
black. The violins are colored with this solu- 
tion when well cleaned, and afterward var- 
nished. 



7. Coarsely powdered copal and glass, each 4 
oz.; alcohol, H4 o. p., 1 pint; camphor, J^ oz.; 
heat the mixture with frequent stirring in a 
water bath, so that the bubbles may be counted 
as they rise, until solution is complete, and 
when cold, decant the clear portion. When oil 
varnish is used it is made as for artists' virgin 
copal. 

Wainscot Varnish.— Eight lb. of second sorted 
gum anime, 3 gals, of clarified oil, 34 lb. of lith- 
arge, 34 lb. of dried copperas, 34 lb. of dried 
sugar of lead, 534 gal. of turpentine; to be all 
well boiled until it strings very strong, and then 
mixed and strained. Where large quantities 
are required, it Avill always be found best to 
boil off the three runs in the boiling pot. This- 
varnish is principally intended for house 
painters, grainers, builders, and japanners; it 
will dry in two hours in summer and in four in 
winter. 

Waterproof Varnish.— 1. Boil together until 
thoroughly incorporated, 2 qts. linseed oil and 
3^ lb. flour of sulphur. Used for waterproof 
textile fabrics. 

2. Oxide of lead 5 lb.; lampblack 2^ lb.; sul- 
phur 634 oz.; India rubber dissolved in turpen- 
tine, 12J^ lb. Boil until thoroughly mixed. 

3. Let a 34 lb- oi: India rubber, in small pieces,, 
soften in y% lb. of oil of turpentine; then add & 
lb. of boiled oil, and boil for 2 hours over a 
slow fire. When dissolved, add 6 lb. of boiled 
linseed oil and 1 lb. of litharge, and boil until an 
even liquid is obtained. Applied warm. 

Wax Varnish.— Wax (pure), 5 oz.; oil of tur- 
pentine, 1 qt.; dissolve. Used for furniture. 

Wax Varnish to Preserve Statues and Marble 
Exposed to the Air.— Melt 2 parts of wax in 8 
parts of pure essence of turpentine. Apply 
hot, and spread thinly, so as not to destroy the 
lines of the figures. This varnish may be used 
upon statues which have been cleansed Avith 
water dashed with hydrochloric acid, but they 
must be perfectly dry when the application is 
made. 

Varnish Finish.— For Cheap Work.— One coat 
of filler or stain, followed by one coat of cheap 
turpentine varnish, without rubbing. In this 
class of work the brilliancy of the gloss and 
covering qualities of the varnish are principally 
considered. The cheaper turpentine varnishes 
have a brilliant gloss, and dry very hard, but 
the gloss is not permanent, and after drying,, 
the gum is very brittle, and easily cracked and 
broken. The gum used is principally common 
resin. 

Water Color Drawings, to Varnish.— 1. Boil 
some parchment in clear water until it becomes 
a clear size, strain, and keep for use; give your 
work two coats, not applying the second before 
the first has dried, and observing to do it quick- 
ly and lightly. When dry apply the following- 
varnish : 1 oz. Canada balsam, 2 oz. oil turpen- 
tine, well dissolved. 

2. Size the drawing thoroughly and carefully 
with a solution of isinglass. When perfectly 
dry, brush the following varnish over it: 4 oz. 
clear balsam of Canada and 8 oz. camphine, 
warmed gradually, and shaken together till 
dissolved. This mixture is generally called 
Canada varnish, and is used for varnishing 
drawings, maps, prints, etc. 

3. The best way to effect this, without dis- 
turbing the colors, is to float over the surface 
of the drawing a sufficient.quantity of colorless, 
fluid oxgall, and when thoroughly dry, with a 
coat of clear copal varnish thinned with the 
gall. This preparation of ox gall is invaluable 
to all water color artists, as it sets the colors- 
beautifully. 

White Varnish.— 1. Tender copal, 73*6 oz.; 
camphor, 1 oz.; alcohol of 95$, 1 qt. Dissolve, 
then add mastic, 2 oz.; Venice turpentine, 1 oz. 
Dissolve and strain. Very white, drying, and 
capable of being polished when hard. Used for 
toys. 

2. Sandarac, 8 oz.; mastic, 2 oz.; Canada bal- 
sam, 4 oz.; alcohol, 1 qt. 1. Ninety per cent, alco- 



Varnishes. 



581 



Veneers. 



liol, 1 qt.; guni sandarac, 10 oz.; gum mastic, 2 
oz.; gum anime, ^ oz. Dissolve in a clean can, 
with gentle heat. Agitate well when the gums 
are dissolved; strain through a lawn sieve. 

White Hard Spirit Varnish.— 1. Gum sandarac, 
1 lb.; clear turpentine, 6 oz.; alcohol (65 over 
proof), 3 pt.; dissolve. 

2. Mastic, in tears, 2oz.; sandarac, 8 oz.; gum 
elemi, 1 oz.; Ohio turpentine, 4 oz.; alcohol (65 
over proof), 1 qt. Used on metals; polishes 
well. 

3. Gum mastic, 4 oz.; gum juniper, 14, lb.; tur- 
pentine, 1 oz.; 90^ alcohol, 4 pt.; mix together. 

White Ton Varnish. — Tender copal, 15 oz.; 
camphor, 2 bz.; alcohol, 95%, 2 qt.; dissolve, add 
mastic, 4 oz.; Venice turpentine, 2 oz.; dissolve 
and strain. White, dries easily, may be polished 
when hard. Used for toys. 

Wood, Varnish for.— White Woods.— Dissolve 
3 lb. of bleached shellac in 1 gal. 9Q% alcohol; 
strain, and add \% more gal. of 90$ alcohol. If 
the shellac is pure and white, this will make a 
beautifully clear covering for white wooden 
articles. 

Black Varnish for Wood.— 1. A German trade 
circular describes two kinds of black varnish : 

a. The ordinary black varnish for different 
kinds of wood. h. The black ebony varnish 
for certain woods which approach nearest to 
ebony in hardness and weight. The ordinary 
black wood varnish is obtained by boiling to- 
gether blue Brazil wood, powdered gall apples, 
and alum, in rain or river water, until it be- 
comes black. This liquid is then filtered through 
a fine organzine, and the objects painted with a 
new brush before the decoction has cooled, and 
this repeated until the wood appears of a fine 
Mack color. It is then coated with the follow- 
ing varnish: a mixture of iron filings, vitriol, 
and vinegar is heated (without boiling), and 
left a few days to settle. If the wood is black 
enough, yet for the sake of durability, it must 
be coated with a solution of alum and nitric 
acid, mixed with a little verdigris, then a de- 
coction of gall apples and logwood dyes are 
used to give it a deep black. A decoction may 
be made of brown Brazil wood with alum in 
rain.water, without gall apples; the wood is 
left standing in it for some days in a moder- 
ately warm place, and to it iron filings in strong 
vinegar are merely added, and both are boiled 
with the wood over a gentle fire. For this 
purpose soft pearwood is chosen, which is pre- 
ferable to all others for black varnishing. 

2. For the fine black ebony varnish, apple, 
pear, and hazel wood are recommended in pre- 
ference for this; especially when these kinds of 
wood have no projecting veins, they may be 
successfully coated with black varnish, and are 
then most complete imitations of the natural 
ebony. For this varnish 14 oz. of gall apples, 
3>y% oz. of rasped logwood, 1% oz. of vitriol, and 
1% oz. of distilled verdigris are boiled together 
with water in a well glazed pot, the decoction 
filtered while it is warm, and the wood coated 
with repeated hot layers of it. 

For a second coating a mixture of 3 oz. of 
pure iron filings, dissolved in % of a liter of 
strong wine vinegar, is warmed, and when cool 
the wood already blackened is coated two or 
three times with it, allowing each coat to dry 
between. 

For articles which are to be thoroughly satu- 
rated a mixture of 1% oz. of sal ammoniac, 
with a sufficient quantity of steel filings, is to 
be placed in a suitable vessel, strong vinegar 
poured upon it, and left for fourteen days in a 
gently heated oven. A strong lye is now put 
into a good pot, to which is added coarsely 
bruised gall apples and blue Brazil shavings, 
and exposed for the same time as the former 
to the gentle heat of an oven, which will then 
yield a good varnish. The pear wood articles 
are now laid in the first named varnish, boiled 
lor a few hours, and left in for three days 
longer; they are then placed in the second var- 
nish, and treated as in the first. If the arti- 



cles are not then thoroughly saturated, they 
may be once more placed in the first bath, and 
then in the second. More properly a stain. 

Patent Varnish for Wood or Canvas.— Dis- 
solve by heat, 4^ lb. asphaltum ; 2 gal. of 
spirirts of turpentine. When this mixture has 
cooled a little add 1 qt. copal varnish and 1 qt. 
of boiled linseed oil. If a deeper black is de- 
sired, a little lampblack may be added. 

Parisian Wood Varnish.— K. Grager.— Dis- 
solve 1 part of good shellac in 3 or 4 parts of 
92% alcohol on the water bath, and cau- 
tiously add distilled water, until a curdy mass 
separates out, which is collected and placed 
between linen. The liquor is filtered through 
paper, all the alcohol removed by distillation 
from the water bath, and the resin removed 
and dried at 100 until it ceases to lose weight; 
it is then dissolved in twice its weight of alco- 
hol, of at least 98^, and the solution perfumed 
with lavender oil. 

Varnish for Wood Furniture.— Niedlig.— 
White wax, 8 parts; colophony, 2 parts; Vene- 
tian turpentine, % part. Heat gently with con- 
stant stirring, pour the mixture into a glazed 
stone pot, and add while still warm 6 parts of 
rectified oil of turpentine. After standing for 
24 hours, the mass is a soft buttery substance, 
and is ready for use. The articles to be var- 
nished must be carefully cleansed with soap and 
water, and dried before applying the varnish. 
The polish obtained is less brilliant than that 
obtained by shellac varnish; but it has a pecu- 
liar chaste appearance. 

Varnish, to Clean. See Cleansing. 

Vaseline Soap. See Soaps. 

Vases, Iron, to Protect from the 

Weather.— White japan varnish baked on 
the vase in an oven or drying room at a tem- 
perature of 225° is the only white that will 
stand the weather. All air -drying paints 
weather. 

Vaucher's Alloy. See Alloys, Wliite 
Metal. 

Veins, Blue for the. See Rouges and. 
Face Paints. 

Vehicle. See Medium, 

Vellum.— A fine kind of parchment pre- 
pared from the skins of calves, kids and lambs. 
The skins are limed, shaved, washed and 
stretched in hoops or other frames, where they 
are scraped and trimmed with the currier's 
fleshing knife, and next carefully rubbed down 
with pumice stone; they are lastly polished 
with finely powdered chalk or fresh slaked 
lime, and then dried. A green color is given 
with a solution of crystallized verdigris to 
which a little cream of tartar and nitric acid 
have been added, and a blue color with a solu- 
tion of indigo. The surface is often finished 
with white of egg, and subsequent friction. 
The skins of sheep are commonly used for 
parchment, those of goats and wolves for 
drum heads. 

Vellum, to Clean. See Cleansing. 

Velvets, to Clean. See Cleansing. 

Veneering.— The veneer should be damped 
with a cloth dipped in hot water, then glued 
the reverse side; lay quickly on the board, and 
press out surplus glue with the pane Of the 
hammer. The wood should be properly planed 
and finished off with a toothing plane, but for 
commoner work a brush of glue over the wood 
to be veneered, then dried, and veneer laid on 
as before. If properly laid, no weight or press- 
ure is required for flat surfaces; but if circular 
or partly so, it should be bound round with 
string until the glue sets. Use good glue. 

Veneers. —The veneer having been cut to the 
proper shape, the surface to which it is to be 
applied is coated uniformly with glue and the 
veneer is directly placed in position. The ex- 
terior surface of the veneer is then sponged 
over with warm water to prevent its curling. 



Ventilation. 



582 



Vinegars. 



Ventilation of Schoolhouses. — The 

plan of the U. S. army hospitals is perhaps the 
best. Have an air shaft from outdoors open- 
ing- directly under the stove. Have openings 
for foul air in the top of the room and in base- 
boards, which may be closed, according to the 
weather. 

Verdigris, English. — Blue vitriol, 24 lb.; 
white vitriol, 16 lb.; sugar of lead, 12 lb.; alum, 
2 lb. (all coarsely powdered); mix and heat them 
in a pot over the fire until they unite into a 
mass. Sometimes sold for foreign verdigris. 

Verdigris. — iErugo, Vert-de-Gris.— This is a 
mixture of several basic acetates of copper, 
which have a green or blue color. It is obtained 
in the wine districts of the south of Europe by 
the action of refuse grapes from which the juice 
has been expressed, on thin sheets of copper. 
When pure it should dissolve almost entirely, 
and without effervescence, in dilute sulphuric 
acid. It is very poisonous. 

Verditer. — Blue Verditer, Refiners' Verdi- 
ter, Cendres Bleues (Fr.).— A blue pigment ob- 
tained by adding chalk, whiting, or milk of 
lime to a solution of copper in nitric acid, or by 
triturating recently precipitated and still moist 
carbonate of oxide of copper with hydrate of 
lime. Verditer is made into crayons while 
moist, or dried into a powder; or it is used as 
a water color in the moist state. 

Vermin, to Exterminate. See Name 
of Insect, Bugs, etc. 

Verminin Water.— Go to the nearest river or 
pond, and with a small net (a piece of old 
mosquito bar will do), collect a dozen or more 
of the small fishes known as minnows, and put 
them in your cistern, and in a short time you 
will have clear water, the wiggletails and red- 
dish-colored bugs or lice being gobbled up by 
the fishes. 

Vermin on Trees and Plants, to Destroy.— The 
solution obtained by agitating together a 
quantity of water and recently slaked lime, 
and permitting the mixture to stand for a few 
hours in a covered vessel, is said to be excellent 
for this purpose, and very cheap. 1 1 may be 
sprayed on and around the twigs, using a smail 
syringe with a finely perforated rose nozzle. A 
decoction of the dried leaves of the sumac tree 
is also said to preserve vines and plants from 
the attacks of insects. The application must 
be repeated occasionally. Besides these, sul- 
phur, alkaline sulphides, calcium sulpho-car- 
bonate, etc., are used with satisfactory x*esults- 

Vermouth. See Liquors. 
Vert d'Eau, See Alloys. 
Vespetro. See Liquors. 

Vessels, Paint for See Paints, 

Vesu vium.— Seven lb. best glue are boiled in 
3% pt. of water; 3 lb. white resin are dissolved 
by neat in 3 pt. raw linseed oil; the two are 
mixed and simmered for \j>, hour; and are then 
poured out on a quantity of whiting and 
mixed to the consistency of dough. 

Or, boil 134 lb- best glue into thick solution, 
stir it into 10 oz. of resin, or, still better, Vene- 
tian turpentine. Add enough whiting or min- 
eral color to bring it to a stiff paste and add a 
few drops of olive oil. These are the best 
formulas for making this substance. 

Vinegar and Vinegars.— Including ordi- 
nary vinegar, aromatic, toilet vinegars, etc. 

Vinegar Making. — The following description 
is for those who wish to make vinegar on a 
moderately large scale. For small quantities 
the receipts which follow are better adapted : 
The accompanying illustration shows the ar- 
rangements of the Hengstenberg generators. 
The stock mixture is contained in a reservoir 
situated above the generators. The generators, 
of which there may be from three to seven, 
stand vertically one above the other as stated. 
In the morning the upper generator cask is 



filled with the stock mixture from the reser- 
voir, and as soon as it is filled, the faucet near- 
the bottom of the upper cask is opened and 
the stock mixture allowed to fill the next low- 
er generator cask. From this the stock mix- 
ture is drawn over the next lower cask and so 
on to the lowest one, so that every generator 
cask has been completely filled with the stock 
mixture for a short time. The faucets have an 
extra wide bore, so that the flow from one cask 
into the other takes the least possible time ; 
they remain open after the liquid has flowed 
off, and thus are the means for the admission of 
air into the casks. The shavings with which, 
the casks are filled are completely and uni- 
formly soaked with the stock mixture, and 
dry places or nests, which often cause great, 
troubles and irregularities in other systems, 
are an absolute impossibility with this system. 
The formation and spreading of disease, and 
more especially the propagation of the so-called 
vinegar flies, is prevented in this system. 
After the mixture has arrived in the lowest 
cask, about one fifth to one fourth is racked, 
off as ready vinegar, so that if six generators of" 




150 gal. capacity are worked together daily,, 
from 25 to 30 gal. of ready vinegar are drawn 
off. The balance of the stock mixture is now 
brought back to the reservoir, and enough 
fresh stock mixture is added to fill the same 
up. It remains there till the next morning,, 
when it is carried through the same circuit in 
the sam^ manner as above described. It i» 
evident that the labor is very simple; the open- 
ing and closing of the faucets may be attended 
to by an apprentice, and the lifting of the 
stock mixture to the reservoir may be done by 
any common and untrained laborer, if, as it 
naturally would be in larger establishments, a 
pump is not preferred for this purpose. The 
building for a vinegar factory worked on this 
plan does not require any special appoint- 
ments, and therefore any locality may be util- 
ized, and such buildings having rooms from 
eight to ten feet high, one above the other, are 
very well adapted for arrangements on a larger 
scale. In every story two or three casks can 
be placed in such a manner that the lower cask 
in the upper story connects with upper casks- 
of the next lower story by means of a piece of 
rubber hose, which is drawn over the faucet 



Vinegars. 



588 



Vinegars. 



key, and passes through a two-inch hole in the 
floor. The reservoir should be in the form of 
flat tubs (storage casks sawed in two will serve 
very well), and are placed in the top story, 
where it is warmest, and where the acidification 
of the stock mixture remains in constant 
activity. 

The Hengstenberg system of generating 
vinegar, on the whole, offers some advantages, 
but it would appear to us that these advan- 
tages can be fully utilized only by works of 
comparatively small capacity, and that for 
yield in quantity and strength it cannot com- 
pete with the Schuetzenbach generators, if the 
same are worked by expert hands and under 
proper conditions. Nevertheless the progres- 
sive manufacturer will not lose anything by 
trying a set of small generators of this kind; 
it may be got up with almost no expense at 
all from a few odd barrels and faucets, and as it 
can be run regardless of interruptions, it may 
do good service in the production of one or 
the other fancy brands of vinegar, which to 
produce it is sometimes very desirable, al- 
though it would not be advisable to attempt 
the same by interrupting the working of a 
large generator.— Chem. Review. 

1. Quick Process for Making Vinegar.— What 
is known as the German process is the most 
rapid method of making a good vinegar. In 
this, dilute alcoholic liquor to which one thou- 
sandth part of honey or extract of malt has 
been added is caused to trickle down through 
a mass of beechwood shavings previously 
steeped in vinegar and contained in a vessel 
called a vinegar generator (essigMlder). It 
may consist of a large oak hogshead or barrel 
furnished with a loose lid or cover, a few 
inches below which is fitted a perforated shelf, 
having a number of small holes loosely filled 
with packthread about six inches.long, knotted 
at the upper end to prevent their falling- 
through. Several small glass tubes, long enough 
to project slightly above and below the shelf, 
are also fitted in perforations in the shelf to 
serve as air vents. The vessel at the lower part 
is pierced with 8 or 10 holes equally distributed 
around the sides at about 6 inches above the 
bottom, to admit of the entrance of air. A 
small siphon tube, the upper curve of which is 
an inch below the air holes, serves to carry off 
the liquid as fast as it accumulates at the bot- 
tom. The alcoholic iiquid, at a temperature of 
75°-83° Fah., is run in on the shelf, and slowly 
trickles down through the holes by means of 
the packthread, diffuses itself over the shav- 
ings, slowly collects at the bottom, and runs 
off by the siphon exit. The air enters by the 
lower holes, passes freely through the shavings, 
and escapes by the glass tubes. The tempera- 
ture within the apparatus soon rises to about 
100° Fah., and remains stationary at this point, 
while the action goes on favorably. The liquid 
generally requires to be passed three or four 
times through the cask before its acetification 
is complete. 

2. Put in 20 gal. rain water, 2Yz lb. acetic acid, 
1 gal. molasses, 1 qt. yeast. Stir well, and allow 
to stand from one to three weeks. If stronger 
vinegar is desired, add more molasses. 

3. Molasses 2 qt. 

Yeast 1 qt. 

Soft water 6 gal. 

Put in keg, and put wire gauze over bung 
and stand in warm place for three weeks. 

4. Acetic acid 2 lb. 

Molasses 2 qt. 

Water 20 gal. 

Shake and allow to stand two or three 
weeks. 

5. Cider 20 gal. 

Water 10 gal. 

Yeast 2 gal. 

6. Cheap Vinegar.— Put 2 gal. molasses and 2 
qt. yeast in \tYz gal. of warm rain water. Let 



it ferment. As the vinegar is used, add the 
above ingredients in the same proportions. 

7. A cheap vinegar consists of 25 gal. of warm 
rain water with 4 gal. of molasses and 1 gal. of 
yeast. The mixture can be used after it has 
been allowed to ferment. 

Vinegars.— These are solutions of aromatics in 
acetic acid, and are highly esteemed as reviv- 
ing perfumes, both for the toilet and sick room. 
They are corrosive, and should therefore be 
kept from contact with the skin and clothes. 
For use they should be dropped on a piece of 
sponge and placed in a stoppered bottle or 
vinaigrette. This refers to toilet vinegars. 

Argol Vinegar.— White ar go 1 or cream of tar- 
tar, 1 lb. ; boiling water, 8 gal. Disolve, and let 
it cool; add \Yz gal. proof spirit. Keep lightly 
cover in a warm place. 

Aromatic Vinegar. — 1. Henry's.— Dried leaves 
of rosemary; rue, wormwood, sage, mint and 
lavender flowers, each Yz oz.; bruised nutmeg, 
cloves, angelica root and camphor, each J4 oz.; 
alcohol, rectified, 4 oz.; concentrated acetic acid, 
16 oz.; macerate the materials for a day in the 
spirit; then add the acid and digest for a week 
longer at a temperature of 14° or 15° C. FinaUy 
press out the now aromatized acid and filter it. 

2. Concentrated acetic acid, 8oz.; otto of Eng- 
lish lavender, 2 drm.; otto of English rosemary, 
1 drm.; otto of cloves, 1 drm.; otto camphor, 
1 oz. First disolve the bruised camphor in the 
acetic acid, then add the perfumery; after re- 
maining together for a few days, with occasion- 
al agitation, filter. All vinegars are used by 
pouring 3 or 4 drm. into an ornamental smell- 
ing bottle, previously filled with crystals of 
sulphate of potash. 

3. Aromatic Vinegar, Aromatic Acetic Acid, 
Vinaigre Aromatique, Acide Acetique Aroma- 
tique, Acetum Aromaticum, Acidum A. A.— The 
following are approved formulas for this article: 

Glacial acetic acid 1 lb. 

Ninety per cent alcohol 2 fl. oz. 

Camphor, pure, crushed small. . . iYz oz. 

Oil of cloves, finest . ,.lJ4drm. 

Oil of rosemary 1 drm. 

Oil of bergamot Yz drm. 

Oil of cinnamon ^ drm. 

Oil of lavender Yz drm. 

Oil of pimento Yz drm. 

Neroli, or ess. de petit grain Yz drm. 

Mix in a stoppered bottle and agitate until 
the whole of the camphor is dissolved. Very 
fine and highly esteemed. 

4. Camphor 1 oz. 

Oil of cloves. 1 drm. 

Oil of cedrat 40 grn. 

Oil of lavender, Mitcham 40 grn. 

Oil of bergamot 20 grn. 

Oil of thyme ..20 grn. 

Oil of cinnamon 10 grn. 

Glacial acetic acid Yz lb- 
Mix as before. Very fine. 

5. Aromatic Rose Vinegar.— Macerate Ys lb. 
dried red roses in 1 qt. vinegar for two weeks. 
Stir daily, filter, and bottle. 

6. Cologne extract 2 oz. 

Alcohol 3 pt. 

Acetic acid ^ pt. 

Orange flower water Yz pt. 

7. Extract of cassia Yz pt. 

Extract of violet Yz pt. 

Extract of rose Yz pt. 

Tincture of orris Yz pt. 

White wine vinegar 2 pt. 

Digest for ten days and filter. 

8. Camphor, 1 oz.; oil of cloves, 1 drm.; oil of 
lavender, 40 drops; oil of rosemary, 40 drops; 
glacial acetic acid, 10 oz 

9. Rosemary and thyme (origanum), of each, 
dried, 1 oz.; lavender flowers, dried, Yz oz.; 
bruised cloves, y 2 drm.; acetic acid, \Yz pt.; di- 
gest for a week, filter and add camphor, lHj oz. 

Basil Vinegar, Burnt Vinegar, Celery Vine- 
gar, Cherville Vinegar, Elder Flower Vinegar, 



Vinegars. 



584 



Vinegars. 



Green Mint Vinegar, Tarragon Vinegar are pre- 
pared by adding to each pt. of vinegar 2 to 3 bz. 
of the leaves, the whole being frequently shaken 
for fourteen days, then strained or filtered, and 
bottled. 

Camp Vinegar. — 1. Vinegar, lYi qt.; walnut cat- 
sup, \% pt.; mushroom catsup, 4>£ tablespoon - 
fuls; garlic, 6 heads; cayenne, % oz.; soy, 3 
tablespoonf uls; port wine, 3 glasses; anchovies, 
4 glasses; salt, \% tablespoonf ul. Put in a bot- 
tle, shake daily for a month, decant. 

2. Sliced garlic, 8 oz.; Cayenne pepper, 4 oz.; soy, 
4oz.; walnut catsup, 4 oz.; 36 chopped anchovies; 
vinegar, 1 gal.; powdered cochineal, Yz oz. Mac- 
erate for a month, strain and bottle. 

Camphorated Vinegar, Camphorated Acetic 
Acid, Acidum, Aceticum Camphor atum.— This 
is simply a solution of about 2 oz. of camphor 
in each lb. glacial (or nearly glacial) acetic acid. 
The following are pharmacopoeial formulae. — 

troy. 

1. Camphor ^ oz. 

avoir. 

Rectified alcohol (to powder)... -j frops 

Acetic acid (E. Ph.) 6^ fl. oz. 

Dissolve. 

avoir. 

2. Camphor 1 oz. 

troy. 

Rectified alcohol 1 fl. drm. 

Pulverize, and dissolve the powder in- 
Strong acetic acid 10 fl. oz. 

These preparations were intended to super- 
sede the aromatic vinegar of the shops, and the 
aromatic acetic acid of the former pharmaco- 
poeias. Though highly pungent and refreshing, 
they are less agreeable than true aromatic 
vinegar, and lack its delightful fragrance. They 
are often used as fumigations, in fevers, etc., 
and as an extemporaneous vesicant. 

Chilli Vinegar.— Best vinegar, 1*4 Qt-; English 
chillies, 125, cut or bruised (or % lb. Cayenne 
pepper). Digest two weeks. 

Chilli Vinegar.— Twenty-five chillies (peppers) 
cut and bruised (or Yk oz. Cayenne pepper), to Yi 
pt. of the best vinegar. Digest for two weeks, 
strain and bottle. 

Cider Vinegar.— 1. Take, say 10 gallons new 
cider, and suffer it to ferment fully, winch will 
probably be in about two weeks, if the weather 
be warm; then add about 8 gals, of new cider 
for producing a second fermentation, and in 
about 2 weeks add a like quantity to produce a 
third fermentation. Stop the bunghole of the 
barrel with an empty bottle with the neck 
downward, and expose to the sun. When the 
vinegar is come, set in a cool place. When mak- 
ing, let there be a moderate degree of heat and 
free access of external air. The process is has- 
tened by adding to the cider a quantity of 
mother of vinegar, as it is called, a whitish ropy 
coagulum, of a mucilaginous appearance, which 
is formed in vinegar and acts as a ferment. 
The strength of vinegar depends on the amount 
of sugar or starchy matter to be ultimately 
converted into acetic acid. Cider made from 
late apples is esteemed the best for vinegar. 

2. Put some of the cider in a clean cask and 
add to it some vinegar containing abundance 
of mother of vinegar ; after some days, if the 
acetic fermentation has taken place and the 
souring is going on, add another portion of the 
cider, and at similar intervals a third and a 
fourth. When the whole has become vinegar, 
take out as much as is equal to the vinegar first 
put in, and replace by fresh cider, and so pro- 
ceed. The casks should never be but partly 
full; good exposure to air is necessary, and the 
temperature should be kept up to 86° Fah. 

3. Cider worked as malt vinegar. 

Vinegar (Cider), to Test the Purity of.— Place 
some white sugar in a saucer, half fill with vin- 
egar, and evaporate to dryness by placing on 
top of a boiling water kettle. If the sugar 



turns black, the vinegar contains an adulterat- 
ing acid. This test is of course not universal, 
but is very simple and useful. 

Vinaigre de Cologne.— To eau de Cologne, 1 
pt., add strong acetic acid, Yi oz. 

Cosmetic Vinegar, Piesse & Lubin^s.— 

Spirit 1 qt. 

Gum benzoin 3 oz. 

Concentrated aromatic vinegar. . 1 oz. 

Balsam Peru 1 oz. 

Ottoneroli.... 1 dr. 

Otto nutmeg Yz dr. 

This is one of the best made. 

Crystal Vinegar. — Pickling vinegar decolor- 
ized with freshly burned animal charcoal. 

Culinary Vinegars. — Black Pepper Vinegar, 
Caper Vinegar, Celery Seed Vinegar, Chilli Vin- 
egar, Cress Seed Vinegar, Garlic Vinegar, Gin- 
ger Vinegar, Horseradish Vinegar, Onion Vin- 
egar, Red Rose Vinegar, Seville Orange Peel 
Vinegar, Shallot Vinegar, Truffle Vinegar, 
White Pepper Vinegar, with several others of 
a similar kind, are made by steeping about an 
ounce of the respective articles in a pint of 
good vinegar for fourteen days, and straining. 

Currie Vinegar. — Good currie powder, Yk lb-; 
vinegar, 1 gal.; infuse for a week. Used as 
flavoring. 

Curry Vinegar. — Curry powder, 18 oz.; vinegar, 
1V£ gal. Infuse in a warm place 5 days. Used 
as a flavoring. 

Distilled Vinegar. — Vinegar (preferably French) 
8 parts; distill over with a gentle heat 7 parts, 
and dilute the product, if necessary, with dis- 
tilled water, until the sp. gr. is 1*005. 

Elder Flower Vinegar.— To every Yi peck of 
the flowers, free from stalks, put 1 gal. of 
strong ale vinegar; set in the sun in a stone jar 
for a fortnight, then filter through a flannel 
bag; bottle off into quite small bottles. 

German Household Vinegar.— Soft water, 7YH 
gal.; honey or brown sugar, 2 lb.; cream of tar- 
tar, 2 oz.; corn spirit or whisky, 1 gal. 

Ginger Vinegar.— Bruised ginger root, Yi lb.; 
vinegar, 6 qt.; macerate two weeks, strain. 

Gooseberry Vinegar.— I. Bruised gooseberries, 
1J4 lb.; brown sugar, V/a lb.; water, 1 gal. Other 
fruits may be substituted for gooseberries. 

2. To every gal. of water put 1 qt. of full ripe 
gooseberries. Boil the water first, and let it 
stand till quite cold; then crush the fruit with 
a wooden spoon, and add it to the water. Let 
it stand covered over for five days in a cool 
place, stirring it twice every day; strain it at 
the expiration of the five days through a hair 
sieve into a cask, and to every gallon of the 
liquor add 1J4 lb. of moist sugar. When it has 
stood for six months, bottle it. 

Health Vinegar. (Vinaigre anti-Mephitique), 
Bully.— To 7 qt. of water, take— 

Alcohol 4^ qt. 

Essence of bergamot 1 oz. 

Essence of lemon 1 oz. 

Essence of Portugal 3 drm. 

Essence of rosemary 6 drm. 

Essence of lavender 2 drm. 

Essence of neroli 1 drm. 

Tincture of melisse 1 pt. 

Mix the whole together, and, after twenty- 
four hours' repose, add— 

Infusion of storax '. 2 oz. 

Infusion of benzoin ... 2 oz. 

Infusion of cloves 2 oz. 

Shake well again, then pour in 2 qt. of good 
vinegar, and after some hours filter, and mix 
3 oz. of strong acetic acid. 

Horseradish Vinegar.- Vinegar, 2 qt.; horse- 
radish root, scraped, 6 oz.; minced shallots, 1 
oz.; Cayenne pepper, 2 drm. Let it stand for 2 
weeks. 
Hygienie Vinegar.— Drandy, 1 pt.; otlfo of 



Vinegars. 



585 



Wafers. 



cloves, 1 drm.; otto of lavender, 1 drni.; otto of 
marjoram, y 2 drm.; gum benzoin, 1 oz.; macer- 
ate these together for a few hours, then add 
brown vinegar, 2 pt.; and strain or filter if re- 
quisite to be bright. 

Marseilles Vinegar.— Four Thieves' Vinegar, 
Prophylactic Vinegar, Vinaigre cles Quatre 
Voleurs, Acetum Quator Furum. The original 
formula for this once celebrated preparation 
is : 

Rosemary tops, dried. .... 4 oz. 

Sage flowers, dried 4 , oz. 

Lavender flowers, dried 2 I oz. 

Rue, fresh \y 2 oz. 

Camphor, dissolved in spirit 1 oz. 

Garlic, sliced. y± oz. 

Cloves, bruised , 1 drm. 

Distilled wine vinegar, strongest 1 gal. 

Digest for 7 or 8 days, with occasional agita- 
tion, pour off the liquor, press out the re- 
mainder, and filter the mixed liquids. 

It is said that this medicated vinegar was in- 
vented by four thieves of Marseilles, who suc- 
cessfully employed it, as a prophylactic, dur- 
ing a visitation of pestilence. 

Raisin Vinegar.— One cwt. of the marc left 
from making raisin wine, to every 12 or 15 gal. 
■of water, along with a little yeast. 

Raspberry Vinegar.— 1. Bruised ripe raspber- 
ries, 3 pt.; white wine vinegar, 3 pt.; macerate 
for three days, press, strain, and to each pint 
add 1 lb. white sugar. Boil, skim, cool, and 
bottle at once ; two oz. of brandy to each pint 
is sometimes added. Cherry and strawberry 
vinegar may be made in a similar manner. 

2. Bruised ripe raspberries and white wine 
vinegar of each 3 pints ; macerate for 3 days, 
press, strain, and to each pint add 1 lb. of white 
sugar. Boil, skim, cool, and bottle at once. 
Some persons add 2 fi. oz. of brandy to each 
pint. 

3. Fresh raspberries, 3 lb.; good vinegar, 2 lb.; 
macerate in glass for two weeks, then strain 
without pressure. In a similar manner straw- 
berry vinegar, cherry vinegar, and the vinegars 
of like fruits may be made. 

4. -Add }4 Pt • good vinegar to every qt. of 
raspberries, and let them soak for two or three 
days; then bruise the berries, express the 
liquid, and to each pt. add 1 lb. of sugar. Boil 
it for twenty minutes, skim it, and when thor- 
oughly cool, bottle it. 

5. Take any quantity of ripe red raspberries, 
place them in a stoneware jar and add white 
wine or pure cider vinegar just sufficient to 
•cover them ; cover the jar closely and set aside 
for five or six days in cool situation to infuse. 
Now remove the surface carefully and filter 
the liquid ; add an equal quantity of sirup at 36° 
of strength; mix well together, bottle and 
keep in a cold place. When used dilute with 
water or with any kind of aerated mineral 
-waters. 

Vinaigre a la Rose. — Concentrated acetic acid, 
1 oz.; otto of roses, y, drm. Well shaken to- 
gether. 

Sugar Vinegar. — Four lb. of brown sugar to 
each gal. of water. 

Spiced Vinegars.— The following are given by 
the Mineral Water Trades Review : 
For Gherkins.— 

Good malt vinegar 1 gal. 

Black peppercorns 6 oz. 

Sliced ginger ... 4 oz. 

Chillies 1 oz. 

Garlic, in slices 1 oz. 

Boil the spices and garlic gently in half the 
vinegar for half an hour, strain through a 
sieve, and add the rest of the vinegar to the 
spices and again strain. To the remnant spices 
add 2 oz. of salt and 1 pt. of water, and boil for 
half an hour. After removing from the fire 
add 1 pt. of vinegar, and again strain into the 
spiced vinegar, which when perfectly cold may 
foe poured over the gherkins. 



For Walnuts (to be used hot).— 

Good malt vinegar 2 gal. 

Black peppercorns y z lb. 

Ginger, unbleached 6 oz. 

Mustard seed i lb. 

Cloves 2 oz. 

Mace 2 oz. 

Garlic, in slices 2 oz. 

In 1 gal. of vinegar boil the whole of the 
spices, and having strained, pour the hot liquor 
over the walnuts, then boil the remaining gal. 
of vinegar and pour over spices, etc. This 
pickle takes some time to mature, but if prop- 
erly prepared should be ready for use in three 
months. 

For French Beans. — 

Distilled or very pale malt vine- 
gar 1 gal. 

White peppercorns 4 oz. 

Bleached ginger (sliced) 2 oz. 

Chillies . 1 oz. 

Into Yz gal. of the vinegar place the whole of 
the spices and allow to macerate for twelve 
hours, then simmer (do not boil) gently for one 
hour in an enameled pan, covering the top. 
To be used hot. 

Sulphuric Acid in Vinegar, to Detect.— We 
have received so many letters on this subject 
that we are compelled to decline publishing- 
many good methods which our correspondents 
have forwarded. The following, however, will 
give housekeepers, and others to whom chemi- 
cal processes are not accessible, an opportunity 
of testing the purity of the article. The fol- 
lowing is Fresenius' test, simplified for gene- 
ral purposes: Put a wineglassful of the vinegar 
into a china tea cup, and let the cup float in 
water in a pt. cup of tin or other metal that 
will stand heat. Boil the water till half the 
vinegar has evaporated, then drop into the cup 
a piece of (cane) loaf sugar about the size of a 
grn. of wheat. Continue the boiling till the 
liquid in the cup has evaporated, when, if the 
vinegar contains free sulphuric acid, the dry 
residue will be found to be blackened. The 
charring of the sugar is due to free sulphuric 
acid. 

Tarragon Vinegar.— Put fresh tarragon leaves 
in a stone jar; add sufficient best wine vinegar 
to cover them. Keep in a warm place for two 
weeks; strain through cloth. 

Toilet Vinegar (a la rose).— 1. Dried rose leaves, 
4 oz.; esprit de rose triple, % pt.; white wine 
vinegar, 2 pt. Macerate in a close vessel for 
two weeks, then bottle. 

2. A la Violette — 

Extract of cassie % pt. 

Extract of orris M pt. 

Esprit de rose, triple % pt. 

White wine vinegar 2 pt. 

Whisky Vinegar. — Whisky, 1 pt.; sugar, 2 
oz.; yeast a dessertspoonful. 

Violet Alloy. See Alloys. 

Violet Powder. See Powders. 

Violet Water. See Waters. 

Violin Bows, to Clean. See Cleans- 
ing. 

Violins, Varnish for. See Varnishes. 

Vitriol.— Blue, name for copper sulphate. 

Green, name for copperas or iron sulphate. 

Oil of vitriol, name for sulphuric acid. 

White Vitriol, name for zinc sulphate. 

Vulcanite, to Cement. See Cements. 

Vulcanite, to Polish. See Polishing. 

Vulcanite, to Preserve.— Wash with am- 
monia and rub with kerosene. 

Wafers.— Flour Wafers.— -1. Mix fine wheat 
flour with water to a smooth pap, add coloring 
as required, pass the mixture through a sieve 
to remove any clots or lumps, fill the water 
irons (previously warmed and greased with 



Walks. 



586 



Watchmakers. 



butter or olive oil) with the batter, close them 
tight and expose them lor a short time to the 
heat of a clear charcoal fire. The whole must 
then be allowed to cool, when the irons must 
be opened and the thin cake, which is now hard 
and brittle, must be cut into wafers by means 
of sharp annular steel punches. The wafer 
irons consist of two plates of iron, united to- 
gether in a similar manner to a pair of pincers 
or tongs, and which when closed, leave a space 
between their internal surface proper for the 
thickness of wafers. 

2. Gelatine Wafers, Glue Wafers, Transparent 
Wafers. — Dissolve isinglass or the best pale glue 
in sufficient water to form a consistent mass 
when cold, pour it while hot upon the surface of 
a warm, plate of mirror glass, slightly oiled, and 
surrounded with a border of card paper, laid 
flat; next apply a similar plate, also warmed 
and oiled, and press the two into as close con- 
tact as is permitted by the card paper. When 
cold the thin cake of gelatine must be removed 
and cut into wafers with punches as before. 

Walker's Metals. See Alloys, Fusible. 

Walks, Gravel and Tar.— Take 2 parts 
very dry lime rubbish and 1 part coal ashes, also 
very dry, and both sifted fine. In a dry place, 
on a dry day, mix them, and leave a hole in the 
middle of the heap as bricklayers do when mak- 
ing, mortar. Into this pour boiling hot coal 
tar, mix, and when as stiff as mortar put in 3 
in. thick where the walk is to be; the ground 
should be dry and beaten smooth; sprinkle 
over it coarse sand. When culd, pass a light 
roller over it; in a few days the walk will be 
solid and waterproof. 

Wall Papers to Clean. See Cleansing. 

Walls, Damp, Remedy for. — Three- 
quarters lb . of mottled soap to 1 gal. of water. 
This composition to be laid over the brick work 
steadily and carefully with a large flat brush, so 
as not to form a froth or lather on surface. The 
wash to remain twenty-fours hours, to become 
dry. Mix J^ lb. alum with 4 gal. water; leave 
it stand twenty-four hours, and then apply 
it in the same manner over the coating of soap. 
Let this be done in dry weather. 

Walls, Smoky, to Restore. See Cleans- 
ing. 

Walnut (Doors), to Restore.— It will 
be necessary to first remove the shellac. Much 
of it may be removed with a little ammonia 
water and alcohol; but it is best to scrape off 
the last portions, and sandpaper the wood, If 
the wood is genuine walnut, a little oil will 
then bring out the color, and it may be finished 
with a good coat of copal varnish. If the doors 
are of imitation walnut, make solution of 2>£ 
oz. Vandyke brown in a boiling solution of V/z 
oz. washing soda in 1 qt. water, and add to it 
about 34 oz- powdered bichromate of pottassa. 
Stir well together and when cool strain through 
a cloth for use. This will give you an excel- 
lent imitation of dark walnut; and when dry, 
it takes a good coat of varnish. 

Walnut Stain. See Staining, wood. 

Warne's Metal. See Alloys. 

Warts.— A wart is a hypertrophy or over- 
growth of the papillae of the skin, and the 
epidermis covering them. There are four va- 
rieties : Children's warts, venereal warts, senile 
warts and common warts. 

Children's warts grow principally on the 
hands and face of children. 

Treatment: Apply strong soda and water for 
a few days, and then paint them with aethereal 
tincture of tannin. Or, having covered the 
skin around the wart thickly with lard, apply 
over the surface of the growth 1 or 2 drops 
of strong hydrochloric or nitric acid; then keep 
the part covered up until the eschar or scab 
separates. 

Common Warts. — Treatment as for chil- 
dren's. 



Senile Warts.— These occur on the skin of 
elderly persons; they are often the commence- 
ment of a form of cancer known as epithe- 
lioma. 

Treatment : Years of pain and perhaps a pre- 
mature death may be avoided if the part is 
thoroughly destroyed with strong acid. If the 
patient is afraid to do it himself, let him go to 
a doctor. 

If, after removal, these growths should show 
a tendency to return, they may be freely 
touched with nitrate of silver; or— 

Muriatic acid 1 drm. 

Muriated tincture of iron 3 drm. 

Three other applications may be mentioned 
— acid nitrate of mercury, creosote, and diace- 
tate of lead lotion. 

After warts have been removed, their situa- 
tion is often marked by more or less visible 
cicatrix; this, however, being far less unsightly 
than the wart itself. Hence, when these 
growths occur on the faces of children, es- 
pecially girls, they may be left alone for a year 
or two, as they often disappear of themselves. 
Also it will be better, in these cases, to try soda 
and tannin remedy already spoken of, before 
proceeding to severer measures. The situation 
of the growth, and the sex of the child, should 
always be prominent factors in an argument 
as to treatment. 

Wart Pomade.— 

1. Soap cerate. . . 2 oz. 

Powdered savin 2 drm. 

Powdered verdigris 2 drm. 

Spread the pomade on leather the size of the 
wart, keep it on overnight and repeat if neces- 
sary. 

2. Use a strong solution of chromic acid, 
applied three or four times. It is said that 
repeated applications of whale oil will cause 
warts to disappear. 

3. Warts may be removed by coal oil (kero- 
sene, applied twice daily. 

4. Castor oil constantly applied from 2 to 4 or 6 
weeks each day— that is, once a day— it has not 
failed in my hands, says the writer, in any case 
of any size or long standing, The time it takes 
may try the patience of the user, but if faith- 
fully used they will get their reward in the re- 
moval of the wart without leaving any scar. — 
Therapeutic Gazette. 

Warts, to Remove. See also Eschar- 
otics. 

Washes for the Teeth. See the Teeth. 

Wash, Black.— Charcoal, plumbago and 
size. 

Wash, White. See Whitewashes. 
' Wash, for Woodwork.— An iron wash 
for woodwork can be made by taking- fine iron 
filings, 1 part; brickdust, 1 part, and ashes 1 
part. Put them in glue water, warm, and stir 
well together. Use two coats. 

Washing Powder.— A powdery mixture 
composed of effloresced soda, 91) parts; hyposul- 
phite of soda, 10 parts; and borax, 2 parts. 

Universal Washing Powder.— This powder 
consists of silicate of soda, with a small per- 
centage of powdered soap and starch. See 
Powders, also Cleansing. 

Washing. See Cleansing. 

Wastes, Photographic. See Photog- 
raphy. 

Watch Hands, to Make Red.— Mix to 
a paste over a lamp, 1 oz. carmine, 1 oz. chloride 
of silver and ^ oz. of tinners' japan. Put some 
of the paste on the hands, and lay them face 
upward on a sheet of copper, holding it over 
a spirit lamp until the desired color appears on 
them. 

"Watchmakers, Useful Notes for.— We 

find the following in a recent number of the 
Watchmaker : 



"Water. 



587 



Waterproofing. 



Main Springs. — When a main spring- is 
cleaned, most inexperienced workmen will take 
hoid of one end and pull the spring about half 
its length straight out, to save time. This prac- 
tice will break springs when nothing else will ; 
and springs treated thus generally break after 
the watch has been delivered to the customer 
only a few days. Breaking into many pieces is 
owing to the acid in the oil which is used. We 
will suppose the main spring is a fine one, and 
has been evenly tempered and properly clean- 
ed ; if, now, old oil is used, or that of an in- 
ferior quality if fresh, the acid it contains will 
eat into the spring, and will finally destroy its 
texture. The coil nearest the center breaks 
first, and as it recoils it breaks every coil in the 
barrel, and sometimes each coil is broken 
twice. The spring has become so impregnated 
with acid that it has no life left. 

To Purify Oil.— To make the oil pure, take a 
good sized bullet or other piece of lead which 
has a thick coating of lead rust, cut it up fine, 
put it into the oil, and let it stand for two 
weeks. This causes the acid to settle, and it 
then resembles milk at the bottom. Now pour 
off the top, and your oil is pure. Common 
clock oil can be treated in this manner and 
made better than some Avatch oil. 

To Restore Luster.— If not too much darken- 
ed it may be restored by dipping the wheel in 
pure muriatic acid. Test your acid by dipping 
a piece of polished steel in it ; if it destroys the 
polish, reduce the acid with rain water until it 
will not. Rinse the wheels well in water. This 
will also restore the polish to steel that has 
been blued by heat. 

Grinding Glasses. — Provide two pieces of 
cork, one concave and one convex (which may 
be cut to shape after fitting to lathe). Take a 
copper cent or other suitable article and soft 
solder a screw to fit the lathe and then wax it 
to the cork ; then get a twenty-five cent emery 
wheel, such as is used on sewing machines, and 
you have a complete outfit for cutting your 
watch grasses. Polish the edge on the zinc col- 
lar of the emery wheel, or use a piece of zinc to 
do it with emery. The other cork should be 
waxed to a penny and centered. The spectacle 
lenses may be cut on the same emery wheel, if 
the wheel is attached to lathe so as to revolve. 

Another method is to take a common piece 
of window glass (green glass is the best) and 
make a grindstone of that; using the flat sur- 
face to grind on. Cement it on a large chuck, 
the glass being from 2 to 2'5 in. in diameter. 

Any one not familiar with this method would 
be surprised to see how fast the glass is cut 
away, for either spectacles or watches. In 
grinding watch glasses put them flat on the 
chuck glass— not on the edge. 

Some watchmakers are excusable for not 
keeping a full supply of watch glasses on hand 
all the time, when it is remembered that there 
are over four thousand different sizes. 

Watchmakers' Oil. See Oil. 

Water. For distilled, perfumed, mineral 
waters, etc., see Waters. 

To Keep Water for Fire Purposes from Freez- 
ing.— JJse plenty of salt in the water. 

Odor of Water, to Prevent.— A handful of cop- 
peras to a barrel of water, which is for fire pur- 
poses, will prevent odors. 

To Purify Water.— 1. Sprinkle in powdered 
alum in the proportion of a tablespoonful to 
ten gallons. Stir it well together, and in a few 
hours all impurities will be found sent to the 
bottom. 

2. Alum gives excellent results when it has 
been found desirable to clarify muddy or tur- 
bid waters. See also Filters. 

Water, Simple Tests for. — General. Evapo- 
rate by gentle heat a small sample of the water 
nearly to dryness in a clean porcelain cup, 
moisten the residue with acetic acid, and add to 
a portion of it a few drops of strong hydrosul- 
phuric acid— pure water saturated with the gas 
evolved by the action of dilute sulphuric acid 



on iron mono-sulphide; a black precipate indi- 
cates lead. Add to another portion of the di- 
lute acetic acid solution a little pure hydro- 
chloric acid; a white precipitate, which redis- 
solves on diluting with boiling water, indicates 
lead. To the remainder of the solution add a 
few drops of dilute sulphuric acid and let it 
stand for a time; a white, heavy precipitate in- 
dicates lead. 

1. Test for Hard or Soft Water.— Dissolve a 
small quantity of good soap in alcohol. Let a 
few drops fall into a glass of water. If it turns 
milky, it is hard; if not, it is soft. 

2. Test for Earthy Matters or Alkali.— Take 
litmus paper dipped in vinegai% and if, on im- 
mersion, the paper returns to its true shade, 
the water does not contain earthy matter or 
alkali. If a few drops of syrup be added to a 
water containing an earthy matter, it will turn 
green. 

3. Test for Carbonic Acid. — Take equal 
parts of water and clear lime water. If com- 
bined or free carbonic acid is present, a pre- 
cipitate is seen, to which, if a few drops of mu- 
riatic acid be added, an effervescence com- 
mences 

4. Test for Magnesia.— Boil the water to a 
twentieth part of its weight, and then drop a 
few grains of neutral carbonate of ammonia 
into a glass of it, and a few drops of phosphate 
of soda. If magnesia be present, it will fall to 
the bottom. 

5. Test for Iron.— a. Boil a little nutgall and 
add to the water. If it turns gray or slate 
black, iron is present. 

b. Dissolve a little prussiate of potash, and, 
if iron is present, it will turn blue. 

6. Test for Lime— Into a glass of water put 
two drops of oxalic acid and blow upon it. If 
it gets milky, lime is present. 

7. Test for Acid.— Take a piece of litmus paper. 
If it turns red, there must be acid. If it pre 
cipitates on adding lime water, it is carbonic 
acid. If a blue sugar paper is turned red, it is 
a mineral acid. 

Waterproof Blacking. See Blacking. 
Waterproof Cement, See Cements. 
Waterproof Gloves. See Gloves. 

Waterp roofing. —The art of rendering fab- 
rics impervious to moisture has attained con- 
siderable importance, especially in the case of 
clothing materials. The manufacture of rub- 
ber goods, as well as the cuprammonium pro- 
cess, has been purposely left out, as these pro- 
cesses are complicated, and belong more prop- 
erly to a book of processes than to a receipt 
book. 

Boots, Waterproofing.— 1. A coat of gum copal 
varnish applied to the soles of boots and shoes, 
and repeated as it dries until the pores are 
filled and the surface shines like polished ma- 
hogany, will make the sole waterproof, and it 
lasts three times longer. See also Leather 
below. 

2. Linseed oil 1 part. 

Mutton tallow — % lb. 

Beeswax 14 lb. 

Melt and mix thoroughly together and apply 
to the warm dry leather with a brush. A small 
quantity of ivory black is sometimes added to 
this mixture. 

Brick Walls, to Waterproof.— Use boiled oil. 

Fishing Lines, Waterproofing— 1. Two parts 
boiled oil, 1 part gold size, put in a bottle, shake 
well and it is ready for use. Apply with a piece 
of flannel, expose to the air and dry. After 
using the line two or three times it should have 
another coat, the application being repeated 
when necessary. 

2. Apply a mixture of 2 parts boiled linseed 
oil and 1 part good size; expose to the air and 
dry. 

Felt Hats.— I. The stuff of coarse hat bodies is 
imbued with drying oil, prepared by boiling 50 
parts linseed oil with 1 part each of white lead. 



Waterproofing, 



588 



Waterp roofing. 



litharge and umber. The felt to be dried in a 
stove and then polished by pumice; 5 or 6 coats 
of oil are required; the surface is at last var- 
nished. When the hat is intended to be stiff, 
the fabric is to be impregnated, first of all 
with paste, then stove dried, cut into the de- 
sired shape, and pumiced repeatedly; lastly 
placed in a hot iron mould and exposed to strong 
pressure. 

2. Kemove lining of hat and paint the inside 
with Canada balsam, made hot. Hats made 
waterproof and not ventilated will bring on 
premature baldness; so punch a few small holes 
in the side. 

3. Boil 8 lb. shehac, 3 lb. frankincense, and 1 
lb. borax in sufficient water. 

Leather.— 1. Add to a boiling solution of 
common yellow soap, in water, solution of 
alum or alum cake (alumina sulphate) as long 
as a separation of white alumina soap takes 
place ; allow the precipitate to subside, wash it 
with hot water, heat moderately for some time, 
to expel adhering water, and dissolve the semi- 
transparent mass in warm oil of turpentine. 
The solution may be applied by brush, or by 
dipping and rolling. Oil and colors may be 
added to the bath, and the substance dried in 
the air, or more rapidly in drying room at 
90°-100° F. (32°-38° C), with care to prevent fire. 

2. Best white or yellow wax 100 oz. 

Burgundy pitch 6 oz. 

Ground nut oil 8 oz. 

Iron sulphate 5 oz. 

Essence of thyme 2 oz. 

3. A method of waterproofing leather and 
raw hides, used in Southern Austria, is as fol- 
lows : impregnate the substance with a gela- 
tine solution, mixed with some mineral salt to 
coagulate the gelatine in the pores. The fol- 
lowing mixtures can be used : 

1,200 water, 15 gelatine, 5 potash bichro- 
mate. 

4. One thousand five hundred water, 50 gela- 
tine, 30 potash bichromate; the temperature of 
the solution may vary from 53° F. (10° C.) to 
boiling point. When the bichromate percent- 
age is small, the liquor is used cold, and the 
leather or hide is immersed for twenty-four 
hours; as the proportion approaches the point 
of saturation, the temperature must approxi- 
mate more nearly to boiling, and the time of 
immersion be reduced until it becomes momen- 
tary. The bichromate solution may be replaced 
by the following : 1,000 water, 10 gelatine, 100 
lead acetate, 100 alum; in every case, after im- 
pregnation on one or both sides, the leather or 
hide should be dried, and dressed on both sides 
with paraffin. 

5. F or rendering hose of fire engines com- 
pletely watertight, so as to withstand the 
greatest pressure, the hose, after being cleaned 
and dried, is impregnated with a mixture of 
100 parts of glycerine and 3 parts of carbolic 
acid, which may be done either by drawing the 
hose through the liquid, or, better still, by 
brushing it well in. Thus treated, the hose 
preserves a certain degree of dampness, with- 
out, however, being liable to rotting in the 
least degree, and so suffering deterioration in 
quality and durability. The brass fittings of 
the hose are attacked only imperceptibly by the 
acid contained in the composition; but even 
this may be easily prevented by giving them 
before impregnation a coating of weak shellac 
varnish, or by greasing them Avell with tallow. 
The hose must be cleaned every time they have 
been used, dried, and impregnated anew with 
the liquid. The previous drying of the hose is. 
however, not necessarily esential, more espec- 
ially in winter, when drying is slightly difficult; 
it suffices to let the water run well out of the 
hose. 

6. For Boots and Shoes.— Apply to the soles as 
much copal varnish as they will absorb, and 
castor oil to the uppers. The castor oil does 
not prevent subsequent blacking. 

7. One oz. beeswax; y% oz. suet; 2 oz. olive oil; 



Y% oz. lampblack; melt the wax and suet in the 
oil, add the lampblack, and sfc'k* till cool; warm 
the shoes and rub in the compound. 

8. Warm the boots by fire then apply and rub 
in paraffin wax; it is, however, apt to soil the 
stockings by being melted out by the heat of 
the feet. A saturated solution of paraffin wax 
in cold naphtha, applied cold, is perhaps better. 

9. Mix together in a pipkin, on the lire, 2 
parts tallow to 1 part of rosin, and having thor- 
oughly warmed the boots, apply it, melted, with 
a painter's brush, till they will not soak in any 
more. If the boots are well polished before ap- 
plying the mixture, they will polish after- 
ward. 

10. Take about 1 gill of Macintosh's India 
rubber waterproofing solution, dissolve it in 
2 gills raw linseed oil, adding the oil to the solu- 
tion gradually. With this liquor paint the 
boots, giving as manj r coats, at intervals of 
six or eight hours, to the leather as it will take 
in, which may be as many as 10 or 12. The pre- 
pared leather takes a brilliant polish. 

11. To Render Leather, Paper, etc., Imper- 
meable. — MM. Huleux and Dreyfus advise the 
employment of the following mixture, which 
operates according to the quantity and pro- 
portion of the materials added : 

White or yellow wax, first 
quality 1000 grm. 

Burgundy pitch 60 grm. 

Oil of arachide 80 grm. 

Sulphate of iron 50 grm. 

Essence of thyme 20 grm. 

Paper.— 1. It is a well-known fact that cellu- 
lose is soluble in cuprous ammonia solution; pa- 
per, linen and other vegetable tissues laid there- 
in undergo a sort of surface amalgamation of 
the fibers, which alters their absorbent powers. 
A sheet of paper so treated, and dried after- 
ward, becomes impermeable to water, and this 
property is not effaced by subsequent boiling. 
Sheets of paper soaked in the solution and laid 
one upon the other and rolled, become amalga- 
mated into a kind of cardboard, possessing 
great elasticity and cohesive power. The cup- 
rous solution may be prepared by agitating 
copper filings in a closed vessel containing liq- 
uid ammonia of 0'88 sp. gr. 

2. Dissolve 8 oz. alum and o% oz. Castile soap 
in 4 pt. water, and 2 oz. gum arabic and 4 oz. 
glue, separately, in 4 pt. water; mix the solu- 
tions, heat slightly, dip in the single sheets, and 
hang un until dry. 

3. Waterproofing pasteboard may be effected 
with a mixture of 4 parts slaked lime in 3 parts 
skimmed milk, with a little alum added. As 
soon as mixed, the pasteboard is brushed over 
with two successive coatings of the preparation, 
and thus becomes impervious to water. 

4. Take pale shellac, 5 oz.; borax, 1 oz.; water, 
1 pt. "Digest at nearly the boiling point till dis- 
solved, then strain. This forms also an excellent 
vehicle for water colors, inks, etc. If required 
quite transparent, the lac should be bleached 
as follows : Dissolve shellac in a lye of pearl- 
ash, by boiling; filter and pass an excess of 
chlorine gas through the solution, which will 
precipitate the white lac. Wash and dry the 
precipitate, and cast it if desired into sticks. 

5. To make waterproof packing paper, dis- 
sove 1% lb. white soap in 1 qt. water. In ano- 
ther qt. of water dissolve V/z oz. gum arabic 
and 5 oz. glue. Mix the 2 solutions, warm 
them, soak the paper in the liquid, and pass it 
between rollers, or simply hangup to dry. 

6. Even old newspapers may be converted 
into waterproof roofing material by applying 
coats of hot coal tar with a brush, uniting two 
or more thicknesses. 

7. Rendering paper impervious to grease and 
water. Parchment paper is plunged into a 
warm solution of concentrated gelatine, to 
which has been added 2}4 to 3% glycerine, and 
allowed to dry. The resulting paper is imper- 
vious to grease. If desired to make a paper 
waterproof, the same parchment paper is dip- 



Waterproofing. 



589 



Waterproofing. 



ped in carbon bisulphide containing 1% linseed 
oil and 4$ India rubber. 

8. A strong-, impervious parchment paper is 
obtained by thoroughly washing woolen or 
cotton fabrics, so as to remove gum, starch 
and other foreign bodies, then immersing them 
in a bath containing a small quantity of paper 
pulp. The latter is made to penetrate the 
fabric by being passed between rollers. Thus 
prepared, it is afterward dipped into sul- 
phuric acid of suitable concentration, and then 
repeatedly washed in a bath of aqueous ammo- 
nia until every trace of acid has been removed. 
Finally, it is pressed between rollers to remove 
the excess of liquid, dried between two other 
rollers which are covered with felt, and lastly 
calendered. The product is suitable for dia- 
phragms in dialytic operations. 

9. Treat the tissue to be waterproofed with 
chloride, sulphate, or other soluble salt or salts 
of zinc or cadmium, in conjunction with am- 
monia, applied in the form of a solution com- 
posed of about 3 parts crystallized zinc sul- 
phate or 3 parts of a solution of zinc chloride 
at 96° Tw.'(47° B.), and about 2 parts of a solu- 
tion of ammonia of sp. gr. 875. The paper 
which it is proposed to treat is passed through 
a cisteim lined with lead, and specially con- 
structed for this purpose, with an arrange- 
ment of rollers, so as to allow the material to 
pass throug-h at a speed varying from thirty to 
thirty-six yards per minute, according to the 
thickness. In its passage through the liquor, 
the material becomes perfectly saturated. 
From the bath it passes through a pair of 
squeezing rollers, which remove the superflu- 
ous liquor, and harden it by compression. 
From the rollers it is next passed to a suspend- 
ing apparatus, then hung along the room in 
folds in a temperature of 110° F. (43° C), until 
it is sufficiently dry to be taken down. The 
rollers in the cistern, the squeezing rollers, and 
the suspending apparatus are so speeded that 
the material is taken from one to the other 
without any inconvenience or stoppage. 

10. Treat with glue, gelatine, or other similar 
substances, in conjunction with bichromate or 
chrOmate of potash, soda or alumina, applied 
in the form of a solution of about 1 part glue 
or gelatine in about 8 parts of water at 160° F. 
(71° C.) and a solution of 1 part potash bichro- 
mate in 15 parts of water. The mode of treat- 
ment in thds case differs from 9 only in two 
points. 

a. During the time the material is traversing 
the bath, as already described, the solution is 
maintained at 160-' F. (71° C.) by means of siphon 
pipes charged with steam. 

b. Instead of suspending to dry, the material 
is immediately passed over three steam cylin- 
ders 7 ft. in diameter, carrying a pressure of 15 
to 20 lb. to the square inch. The cylinders are 
provided with gauges to indicate the pressure 
they are required to carry, and also with safety 
valves to prevent this pressure from being ex- 
ceeded. The bath must always be kept in a 
state of darkness. 

11. The paper is treated with acetate, sul- 
phate or chloride of alumina, applied in the 
form of a solution of 1 part of any of these 
compounds in 6 parts of water at 160° F. (71° C). 
The same conditions are required to produce 
a waterproof material with these compounds 
as those described in 9 and 10, with this differ- 
ence, that it is not absolutely necessary to pre- 
serve darkness during the process. 

Waterproof Paper Varnishes.— 12. Pulverize 
1 lb. shellac and put it into a bottle with a suf- 
ficient quantity of alcohol to cover the resin ; 
cork the bottle tightly, and keep it in a warm 
place until the resin is dissolved. To 1 qt. of 
the liquid add 1 oz. ivory black and y z oz. cam- 
phor dissolved in alcohol. Apply with a var- 
nish brush. If too thick to work well, thin 
with alcohol. 

13. Johnson's green vitriol is dissolved in 
water, a solution of soap is added to this, and 



the px^ecipitate of iron soap which is formed is 
collected. When this precipitate has become 
dry, and is then dissolved in carbon bisulphide, 
or in benzole, a fluid is obtained which leaves 
behind a waterproof layer upon paper or tissue. 
If the paper or tissue is to remain white, a so- 
lution of alum is used instead of that of green 
vitriol, and a white aluminum soap is then ob- 
tained, which is used in the same manner. 

14. Take 4 oz. clean gutta pereha, dissolve inl 
lb. rectified rosin oil ; add 2 lb. linseed oil var- 
nish, boiling hot. 

15. One part dammar resin ; 4'6 parts acetone 
are digested in a closed flask for two weeks, 
and the clear solutionis poui-ed off. To this 
4 parts collodion are added, and the whole is 
allowed to clear by standing. 

16. Thirty parts white shellac are digested 
with 500 parts ether, and to the solution 15 
parts lead carbonate are added; it is then 
shaken for some time and l-epeatedly filtered. 

17. Five parts glue are dissolved in 100 parts 
warm water, and this solution is spread on pa- 
per. After drying, the paper is soaked for an 
hour in a 10$ solution of alumina acetate and 
again dried, in order to give it a final glaze. 

18. One hundred and twenty parts linseed oil 
are heated and poured into a mixture of 33 
parts quicklime and 22 parts water, to which 55 
parts melted rubber have been added, stirring 
all the time. The varnish is strained and used 
hot. 

19. One pai't gutta pereha is carefully digest- 
ed in 40 parts benzene on the water bath, and 
the paper is covered with it. This varnish can 
be drawn or written on, and it does not render 
the paper transparent or spotted. 

19. According to the Journ. Soc. of Arts, a 
strong, impervious parchment paper is ob- 
tained by thoroughly washing woolen or cot- 
ton fabrics, so as to remove gum, ' starch, and 
other foreign bodies, then to immerse them in 
a bath containing a small quantity of paper 
pulp. The latter is made to penetrate the fab- 
ric by being passed between rollers. Thus pre- 
pared, it is afterward dipped into sulphuric 
acid of suitable concentration, and then re- 
peatedly washed in a bath of aqueous ammonia 
until every trace of acid has been removed. 
Finally, it is pressed between rollers to remove 
the excess of liquid, dried between two other 
rollers which are covered with felt, and lastly 
calendered. 

20. Soak good paper in an aqueous solution 
of shellac and borax. It resembles parchment 
paper in some respects. If the aqueous solution 
be colored with aniline colors, very handsome 
paper is prepared, which is used for artificial 
flowers. — Science Record, 1875. 

21. Melt in 10 pt. hot water, 30 oz. glue, gela- 
tine, or size, and 3 oz. gum arabic. In an- 
other 30 pt. hot water melt 2 oz. of soap and 4 
lb. alum. Mix both liquids together in one pot. 
This constitutes compound Mo. 1. In another 
pot heat Y% gal. benzol and 1 gal. paraffine, and 
melt in it 24 oz. resin; let it boil until it attains 
a moderate degree of consistency. To these 
materials, resin, oil and copal or mastic varnish 
may, in some cases, be added. This is composi- 
tion No. 2. First dip the article to be water- 
proofed into the composition M T o. 1, in a heated 
state, and then dry it. Next apply No. 2 in a 
cooled state with a brush or in any other con- 
venient manner. Care should be taken to avoid 
igniting the benzol, as it is highly inflam- 
mable. 

22. Packing paper may be made water-tight 
by dissolving 1*8 lb. of white soap in 1 qt. of 
water, and in a another quart 18 oz. of gum 
arabic and 55 of glue. The paper is soaked in 
the mixture and hung up to dry. 

23. Treat the paper with a mixture of cam- 
phor oil and linseed oil. 

Pasteboard.— Waterproofing pasteboard may 
be effected with a mixture of 4 parts of slaked 
lime into 3 parts of skimmed milk, with a lit- 
tle alum added. As soon as mixed, the paste% 



Waterproofing. 



590 



Waterproofing. 



board is brushed over with 2 successive coat- 
ings of the preparation, and thus becomes im- 
pervious to water. 

Textiles.— Without considering the methods 
by which cloth is waterproofed with rubber, 
there are several processes in practical use by 
which cloth is rendered non-absorbent of water 
—and for all practical purposes waterproof— 
without materially affecting- its color or ap- 
pearance, greatly increasing its weight, or ren- 
dering it entirely air proof. These depend 
mainly upon the reaction between two or more 
substances, in consequence of which a substance 
insoluble in water is deposited in the fibers of 
the cloth. 

1. Lowry's Process.— Two oz. soap, 4 oz. glue, 
1 gal. water. Soften the glue in cold water, 
and dissolve it together with the soap in the 
water by aid of heat and agitation. The cloth 
is filled with this solution by boiling it in the 
liquid for several hours, the time required de- 
pending upon the kind of fiber and thickness 
of the cloth. When properly saturated, the ex- 
cess of liquid is wrung out, the cloth is exposed 
to the air until nearly dry, then digested for 
five to twelve hours in the following solution : 

Alum 13 oz. 

Salt 15 oz. 

Water 1 gal. 

It is finally wrung out, rinsed in clean water, 
and dried at a temperature of about 80° F. (27° 
C). 

2. Paut's process requires a email quantity 
of oil, but in other respects resembles the last. 
It is given as follows : 

Sodium carbonate 1 lb. 

Caustic lime y% lb. 

Water 2y 2 pt. 

Boil together, let it stand to settle, then draw 
off the clear lye and add to it 1 lb. tallow, y% lb. 
rosin, previously melted together. Boil and 
stir occasionally for half an hour, then intro- 
duce 3 oz. glue (previously softened), 3 oz. lin- 
seed oil and continue the boiling and stirring 
for another half hour. In waterproofing, % 
oz. of this soap is mixed with 1 gal. hot water, 
and in this the goods are soaked for about 
twenty-four hours, according to thickness and 
character. The pieces are allowed to drain 
until partly dried, then soaked for six hours or 
more in a solution prepared as follows : 

Aluminum sulphate 1 lb. 

Lead acetate y% lb. 

Water 8 gal. 

Shake together, allow to settle, and draw off 
the clear liquid. Wring out after rinsing and 
dry at a temperature of 80° F. (27° C). 

3. Bienvaux uses instead of glue and oil as 
above, the gelatinous portion of sea wrack 
grass with a small quantity of a drying oil and 
common rosin soda soap. 

4. In Reimann's process the cloth is passed 
slowly by machinery through a tank divided 
into three compartments, the first containing 
a warm solution of alum, the second a warm 
solution of lead acetate, and the third pure 
water, which is constantly renewed. The cloth, 
on 'passing from the latter, is brushed, and 
beaten to remove the salt adhering to the sur- 
face, and finally hot pressed and brushed. In 
this case lead sulphate is deposited in the 
fibers. 

5. In Townsend's process two solutions are 
used as follows: 

Dextrine 20 lb. 

Whitesoap 10 lb. 

Water 16 gal. 

The solution is boiled for some minutes, and 
if color is required, 1 pt. logwood liquor is 
added. The second solution consists of a satu- 
rated solution of alum in water or 6 lb. zinc 
sulphate, 9 gal. water. 

6. Bullard's process is somewhat similar to 
Reimann's. In this strong aqueous solutions of 



aluminum sulphate and lead acetate are used 
alternately. 

7. Berlin waterproof cloth is said to be pre- 
pared by saturating the cloth in a solution of 
aluminum and copper acetate, then dipping 
it successively in water glass and rosin soap. — 
Sci. Am. 

8. A bath heated to 194° F. (90° C.) is made of 
13J4 lb. liquid Bordeaux turpentine, 3J4 lb. tal- 
low, 1 lb. wax, and y% lb. storax ; the articles 
are immersed for a few minutes, then passed, 
between heated rollers to remove excess. 

9. For some time past the Belgium War De- 
partment has conducted a series of experi- 
ments at Valvorde, on the waterproofing of 
soldiers' uniforms by means of liquid alumina. 
With respect to the hygienic side of the ques- 
tion, the medical authorities have satisfied 
themselves that the articles of dress thus 
treated permit the perspiration to pass off 
freely, and chemical analysis has proved that 
the preparation used in no way injures the ma- 
terials or destroys their color. More than 
10,0U0 yd. of materials, redressed 2 or 3 times 
over, notwithstanding the rinsing and washing 
to which they have been subjected after having 
been soiled, and after constant wear, remained 
perfectly waterproof. The only drawback to 
the process appears to be that it is not very 
economical, and, to insure the desired result, 
must be conducted on a large scale, which re- 
quires a considerable amount of plant. The 
following is the process employed; Alumina 
acetate is obtained by making solutions of 
equal parts of alum and lead acetate in separate 
vessels, and then mixing them together. Lead 
sulphate will be thrown down, leaving alumina 
acetate in solution, which must be decanted. 
The materials to be waterproofed are soaked in 
this solution, and then withdrawn without 
being wrung, and dried in the air. 

10. Bellefroid produces an impermeable coat- 
ing, which consists firstly of a solution of stear- 
ine pitch, one of the by-products of candle 
making, which pitch, in order to be used in the 
fabrication of the compound, is previously 
completely oxidized by exposure to the air. In 
order to complete this oxidization, the pitch is 
spread out in very thin layers, and exposed to 
the outer atmosphere for a period of at least two 
years. This exposure is absolutely necessary, 
judging from experiments repeatedly made. 
The solution is afterward effected in the fol- 
lowing manner : A mixture consisting of 75 lb. 
stearine pitch, 150 lb. water, and 5 lb. caustic 
soda at about 35° to 36°, is put into a boiler or 
vessel of any suitable shape, having a second or 
double bottom so as to allow of the removal of 
impurities which will settle at the bottom of 
the vessel. The mixture is boiled for twelve 
hours over a strong fire, after which 52 pt. of 
water are added, and the boiling is continued 
for another twelve hours. The solution thus 
obtained is then poured out in an open vessel, 
and left exposed to the open air for eight days, 
for the purpose of being clarified, and enabling 
the impurities to settle at the bottom. 

11. Piron has invented a process for tanning 
textile fabrics, which renders them waterproof, 
and at the same time, it is said, proof against 
decay, while their suppleness is not diminished, 
and their weight not appreciably increased. 
Arguing from the high state of preservation in 
which the bands which surround the heads of 
Egyptian mummies are found to this day, and 
which are impregnated with a kind of resin, 
Piron had recourse to the substance extracted 
from birch bark, and which is now used to per- 
fume Russia leather. When the fine white bark 
of the birch tree is distilled, it yields a light oil, 
nearly 34 of which consists of the special 
phenol, or carbolic acid, which gives the well- 
known odor to Russia leather. It is now 
found that the residue, or green tar of the 
birch, which is obtained from Kostroma, yields 
neither acid nor alkaloid, and it forms, with 
alcohol, a solution of great fluidity, which. 



Waterp roofing. 



591 



Waterp roofing. 



however, when once dried, is unacted upon by 
alcohol. It is this substance, which will unite 
with the most brilliant colors, that is used by 
Piron for treating textile fabrics. Not only 
dose it fill the capillary vessels, but it also coats 
them with a varnish of great elasticity, which 
is unattackable by acids and sea water, while it 
also stands great changes of temperature. The 
aromatic odor of articles thus treated drives 
away insects; there is no space for microscopic 
vegetation, and neither air nor water can pene- 
trate into the tissues. This process is applicable 
to all vegetable products, such as sailcloth, 
cordage, blinds and awnings. 

12. Sackcloth or canvass can be made as im- 
pervious to moisture as leather, by steeping it 
in a decoction of 1 lb. oak bark with 14 lb. boil- 
ing water. This quantity is sufficient for 8 yd. 
of stuff. The cloth has to soak for 24 hours, 
when it is taken out, passed through running 
water, and hung up to dry. The flax and hemp 
fibers, in absorbing the tannin, are at the same 
time better fitted to resist wear. 

13. Waterproof Coat.— Isinglass, alum, soap, 
•equal parts; water sufficient. Dissolve each 
separately, and mix the solution, with which 
imbue the cloth on the wrong side. Dry and 
brush the cloth well, first with a dry brush, 
and afterward (lightly) with a brush dipped in 
•water. 

14. For Awning or Apron.— Dissolve 1 oz. 
yellow soap in X% pt. water by boiling; then 
stir in 1 qt. boiled oil, and when cold add 34 pt. 
gold size. 

15. Seamen's Oilskins.— The material should 
be fine twilled calico, dipped in bullock's blood 
and well dried in a current of air ; then 2 or 3 
•coats of raw linseed oil with a little gold size or 
litharge in it (say 1 oz. to 1 pt. of oil). Each 
coat should be allowed to dry thoroughly be- 
fore the next is put on (as before in a current 
of air, care being taken to shelter it from both 
sun and rain). Oilskins made in this way, both 
here and in the tropics, have stood for years. 

16. Waterproofing Linen or Calico — The 
Manner in Which Sea Fisherman do Coats and 
Leggings.— Whatever the article is, let it be 
stretched on a table. Make very thick paint of 
whatever color is wished. An invisible green 
is, perhaps, as good as any. Take a large lump 
of common brown soap, pretty freshly cut 
from a bar, in the left hand, and every time 
you replenish the brush with paint rub well on 
the soap, and take up as much as possible, and 
rub well on one surface of the calico or linen. 
It will take long to do, and should be hung in 
the windiest place you can find. Summer is the 
best time, but a month will see it in very usable 
order, and you will have as supple and perfect- 
ly waterproof garment as paint can make. 
After wearing a few times, a second coat would 
be advisable, which will dry in half the time of 
the first, and must be done in the same way. 

17. For Canvas.— A solution containing equal 
parts by weight of gelatine and chrome alum. 
It is not advisable to mix more of the solution 
at once than is sufficient to give the canvas 
one coat, as, if the mixture once sets, it cannot 
be reliquefied like a plain solution of gelatine, 
and hence, if the quantity of canvas to be 
waterproofed is but small, it would, perhaps, 
be preferable to coat with plain gelatine solu- 
tion until quite impervious to cold water, and 
then to thoroughly soak for, say, twenty -four 
hours in a strong solution of chrome alum. 

18. For Sail Cloth.— Grind 96 lb. English ocher 
with boiled oil, and add to it 16 lb. black paint. 
Dissolve 1 lb. yellow soap in 1 pail of water on 
the fire, and mix it while hot with the paint. 
Lay this composition, without wetting it, upon 
the canvas as stiff as can conveniently be done 
with the brush, so as to form a smooth surface; 
the next day, or the day after (if the latter, so 
much the better), lay on a second coat of ocher 
and black, with a very little, if any, soap; allow 
this coat a day to dry, and then finish the can- 
vas with black paint. 



19. For Woolens. —Boil 43-£ oz. white soap in 
234 gal- water, and separately dissolve 5% oz. 
alum in 2V£ gal. water. Heat the two solutions 
to 190° F. (88° C), pass the fabric first through 
the soap bath and then through the alum, and 
finally dry in the open air. 

20. Oil Cloth. — The manner of making oil 
cloth or oil skin was at one period a mystery. 
The process is now well understood, and is 
equally simple and useful. Dissolve some good 
resin or lac over the fire in drying linseed oil, 
till the resin is dissolved, and the oil brought 
to the thickness of a balsam. If this be spread 
upon canvas or any other linen cloth, so as 
fully to drench and entirely to glaze it over, 
the cloth, if then suffered to dry thoroughly, 
will be quite impenetrable to wet of every de- 
scription. This varnish may either be worked 
by itself or with some color added to it; as ver- 
digris for a green; umber for a hair color; white 
lead and lampblack for a gray; indigo and white 
for a light blue, etc. To give the color, you 
have only to grind it Avith the last coat of var- 
nish you lay on. You must be as careful as 
possible to lay on the varnish equally in all 
parts. 

21. A better method, however, of preparing 
oilcloth is first to cover the cloth or canvas 
with a liquid paste, made witti drying oil in the 
following manner: Take Spanish white or 
pipe clay which has been completely cleaned 
by washing and sifting it from all impurities, 
and mix it up with boiled oil, to which a drying 
quality has been given by adding a dose of 
litharge, 34 the weight of the oil. This mixture, 
being brought to the consistence of thin paste, 
is spread over the cloth or canvas by means of 
an iron spatula, equal in length to the breadth 

; of the cloth. When the first coating is dry, 
a second is applied. The roughness occa- 
sioned by the coarseness of the cloth or the 
unequal application of the paste are smoothed 
down with pumice, reduced to powder, and 
rubbed over the cloth with a bit of soft serge 
or cork dipped in water. When the last coat- 
ing is dry, the cloth must be well washed in 
water to clean it; and, after it is dried, a var- 
nish composed of lac dissolved in linseed oil 
boiled with turpentine is applied to it, and the 
process is complete. The color of the varnished 
cloth thus produced is yellow; but different 
tints can be given to it in the manner already 
pointed out. An improved description of this 
article, intended for printed and figured var- 
nished cloths, is obtained by using a finer paste 
and cloth of a more delicate texture. 

22. Varnished Silk.— This material, often em- 
ployed for umbrellas, is prepared much in the 
same manner as 21, but Avith a paste composed 
of linseed oil boiled with 34 litharge. 16 parts 
dried and sifted pipe clay, 3 parts of litharge 
very finely ground, dried, and sifted, and I part 
of lampblack. After washing the silk, fat 
copal A^arnish is applied instead of that used 
for oil cloth. 

23. For Linen.— A solution of alumina sul- 
phate in 10 times its Aveiyht of Avater, and a 
soap bath of the following composition : 1 oz. 
light colored rosin and 1 oz. crystallized soda 
are boiled in 10 oz. Avater until dissolved. The 
rosin soap is precipitated with 34 oz. table salt. 
and is subsequently dissoh-ed along with 1 oz. 
Avhite curd soap in 30 oz. hot water. It should 
be put in Avooden tubs for use. On made up 
articles, the two solutions can be applied with a 
brush and then rinsed off. 

24. Parone, of Turin, proposes the follOAving 
method of rendering textures waterproof: In 
14 pt. water, heated to about 180° P. (83° C), 
dissolve 1034 lb. gelatine and 2\ lb. castor oil 
soap; then add 1034 lb. lac, shaking the liquid 
till the lac is completely dissoh-ed. Take it off 
the fire, and add to the mixture in small quan- 
tities at a time 21 lb. powdered alum, shaking 
it till the alum is dissoh-ed. The liquid thick- 
ens, forming an insoluble alumina soap which 
remains closely incorporated with the gelatine 



Waterproofing. 



592 



Waterproofing 



and lac. It is spread over the textures with a 
brush. 

25. Cooley gives the following recipe for 
waterproofing, which appears to have the ad- 
vantage of having been tried with success : A 
simple method of rendering cloth waterproof, 
without being airproof , is to spread it on any- 
smooth surface, and to rub the wrong side with 
a lump of beeswax (perfectly pure and free 
from grease), until it presents a slight, but 
even, white or grayish appearance; a hot iron 
is then passed over it, and, the cloth being 
brushed while warm, the process is complete. 
When this operation has been skilfully per- 
formed, a candle may be blown out through the 
cloth, if coarse, and yet a piece of the same 
placed across an inverted hat may have several 
glassf uls of water poured into the hollowf ormed 
by it, without any of the liquid passing through. 
Pressure or friction will alone make it do so. 

26. For Canvas. — The following is highly re- 
commended as a simple and cheap process for 
coating canvas for wagon tops, tents, awnings, 
etc. It renders it impermeable to moisture, 
without making it stiff and likely to break. 
Soft soap is dissolved in hot water, and a solu- 
tion of iron sulphate added. The sulphuric acid 
combines with the potash of the soap, and the 
iron oxide is precipitated with the fatty acid 
as insoluble iron soap. This is washed and 
dried, and mixed with linseed oil. The soap 
prevents the oil from getting hard and crack- 
ing, and at the same time water has no effect 
on it. # 

27. Waterproofing Oil.— Take 20 oz. lard oil, 
10 oz. paraffin, 1 oz. beeswax; heat the oil over 
a slow fire, and when hot add the paraffin and 
wax; allow the whole to remain over the fire 
until the latter articles are melted, and add a 
few drops of sassafras oil or other essential oil 
to preserve it. 

28. Sailcloth Impervious to Water, yet Pliant 
and Durable.— Grind 6 lb. English ocher with 
boiled oil, and add 1 lb. black paint, which mix- 
ture forms an indifferent black ; 1 oz. yellow 
soap dissolved by heat in J^ pt. water, is mixed 
while hot with the paint. This composition is 
laid upon dry canvas as stiff as can conve- 
niently be done with the brush. Two days 
after, a second coat of ocher and black paint 
(without any soap) is laid on, and, allowing 
this coat time to dry, the canvas is finished 
with a coat of any desired color. After three days 
it does not stick together when folded up. This 
is the formula used in the British navy yards, 
and it has given excellent results. A portable 
boat may be made of canvas prepared in this 
way, and stretched on a skeleton frame. 

29. For Woolen Cloth.— Four oz. powdered 
alum, 4^g oz. sugar of lead, dissolved in 3 gal. 
water, stirred twice a day for two days. When 
perfect subsidence has taken place, pour off 
the clear liquid only, and add to it 2 drm. isin- 
glass, previously dissolved in warm water, 
taking care to mix thoroughly. Steep the gar- 
ments in this mixture for six hours, after 
which hang up to drain and dry. Wringing 
must be avoided. This recipe is used by woolen 
cloth waterproofers. 

30. DujardhVs process for all kinds of textiles 
is as follows : Place in a mortar 12 oz. alumina 
and potash sulphate reduced to powder and 12 
oz. lead acetate ; bray till the mixture is quite 
deliquescent. Add 7 oz. pulverized potash bi- 
carbonate and 7 oz. soda sulphate; bray till 
completely combined. Pour in 4*4 oz. calcined 
magnesia, and continue braying while ad- 
ding 82£ pt. water. Pour the whole into a 
bucket containing 11 gal. river or rain 
water, which must be fresh. Shake the 
whole until there is complete solution, which 
takes place in 20 minutes. Pour the liquid thus 
obtained into a convenient receptacle holding 
about 22 gal., in which have been dissolved 534 
lb. oleinesoapinllgal. rain or river water. Boil 
for about 20 minutes. To render a texture 
waterproof, it is then sufficient to nut in this 



liquid either by hand or machinery, until it is- 
perfectly impregnated in all its parts. Care must 
be taken during the whole operationto stir the 
mixture well, that no deposit may be formed. 
The texture is then withdrawn, left to drip, 
and dried. It is afterward washed in plenty 
of water, dried, and dressed as usual. In this 
condition the texture is waterproof, but pene- 
trable by air, which is indispensable for health. 
This process does not alter tints at all, but if 
the materials have very delicate tints, it is 
necessary to take account of the composition 
of these colors, and compose the bath accord- 
ingly. The potash bicarbonate and soda sul- 
phate must then be sometimes replaced by the 
same quantity of salts of iron, copper, zinc, 
lead, or some other metallic salt suitable for 
preserving colors. To prepare linen, leather, 
or wood, add 3)4 oz. margarine to the bath. 
When it is desired to prepare cotton or paper, 
it is well to add to the bath 1% oz. gelatine and 
33^ oz. light colored rosin. After that, dry in 
the open air or at the fire, and the products 
will be perfectly impermeable, and resist every 
kind of washing. Paper paste may be even 
soaked in the vat, and thus an impermeable 
paper obtained, the above process replacing* 
the sizing. 

31. The following mixture is given by a cor- 
respondent in L'lndustrie Textile as suitable- 
for waterproofing all kinds of woven fabrics : 

Linseed oil 77*0 parts. 

Acetate of lead 1*845 part. 

Litharge 10*0 parts. 

Amber earth 0'4 part. 

Vegetable wax 1*3 part. 

Soap powder 1*2 part. 

Manila gum 0*7 part. 

Lampblack 4'0 parts. 

Essence of turpentine ... 2*0 parts. 
India rubber varnish. 1*555 part. 

Total, 100 parts. 

32. Cloth coated with linseed oil to which a. 
little wax and litharge have been added will be 
waterproof. 

33. Saturate the goods with a strong hot 
aqueous solution of good resin soap, and then 
wring, transfer, and digest them in a second 
bath of alum or aluminum sulphate or acetate 
dissolved in hot water. Rinse and dry thor- 
oughly at a temperature of about 80° F. Thus 
treated the fibers do not readily absorb water, 
but the goods are not absolutely waterproof. 

34. A new waterproofing compound for fab- 
rics is made as follows : In 14 parts of water, 
heated to 180° F., dissolve 10J4 lb. gelatin and 21 
lb. castor oil soap. Then add 103/£ lb. gum lac, 
shaking the liquid until the last is completely 
dissolved. Remove from the fire, and add in 
small quantities 21 lb. powdered alum until 
the alum dissolves. This forms an insoluble 
alumina soap, closely incorporated with the 
gelatin and the gum lac. Apply with a brush. 

35. Boiledoil 15 lb. 

Beeswax 1 lb. 

Ground litharge 13 lb. 

Mix and apply with a brush to the article, 
previously stretched against a wall or table, 
washing and drying each article well before 
applying the composition. 

Umbrellas.— First sponge the cloth on both 
sides with a solution of 1- part sulphate of 
alumina in 10 parts water, then with a solution 
of soap, which is prepared by boiling 1 part 
light colored resin and 1 part of crystallized 
carbonate of soda with 10 parts water, until the 
resin is dissolved. The resin soap thus formed 
is to be separated by the addition of common 
salt. This soap is then dissolved, together with 
1 part soda soap, by boiling in 30 parts water. 
After this last sponging, rinse in the rain. 

Wood.— Dry the wood and saturate with hot 
paraffine oil or paraffine melted. 
Waterproof Varnish. See Varnislies. 



"Waters. 



593 



Waters. 



Waterproof Whitewash. See White- 
washes. 

W r aters (Distilled, Mineral, etc.). In- 
eluding- the French Eaux, Aerated Waters.— 
.salts for Producing- Factitious Mineral Waters. 
—Aerated or Carbonated Waters. — These re- 
quire the aid of the powerful machine employed 
uy soda water manufacturers, to charge the 
waters strongly with carbonic acid gas. The 
g-as is made from marble dust and diluted sul- 
phuric acid, and is forced by a pump into the 
watery solution. Sometimes the gas is pro- 
duced by the mutual action of the ingredients 
introduced into the bottle of water, which 
must be instantly closed; but this method is 
found practically inconvenient, and is only 
.adopted in the absence of proper apparatus. 
The quanity of gas introduced is directed, in 
the French and American pharmacopoeias, in 
most cases, to be 5 times the volume of liquid. 
For chalybeate and sulphureted waters the 
water should be previously deprived of the air 
it naturally contains, by boiling, and allowing 
it to cool in a closed vessel. 

For the different mineral waters see the 
names, as Ems water. The following are mis- 
cellaneous waters : 

Simple Aerated Water.— Carbonic acid gas 
water. Water charged with 5 or more volumes 
of carbonic acid gas, as above. 

Alkaline Aerated Waters.— Aerated soda and 
potash waters should be made by dissolving a 
drm. of the carbonated alkali in each pt. of 
water, and charging it strongly with carbonic 
acid gas. The soda water of the shops gener- 
ally contains but little (or no) soda. 

Aerated Magnesia Water. — This is made of 
various strengths. 

Mialhe's Aerated Chalybeate Water.— Water, 
lpt.; citric acid, ldrm.; citrate of iron, 15 grn.; 
dissolve, and add 75 grns. of bicarbonate of 
soda. 

Trosseau's Martial Aerated Water.— Potassio- 
tartrate of iron, 10 grn.; artificial seltzer water, 
lpt. 

Bouchardat's Gaseous Purgative.— Phosphate 
of soda, 1>£ oz.; carbonated water, 1 pt. 

Mialhe's Iodureted Gaseous Water.— Iodide 
of potassium, 15 grn.; bicarbonate of soda, 75 
grn.; water, 1 pt.; dissolve and add sulphuric 
acid, diluted with its weight of water, 75 grn. 
Cork immediately. 

Dupasquier's Gaseous Water of Iodide of 
Iron.— Solution of iodide of iron (containing 
£s of dry iodide), 30 grn.; syrup of gum, 2h 
oz.; aerated water, 17J4 oz. 

Murray's and Dinneford's Fluid Magnesia 
may be thus made : To a boiling solution of 16 
oz. of sulphate of magnesia in 6 pt. of water 
add a solution of 19 oz. of crystallized carbon- 
ate of soda in the same quantity of water; boil 
the mixture till gas ceases to escape, stirring 
constantly, then set it aside to settle; pour off 
the liquid, and wash the precipitate on a cotton 
or linen cloth, with warm water, till the latter 
passes tasteless. Mix the precipitate, without 
drying it, with a gal. of water, and force 
carbonic acid gas into it under strong pressure, 
till a complete solution is effected. The eau 
magnesienne of the French codex is about a 
third of this strength; and we have met with 
some prepared in this country not much 
stronger. 

Aix La Cliapelle Water.— 

Bicarbonate of soda 12 grn. 

Chloride of sodium 25 grn. 

Chloride of calcium 3 grn. 

Sulphate of soda 8 grn. 

Simple sulphureted water 2f£ oz. 

Water, slightly carbonated . 17^j oz. 

Eaud'Angc, Angel Water, Portugal Water.— 

Eau de rose 3^ pt. 

Eau de fieurs d'oranges Vn pt. 

Eau de myrtle J4 pt. 

Essence of ambergris 2 n.drm. 

Essence of musk 1 fl.drm. 



Agitate them briskly together for some 
hours, and again, frequently, for a few days, 
observing to keep the bottle (closely stopped) 
in a warm room the whole time. Lastly, after 
repose, decant the clear portion, and, if nec- 
essary, filter the liquid through white bibulous 
paper. Nearly colorless. See also Portugal 
Water. 

Eau d'Ange, Distillee.— 

Gum benzoin (crushed small) 4 oz. 

Liquid sty rax 2 oz. 

Cloves (bruised) y % oz. 

Calamus aromaticus (bruised) ... J4 oz. 

Cinnamon (bruised) 14 oz. 

Coriander seed (bruised) 1 drm. 

Water 7 pt. 

Distill y 2 gal. 
Eau des Alpes.— 

Alcohol 400 parts. 

Oil of bergamot 9% parts. 

Oil cedrat 9}4 parts. 

Oil of orange blossoms 9]4 parts. 

Portugal oil % part. 

Oil of lemon % part. 

Oil of wormwood 2 parts. 

Oil of cloves 1 part. 

Eau Spiritueuse d'Anis — 

Angelica seed 6 oz. 

Anise 6 oz. 

Brandy 8 lb. 

Bruise the seeds, and after some days' infu- 
sion with the brandy, distill. 

Apple Water.— Slice two large apples, put 
them into a jar, and pour over them 1 pt. of 
boiling water. Cover close for an hour; pour 
off the fluid, and sweeten if necessary. 

Aromatic or Perfumed Waters.— The finest of 
these, such as are generally used by perfumers, 
are prepared by distillation, and are strictly 
pure water impregnated with the odoriferous 
principles of the plant or substance from 
which they are distilled. Those in use for phar- 
maceutical purposes are, generally, solutions 
of these principles, chiefly the essential oils, in 
distilled water, usually prepared by tritura- 
tion with the water by means of some suitable 
intermedium, and then filtered. 

Aquariums, Sea Water (Artificial) for.—l. The 
f ollowing mixture will form a tolerably good 
substitute. It so nearly assimilates to the ac- 
tual composition of salt water that it will sup- 
port life in the marine aquarium : 

Common salt (chloride of so- 
dium) 3^ oz. 

Epsom salts (sulphate of magne- 
sia) J4 oz. 

Chloride of magnesium 200 gr.troy 

Chloride of potassium , 40 grn. 

Soft water 4 qt. 

2. Chloride of sodium .81 grm. 

Sulphate of magnesium 7 grm. 

Chloride of magnesium 10 grm. 

Chloride of potassium. 2 grm. 

Water 3to 4 liters. 

—Pharm. Era. 
Parts by Weight. 

3. Water 70,000 

Chloride of sodium 1,045 

Sulphate of lime 101 

Sulphate of magnesium 165 

Chloride of magnesium 263*5 

Chloride of potassium 55 

Carbonate of lime 5*89 

Bromide of magnesium 2*8 

Carbonate of lime 2'3 

Carbonate of magnesium 1*522 

Silica 1*039 

Sulphate of magnesium 0*322 

Oxide of iron and alumina 0*154 

Chloride of sodium 1*407 

Nitrate of magnesium 0*35 

Nitrate of sodium 0**-'83 

Chloride of potassium 0042 



Waters. 



594 



Waters. 



The repetition of some of the substances 
in the above recipe can be explained by say- 
ing that the water at the marine aquarium, 
Birmingham, contained the substances named 
from 9 to 17 in the quantities given there. He 
actually introduced only those from 2 to 8. He 
aims at securing a density of 1,027, at a temper- 
ature of 60° F. The weight given may be taken 
as grains, ounces, pounds or tons, according to 
the quantity required. 

Baden.— 

Magnesium chloride 2 gr. 

Calcium chloride 40 gr. 

Iron perchloride 34 gr. 

Sodium chloride 30 gr. 

Sodium sulphate 10 gr. 

Sodium carbonate 1 gr. 

Water 1 pt. 

Carbonic acid gas ...... 5 vol. 

Balaruc Water.— 

Chloride of sodium 1 oz. 

Chloride of calcium 1 oz. 

Chloride of magnesium % oz. 

Sulphate of soda 3 drm. 

Bicarbonate of soda 2 drm. 

Bromide of potassium 1 grn. 

Water 1 gal. 

Chiefly used for baths. 
Balm Water.— 

Flowering tops of balm (fresh). . . V/% lb. 

Lemon peel (fresh) 4 oz. 

Cinnamon (bruised) 2 oz. 

Cloves (bruised) 2 oz. 

Nutmegs (bruised) 2 oz. 

Coriander seed (bruised) 1 oz. 

Angelica root (dry, bruised) 1 oz. 

Rectified alcohol 5)4 pt. 

Macerate eight days, and distill to dryness by 
the heat of a water bath. These are the pro- 
portions of the Paris Codex. This spirit is 
highly esteemed in France as a cosmetic, stom- 
achic and stimulant. 

Bareges Water. (Cauterets, Bagneres de Lu- 
chon, Eaux Bonnes, St. Sauveur may be made 
the same.)— Crystallized hydrosulphate of soda, 
crystallized carbonate of soda, and chloride of 
sodium, of each l^>grn.; water (freed from air), 
1 pt. A stronger solution for adding to baths 
is thus made: Crystallized hydrosulphate of 
soda, crystallized carbonate of soda, and chlo- 
ride of sodium, of each 2 oz.; water, 10 oz.; dis- 
solve. To be added to a common bath at the 
time of using. 

Barley Water.— Two tablespoonfuls of bar- 
ley, 2 qt. of water, 1 tablespoonf ul of sugar. 
Wash the barley well; put the barley and water 
into a saucepan and bring it to a boil; then 
boil very slowly for two hours, strain it, add 
sugar, and let it cool. Barley water is very 
cooling and nourishing. The barley may after- 
ward be used for a pudding, or put into soup. 

Bussang, Forges, Provins, and other similar 
waters, may be imitated by dissolving from ^4 
to % of 1 grn. of sulphate of iron, 2 or 3 grn. of 
carbonate of soda, I grn. of sulphate of mag- 
nesia, and 1 grn. of chloride of sodium, in 1 pt. 
of aerated water. 

Carbolic Toilet Water. — 

Crystallized carbolic acid 10 parts. 

Essence millefleurs 1 part. 

Tincture quillaya saponaria 50 parts. 

Water 1,000 parts. 

Mix. The saponine replaces soap with ad- 
vantage. The above should be employed, di- 
luted with 10 times its bulk of water, for disin- 
fecting the skin, for washing the hands after 
any risk of contagion, etc. 

The tincture of saponine in the above is 
made by taking of bark of quillaya saponaria, 
1 part, and of alcohol, 90°, 4 parts. Heat to 
ebullition, and filter. 



Carlsbad Water.— 

Chloride calcium 8 gr. 

Tincture chloride iron 1 drop. 

Sulphate soda 50 gr. 

Carbonate soda 60 gr. 

Chloride sodium 8 gr. 

Carbonated water 1 pt. 

Chalybeate Water (Simpler- 
Water freed from air by boiling. 1 pt. 

Sulphate iron y% gr. 

Aerated Chalybeate Water.— 

Sulphate iron 1 gr. 

Carbonate soda 4 gr. 

Water deprived of air and charged 

with carbonic acid gas 1 pt. 

Dr. Pereira recommends 10 grn. each of 
sulphate of iron and bicarbonate of soda to be 
taken in a bottle of ordinary soda water. This- 
is equivalent to 4 grn. of carbonate of iron. 
Brighton Chalybeate.— 

Sulphate iron 2 gr. 

Chloride sodium 2 gr. 

Chloride calcium 2 gr. 

Carbonate soda 3 gr. 

Carbonated water 1 pt. 

Cherry Water.— 1. Distill 2% lb. crushed cher- 
ry stones with 2>% gal. water; add 2^4 to 2% gal. 
cherries and distill off 1^ to 2J4 gal. cherry 
water. 

2. Bruise and rub through a hair sieve enough 
ripe cherries to produce 1 pt. of juice; add to> 
this 1 lb. sugar and 1 qt. water. 

Cinnamon Water. — 

Bruised cinnamon 1 lb. 

Water 2 gal. 

Simmer in a still for y 2 hour, put what comes 
over back into a still again. When cold strain 
through flannel. 

Eau Spiritueuse de Citron de Bergamote.— 

Fresh lemon peeis 1^ lb. 

Brandy. 9 lb. 

Macerate for 4 days, distill over a water bath. 

Eau de Cologne.— The following formulae 
are all said to be the original : 

1. Oil of bergamot 150 min.. 

Oil of lemon. ....... ... 60 min. 

Oil of Portugal 50 min.. 

Oil of neroli 20 min. 

Oil of petit grain 10 min. 

Oil of lavender (Eng.) 20 min. 

Oil of rosemary 10 min. 

Oil of melissa 5 min. 

Finest spirit.... 30 oz. 

Rose water. 14 drm. 

Orange flower water. 14 drm. 

2. Oil of bergamot 100 min. 

Oil of lemon 50 min. 

Oil of Portugal 30 min. 

Oil of petit grain 10 min. 

Oil of lavender 20 min. 

Oil of rosemary 15 min. 

Finest spirit 30 oz. 

Rose water 9 drm. 

Orange flower water 9 drm. 

Distilled water 9 drm. 

The above formulas are for preparing the per- 
fume by the cold method. The proper plan is to 
add the oils to the spirit in the order in which 
they are set down, shake well, and set aside for 
a few days, shaking occasionally before adding 
the waters. After these, are added, again set 
aside for some time, and, if not perfectly clear* 
filter. 

3. Oil of Portugal 180 min. 

Oil of bergamot . 180 min. 

Oil of cedrat 120 min. 

.Oil of lemon „.120 min. 

Oil of neroli .190 min. 

Oil of petit grain ... 120 min. 

Oil of rosemary 240 min. 

Oil of lemon 240 min. 

Finest spirit ., — 10 oz. 






Waters. 



595 



Waters. 



This formula is for the preparation of a con- 
centrated eau de Cologne, which will bear dilu- 
tion with ten times its volume of fine spirit. 
Dissolve the oils in the 10 oz. of spirit, and set 
aside for fourteen days, shaking- four times a 
day. Then distill the mixture twice, when the 
result will be 10 oz. of an exceedingly strong 
perfume, which improves in odor the longer it 
is kept, and is specially suited for exporta- 
tion. It is of good odor when freshly diluted 
with spirit, but in this case also Che odor im- 
proves on keeping. 

4. Oil of bergamot . . .375 min. 

Oil of cedrat 60 min. 

Oil of lemon 60 min. 

Oil of lavender 30 min. 

Oil of Portugal 60 min. 

Oil of thyme 4 min. 

Oil of neroli 75 min. 

Oil of rosemary „ 75 min. 

Finest spirit (alcohol) 62 oz. 

Mix and distill, then add to the distillate 2% 
oz. of melissa water and 5 oz. orange flower 
water, and distill again. The product is a very 
fine eau de Cologne, the formula dating as far 
back as 1821, but the following goes even far- 
ther, viz., to 1813: 

5. Oil of neroli 10 min. 

Oil of lemon 40 min. 

Oil of bergamot 50 min. 

Oil of cedrat 15 min. 

Oil of lavender 18 min. 

Oil of rosemary 10 min. 

Melissa water 4^ oz. 

Finest spirit (alcohol) 30 oz. 

Dissolve the oils in a spirit contained in a re- 
tort, giving the mixture a thorough shaking, 
then close the retort and keep the contents 
just warm for forty-eight hours, whereby per- 
fect blending of the oils with the spirit is in- 
sured. Then place it for twenty-four hours in 
a cool place, after which filter it through paper 
until it is obtained perfectly clear. With the 
filtrate mix the melissa water.— Chemist and 
Druggist. 

6. The following gives an article of superior 
quality, if the oils are pure and the alcohol 
good : 

Pure alcohol 6 gal. 

Oil of neroli 4 oz. 

Oil of rosemary 2 oz. 

Oil of orange 5 oz. 

Oil of citron 5 oz. 

Oil of bergamot 2 oz. 

Mix with agitation; then allow it to stand for 
a few days perfectly quiet before bottling. 

The following affords a good article, but not 
equal to the preceding.— 

Pure alcohol 6 gal. 

Oil of neroli 2]4 oz. 

Oil of rosemary 2 oz. 

Oil of orange peel 4 oz. 

Oil of lemon , 4 oz. 

Oil of bergamot 4 oz. 

7. A Good Cheap Cologne. — The Druggists' 1 
Circular gives this recipe.— 

Oil of bergamot 1 fl. drm. 

Oil of orange 1 ii. drm. 

Oil of rosemary 1 fl. drm. 

Orange flower water 1 pt. 

Alcohol 1 pt. 

Cardamom seeds 1 drm. 

Mix, digest, and distill over 1 pt. 

8. Farina. — 

Angelica root 10 grn. 

Camphor 15 grn. 

Cassia lignea 20 grn. 

Cloves 20 grn. 

Mace 20 grn. 

Nutmegs 20 grn. 

Wormwood (tops) 20 grn. 



Troy. 

Calamus aroma ticus y z drm. 

Sage 3^ drm. 

Thyme i/ 2 drm. 

Orange flowers 1 drm. 

Lavender flowers V/* drm. 

Rose petals 3 ~ drm, 

Violets 3 drm. 

Balm mint l oz. 

Spearmint l oz. 

Lemons (sliced) 2 

Oranges (sliced) 2 

Rectified alcohol 5 gal. 

Bruise or slice the solids, and digest them in 
the spirit, with frequent agitation, for two or 
three days, then distill off two-thirds. To the 
distillate add of— 

Oil of bergamot 1 fl. oz. 

Oil of jasmine (essential) 1 fl. oz. 

Oil of balm mint.. 1 fl. drm. 

Oil of cedrat 1 fl. drm. 

Oil of lavender 1 fl. drm. 

Oil of lemon 1 fl. drm. 

Neroli (pure) 20 drops. 

Essence (oil) of anthosseed 20 drops. 

Agitate until solution is complete, and the 
next day, if necessary, filter. Very compli- 
cated, and the formula is not recommended. 

9. Gassincourt.— 

Neroli 24 drops. 

Oil of bergamot 24 drops. 

Oil of cedrat 24 drops. 

Oil of lemon 24 drops. 

Oil of orange 24 drops. 

Oil of rosemary 24 drops. 

Lesser cardamom seeds (bruised) . *4 oz. 
Alcohol at 32° Baume(say, 38o.p.) 1 qt. 
Digest a few days, and then distill 1H> pt. 

10. Paris Codex.— Troy. 

Oil of cinnamon %oz. 

Oil of lavender 1 y% oz. 

Oil of rosemary ... 1J^ oz. 

Neroli 13^ oz. 

Oil of bergamot 3 oz. 

Oil of cedrat 3 oz. 

Oil ol lemon 3 oz. 

Spirit of rosemary 1 qt. 

Compound spirit of balm 3 pt. 

Rectified alcohol 3 gal. 

Digest eight days, and then distill 3 gal. This 
is the officinal eau de cologne of the French Ph. 

11. Farina Cologne.— 

Oil lemon 2}4 oz. 

Oil bergamot 2J4 oz. 

Oil lavender, fine Yz oz. 

Oil neroli 2 drm. 

Extract orange flower 4 oz. 

Extract musk, best 4 oz. 

Extract civet Vz oz. 

Alcohol 2 gal. 

Water 3 pt. 

Extract benzoin 1 oz. 

12. Fragrant Cologne.— 

Oil bergamot 3 oz. 

Oil lemon 1 oz. 

Oil lavender, fine H oz. 

(Ml cloves Vi oz. 

Oil sandal wood Vs oz. 

Alcohol 2 gal. 

Water 3 pt. 

13. Golden Farina Cologne.— There are thou- 
sands of cologne formulas, but the following 
is said by the Druggists'' Circular to be superior 
to most of them : 

Tincture of Canada snakeroot. . 4 oz. 

Tincture of orris root 12 oz. 

Oil of bergamot 6 drm. 

Oil of lavender 6 drm. 

Oil of lemon 6 drm. 

Essence of musk 1 drm. 

Oil of neroli 1 drm. 

Oil of cinnamon 1 drm. 

Oil of cloves 1 drm. 

Orange flower water. ...... .8 oz. 

Cologne spirits, sufficient to 
complete 6 pt. 



Waters. 



596 



Waters. 



Cosmetic Water, Viennese.— This very econom- 
ical and fragrant cosmetic is prepared as fol- 
lows : 

Bruised almonds 15 parts. 

Water of orange flower 62 parts. 

Water of roses „ . . . 62 parts. 

Rub up the almonds with the waters, allow 
to stand, express, and add 

Borate of soda 1 part. 

Spirit of benzoin , 2 parts. 

Dissolve. 

Creole Water.— Orris root, 6% oz., cut in small 
pieces, put in 1% pt. French brandy. Allow it 
to stand for 2 weeks, stir frequently, filter. 
Then add 3 pt. French brandy, 3 drm. oil of 
orange blossoms, % fl. oz. oil geranium. Distill 
and add a little cumarin essence. 

Currant Water.— 1. To 1 pt. of red currant 
juice and 1 gill of raspberry juice add 1 lb. of 
fine white sugar and 1 qt. of water. 

2. One lb. of fine red currants, ^ lb. of rasp- 
berries, l lb. of crushed loaf sugar, water. 

Pick the fruit, add H pt. of water, and crush 
with a wooden spoon, then put the pulp into a 
preserving pan with half the sugar. Stir till it 
is beginning to simmer, then filter through a 
hair sieve. Make the rest of the sugar into a 
syrup with 3 gills of water, pour it to the fruit 
syrup, add \% pt. of water. Let it cool, then 
decant like wine for use. Make in July or 
August. 

Eaux, in perfumery, are either solutions of 
the fragrant essential oils, in spirit, with or 
without the addition of other fragrant sub- 
stances; or they are distilled waters largely 
charged with the odorous principles of flowers. 
Eau de Cologne, eau de lavande, eau de bouquet, 
etc., are examples of the first ; and eau de rose, 
eau de fleurs d'oranges, etc., of the second. The 
application of the term is usually restricted to 
articles of the kind imported from the South of 
France or Italy, and always so in reference to 
those of the latter class. English perfumers 
often give the name to perfumed spirits of 
their own manufacture, which, though gener- 
ally greatly inferior to those imported, they 
pass off as foreign, or as made by foreign houses 
here. 

The eaux of the first class just referred to, re- 
semble, for the most part, the other esprits or 
perfumed spirits. They differ from extraits 
and most of the essences in being colorless, or 
nearly so ; a quality which is secured either by 
distillation, or by the use of only pure and 
pale essential oils and essences in their prepa- 
ration. They also generally, but not always, 
Eossess less alcoholic strength, and are less 
ighly charged with odorous matter than those 
preparations. 

Eger Water.— 

Carbonate of soda 5 grn. 

Sulphate of soda 4 scr. 

Chloride of sodium 10 grn. 

Sulphate of magnesia 3 grn. 

Chloride of calcium 5 grn. 

Carbonated water 1 pt. 

Or it may be made without apparatus, thus : 

Bicarbonate of soda 30 grn. 

Chloride of sodium 8 grn. 

Sulphate of magnesia 3 grn. 

Water 1 pt. 

Dissolve, and add a scruple of dry bisulphate 
of soda and close the bottle immediately. 

Eau d'Elegance. — 

Spirit of j essamme 1 pt. 

Rectified spirit ]4 Pt- 

Spirits of hyacinth ^ pt. 

Spirits of storax . ^ pt. 

Tincture of star anise 2 fl. oz. 

Tincture of tolu 2 fl. oz. 

Tincture of vanilla 1 fl. oz. 

Essence of ambergris ]4 drm. 

Mix, and in a week decant the clear portion. 



22 ms.— 

1. Carbonate of soda 2 scr. 

Sulphate of potash 1 grn. 

Sulphate of magnesia 5 grn. 

Sodium chloride 10 grn. 

Calcium chloride 3 grn. 

Carbonated water 1 pt. 

2. Sodium carbonate 2 scr. 

Potassium sulphate 1 grn. 

Sulphate of magnesia 5 grn. 

Sodium chloride 10 grn. 

Calcium chloride 3 grn. 

Carbonated water 20 oz. 

Florida Water. — 

1. Oil bergamot 2 oz. 

Oil lavender, fine 1 oz. 

Oil cloves J4 oz. 

Extract civet 1 oz. 

Oil pimento *4 oz. 

Alcohol 2 gal. 

Water 4 pt. 

2. Oil of lavender 4 oz. 

Oil of bergamot 4 oz. 

Oil of cinnamon 2 drm. 

Oil of cloves 1 drm. 

Oil of neroli 2 drm. 

Pure musk 4 grn. 

Cologne spirits, 95$ 1 gal. 

Macerate fifteen days and filter through 
paper. 

Anosmin Foot Water (Koch). Aqueous solu- 
tion of tartaric acid. Used to cure bad odor of 
the feet, 

Geranium Water.— Three fl. oz.— 

Tincture of orris 6 fl. oz. 

Tincture of ambrette 6 fl. oz. 

Alcohol 95° 4}^ pt. 

Rose water , % pt. 

Goulard Water, Goulard's Lotion. — This is 
ordered to be prepared by adding 2 fl. drm. so- 
lution of diacetate of lead and 2 fl. drm. recti- 
fied spirit to 19J^ fl. oz. distilled water. It is 
kept ready prepared in the shops. It is white 
and poisonous. Used as a sedative, refrigerant 
and astringent lotion, in various affections; 
also in many cosmetic washes. 

Harrogate Water. — Chloride of sodium, 100 
gr.; chloride of calcium, 10 gr.; chloride of mag- 
nesium, 6gr.; bicarbonate of soda, 2 gr.; water, 
18J4 oz. Dissolve and add simple sulphureted 
water, 1*4 oz. 

Eau Spiritueuse d 1 Heliotrope.— Take vanilla, 
3 drm.; double orang-e flower water, 6 oz.; alco- 
hol, 33 B., 1 qt. Macerate for three days and 
distill over a water bath. Color the liquid with 
tincture of cochineal. 

Eau d'Hongrie, Hungary Water, Compound 
Spirit of Rosemary.— 

1. Rosemary tops (in blossom) 2 lb. 

Sage (fresh) Vi lb. 

Rectified spirit 3 qt. 

Water 1 qt. 

Digest for ten days, throw the whole into a 
still, add of common salt, \\i lb., and draw 
over 6 pt. 

To the distillate add of— 
Jamaica ginger (bruised) 1 oz. 

Digest a few days, and either decant or filter. 
The old plan of adding the ginger before dis- 
tillation is wrong, as the aromatic principle of 
the root does not pass over with the vapor of 
alcohol. » 

2. Oil of rosemary (pure) -j ^ drm. 

Oil of lavender (English) •{ ^ ^. m> 

Orange flower water \4, pt- 

Rectified alcohol 1^ pt. 

Mix. The first is the genuine formula. The 
second is that of the English perfumers. 
Spirit of rosemary is now commonly sold for 
it by the druggists. 



Waters. 



597 



Waters. 



Eau de Rosieres. - 

Esprit de jasmin 1 fi. oz. 

Esprit de fleurs d'orangcs ... 1 fl. oz. 

Spirit of angelica root 2 fl. oz. 

Spirit of celery seed 2 fl. oz. 

Spirit of cucumber 2 fl. oz. 

Esprit de rose 4 fl. oz. 

Tincture of benzoin 3 fl. drm 

Mix. A very agreeable perfume; also used 
as a cosmetic. 

Hunyadi Janos.—H.. Fresenius analyzed the 
Hunyadi Janos water and found it to contain 
the following salts : 

Sodium sulphate 19*662123 

Magnesium sulphate 18*449451 

Calcium sulphate 1*321953 

Potassium sulphate 0132943 

Sodium chloride 1*424068 

Magnesium carbonate 0*731347 

Iron carbonate 002059 

Silica 0*011218 

Carbonic acid (semi-combined).. 0*383868 

Carbonate acid, free 0*0U683 

Lithium Traces. 

Strontium Traces. 

Nitric acid Traces. 

Boracic acid Traces. 

Bromine and iodine Traces. 

Nitrogen Traces. 

Phosphoric acid Traces. 

The carbonates are calculated as simple mono- 
carbonates, and all the salts are anhydrous, i. e., 
without water of crystallization. The cathar- 
tic properties are due to the salts of magnesia 
and sulphate of soda. 

Iron Water.— Put % lb. of new iron nails in 
a large glass bottle with }4 pt. of water; let 
them remain thus for 8 days, and pour in 1 qt. 
more water. Replenish the bottle with water 
as it is used. Iron water is taken at meals with 
a little claret added, and is recommended for 
delicate children. 

Javelle Water.— 1. Javelle water proper is 
prepared by passing gaseous chlorine— derived 
from the action of hot sulphuric acid on a mix- 
ture of common salt and oxide of manganese 
— into a 10$ aqueous solution of carbonate of 
potash until the latter will absorb no more. It 
may also be made by adding a solution of car- 
bonate of potash to a solution of chlorinated 
lime (bleaching powder) as long as a precipitate 
continues to form, the liquid being afterward 
decanted or filtered. Ordinarily, however, the 
liquid called javelle water is chlorinated soda, 
and not potassa. 

2. This liquid, also known as Labarraque's 
disinfectant, is prepared by dissolving 12 oz. 
(avoir.) of soda crystals in 1 qt. (imperial), and 
saturate with chlorine gas evolved from 1 oz. 
of black oxide of manganese, 4 oz. common 
salt, and 2% A- oz. of sulphuric acid diluted 
with 3 fl. oz. of water by aid of heat in a 
retort. 

3. A readier way of making the solution for 
ordinary purposes consists in making a solu- 
tion of y% lb. good lime chloride in 3 pt. of 
water with 7 oz. carbonate of soda (crystals) in 
1 pt. of water— drawing off the clear liquid 
after the mixture has settled. 

4. Glauber salt (sulphate of soda) may be used 
instead of part of the carbonate; with this the 
proportion may be 5 lb. bleaching powder, 10 
lb. sulphate of soda, 4 lb. sal soda and 4 pails of 
water, well mixed. Sulphate of lime deposits 
from this liquid. 

5. Javelle water, used for turning white the 
dirtiest linen and removing stains, is composed 
of bicarbonate of soda, 4 lb.; chloride of lime, 1 
lb. Put the soda into a kettle over the fire, 
add 1 gal. of boilling water, let it boil from ten 
to fifteen minutes, then stir in the chloride of 
lime, avoiding lumps. Use when cool. This is 
good for removing fruit stains from white 
underwear. 

Jasmine Water.— Take 12 oz. of white jasmine 
flowers ; essence of bergamot, 8 drops ; spirits 



of wine, 1 gal.; water, 2 qt. Digest for two 
days, in a close vessel ; then draw off by distil- 
lation 1 gal., and sweeten with loaf sugar. 

Lavender Water, Eau de Lavande.— 

1. Flowering tops of lavender 

(fresh, and carefully picked). 10 lb. 

Rectified spirit 1 gal. 

Water )4 gal. 

Digest a week, throw it into a clean still, add 
1^2 lb. of common salt dissolved in \& gal. of 
water, and* after stirring the whole together, 
draw over, rapidly, 1 gal., by the heat of steam, 
or of a salt water bath. To the distillate add— 

Oil of bergamot 5 fi.drm. 

Essence of ambergris (finest), 2 fl.drm. 

and mix well. Very fine. 

2. Oil of lavender (finest ; Mitcham) 2 oz. 

Essence of musk (finest) 1 fl. oz. 

Essence of ambergris (finest) \^ oz. 

Oil of bergamot (recent; pure) . J^ oz. 
Rectified alcohol (56 over proof, 

scentless) y% gal. 

Mix by agitation. Very fine without distil- 
lation ; but better for it, in which case, the es- 
sences should be added to the distillate. De- 
lightfully and powerfully fragrant. 

3. Smith's British Lavender. — 

Oil of lavender (Mitcham) % oz. 

Essence of ambergris !4 oz 

Eau de cologne (finest) — J4 Pt 

Rectified alcohol ^ pt. 

Mix by agitation. Very fragrant, and much 
esteemed. 

Eau de lavande is a most agreeable and fash- 
ionable perfnme for personal use; but like 
most others of its class, it must not be used too 
freely. Its excessive use distinguishes the vul- 
gar. 

4. Eau de Lavande de Millefleurs.— 

Eau de lavande 1 qt. 

Oil of cloves 1J^ fl.drm. 

Oil of cassia ^ fl.drm. 

Essence of ambergris y% fl.drm. 

Mix. 

5. Oil of lavender (flowers) 3 drm. 

Oil of bergamot 3 drm. 

Oil of roses (otto) 6 drops. 

Oil of cloves 6 drops. 

Musk , 2 gr. 

Oil of rosemary (best) 1 drm. 

Honey 1 oz. 

Benzoic acid 40 gr. 

Rectified spirit 20 oz. 

Water 3 oz. 

6. Ammoniacal Lavender Water.— Oil of lav- 
ender (English), V/q fl. oz.; spirit of ammonia 
(caustic), 2 l /i pts. Mix. Used as a stimulating 
scent for headaches, fainting, etc. This is the 
French preparation. 

7. Lavender Water.— 

Oil of lavender 12 grm. 

Oil of bergamot 12 grm. 

Oil of rose (otto) 6 drops. 

Oil of cloves 6 drops. 

Oil of rosemary 3 grm. 

Tincture of musk 3 grm. 

Benzoic acid 2 grm. 

Honey 15 srrm. 

Alcohol, Wo 500 grm. 

Rose water 50 grm. 

Thoroughly mix and filter.— Pharm. Era. 

Lemon Water.— (French Eau de Citron.) Rinds 
of 8 lemons ; water, 4 1.; salt, 25 grm. Distill off 
y& the Avater. 

Lime Water Carbonated.— Carrara Water. — 
Lime water (prepared from lime made by calcin- 
ing Carrara marble) is supersaturated by strong 
pressure with carbonic acid, so that the car- 
bonate of lime at first thrown down is redis- 
sol ved. It contains 8 grm. of carbonate of lime 
in 10 fl. oz. of water. 



Waters. 



598 



Waters. 



l/isbon Water.— 
Rectified spirit (not less than 60 

over proof) 1 gal. 

Otto of orange peel 4 oz. 

Otto of citron zeste 2 oz. 

Otto of rose J4 oz. 

LWiia Water, Aerated.— This may be conven- 
iently made from the fresh precipitated car- 
bonate, dissolved in carbonated water, as di- 
rected for fluid magnesia. Its antacid and anti- 
lithic properties promise to be useful. 

Eau de Luce.— 

Tincture of benzoin, or balsam 

of Peru 1 oz. 

Otto of lavender 10 drops. 

Oil of amber 5 drops. 

Liquor ammonia 2 oz. 

If requisite, strain through cotton wool ; it 
must not be filtered, as it should have the ap- 
pearance of a milk white emulsion. 

Marienbad.— 

Carbonate of soda ... 2 scr. 

Sulphate of soda 96 grn. 

Sulphate of magnesia 8 grn. 

Chloride of sodium 15 grn. 

Chloride of calcium 10 grn. 

Carbonated water 1 pt. 

Or— 

Bicarbonate of soda 50 grn. 

Sulphate of soda — 1 drm. 

Chloride of sodium 15 grn. 

Sulphate of magnesia 10 grn. 

Dissolve in 1 pint of water, add 25 grn. of 
dry bisulphate of soda, and cork immedi- 
ately. 

Marienbad Purging Salts.— 

Bicarbonate of .soda 5 oz. 

Dried sulphate of soda 12 oz. 

Dry chloride of sodiu m V/% oz. 

Sulphate of magnesia, dried 2 oz. 

Dried bisulphate of soda 2)4, oz. 

Mix the salts, previously dried, separately, 
and keep them carefully from the air. 

Eau de Miel, Honey Water.— 

1. Esprit de rose, No. 3 1 pt. 

Esprit de jasmin, No. 2 ^ pt. 

Eau de fleurs d 1 oranges y% pt. 

Rectified spirit J^ pt. 

Essence of vanilla , 1 fl. oz. 

Essence of musk 6 fl.drm. 

Essence of ambergris 3 fl.drm. 

Essence of Portugal (oil) 2 fl.drm. 

Oil of rosemary 1 fl.drm. 

Oil thyme — 1 fl.drm. 

Flowers of benzoin ^ drm. 

Mix, and agitate them well together for some 
minutes. Delightfully fragrant. 

2. Oil of bergamot 1 n.drm. 

Oil of lemon % fl.drm. 

Oil of cloves ... . 10 drops. 

Oil of lavender 8 dl £ r pg 10 

Oil of rosemary 8 drops. 10 

Musk (finest, powdered) ..4 grn. 

Ambergris (finest, powdered) 3 grn. 

Eau de fleurs d'oranges )4 pt. 

Eau de rose ^ pt. 

Rectified alcohol 1 qt. 

Digest, with agitation, twelve or fourteeen 
days, and then decant or filter. Very fra- 
grant. 

Mont d'Or Water. - 

Bicarbonate of soda 70 gr. 

Sulphate of iron % &r- 

Chloride of sodium 12 gr. 

Sulphate of soda Y% gr. 

Chloride of calcium 4 gr. 

Chloride of magnesium 2 gr. 

Aerated water 1 pt. 



Naples Water.— 

Crystallized carbonate of soda . . . 15 gr. 

Fluid magnesia 1 oz. 

Simple sulphureted water .2 oz. 

Aerated water 16 oz. 

Introduce the sulphureted water into the 
bottle last. 

Eau de Naples.— Neapolitan washing solu- 
tion- 
Borax 12 parts. 

Distilled water 100 parts. 

Rose water 50 parts. 

Camphor 1 part. 

Tincture of benzoin 4 parts. 

Orange Flower Water.— 

Oil of neroli .8 drops. 

Rectified alcohol 2 drm. 

Magnesia )4 drm. 

Rub the whole together in a mortar, gradu- 
ally adding a pint of distilled or rain water. 
Finally, filter the liquid through white blot- 
ting paper, and it is ready for use. 

Paradise Water.— Distill— 

Ninety per cent, alcohol Tr 2% gal. 

Cardamoms ... Yz oz. 

Anise seed 1% oz. 

Rosewood 1 oz. 

Calamus 1% oz. 

Orris root 1 oz. 

Angelica root . . \% oz. 

Fresh lemon peel \% lb. 

To this add 1354 lb. sugar syrup and iy 2 gal. 
water. Color green. Add a little silver leaf 
rubbed fine. 

Eau de Paris.— 
Eighty-five per cent alcohol. .2,000 parts. 

Portugal oil 15V£ parts. 

Oil of lemon 15^ parts. 

Oil of bergamot 15J4 parts. 

Neroli 3}4 parts. 

Oil of rosemary 2 parts. 

Passif Water.— 

Sulphate of iron 2 gr. 

Chloride of sodium 3 gr. 

Carbonate of soda 4 gr. 

Chloride of magnesium 2 gr. 

Aerated water 1 pt. 

Peach Water — 

Eighty degree alcohol , 3 pt. 

Tincture of tolu . 3 oz. 

Oil of almonds (essential) V/% drm. 

Extract of jasmine 6 oz. 

Extract orange flower 6 oz. 

Pleasant toilet water. 

Perfumed Waters, Directions for Distilling.— 
The still should have a high and narrow neck, 
to prevent the liquor in. it from spurting over, 
and should be furnished with a steam jacket, or 
a bath should be used to prevent injury from 
excessive heat. Dry, hard, or fibrous sub- 
stances should be bruised, or otherwise me- 
chanically divided and macerated in water be- 
fore undergoing distillation. In almost all 
cases, salted or pickled flowers, herbs, etc., are 
superior to fresh ones. The product from them 
has little or none of the herbaceous and raw 
odor which is always present when fresh ones 
are used; besides which the waters thus pre- 
pared keep better, and reach maturity, or the 
full developement of their odor in a much 
shorter time. Ebullition should be attained 
as quickly as possible, and. should be continu- 
ous, and the heat, when possible, be regulated 
by a thermometer. 

Waters distilled from plants are apt to have a 
smoky odor at first, even when the greatest 
care and precaution have been observed in 
their distillation; exposure for a short time to 
the air will remove this, after which they 
should be kept in closely stoppered bottles, 
and preferably in bottles containing only suf- 
ficient for probable use at one time; they 
should be entirely filled and closed air-tight. 



Waters. 



599 



Waters. 



Pineapple Water.— One large foreign pine- 
apple, 1 pt. of boiling syrup, juice of 1 lemon. 

Peel the pine, slice and masb it well in a 
basin, then pour on the syrup and lemon juice; 
stir well and cover. Let it stand two hours, 
then filter through a fine silk sieve and add 1 
qt. of spring water. Time, two and a quarter 
hours. Make this in October. 

Eau de Portugal.— 

Alcohol, (60 over proof) 1 gal. 

Essential oil of orange peel. . 8 oz. 

Essential oil of citron zeste 2 oz. 

Essential oil of bergamot 1 | oz. 

Essential oil of otto of rose . . % oz. 

Pullna Water. — 

Sulphate of soda 4 drm. 

Sulphate of magnesia 4 drm. 

Chloride of calcium 15 grn. 

Chloride of magnesium (dry) 1 scr. 

Chloride of sodium 1 scr. 

Bicarbonate of soda 10 grn. 

Water, slightly carbonated 1 pt. 

One of the most active of the purgative sa- 
line waters. 
Pullna Water without the Machine. — 

Bicarbonate of soda 50 grn. 

Sulphate of magnesia 4 drm. 

Sulphate of soda 3 drm. 

Chloride of sodium 1 scr. 

Dissolve in 1 pint of water; add, lastly, 2 scr. 
of bisulphate of soda, and close the bottle im- 
mediately. 
Salts for Making Pullna Water.— 

Dry carbonate of soda 1 oz. 

Exsiccated sulphate of magnesia 1)4 oz. 

Dry chloride of sodium, 2 drm. 

Dry tartaric acid % oz. 

Or rather dry bisulphate of soda 1 oz. 

Pyrmont Water.— 

Sulphate of magnesia 20 grn. 

Chloride of magnesium 4 grn. 

Chloi-ide of sodium 2 grn. 

Bicarbonate of soda 16 grn. 

Sulphate of iron 2 grn. 

Carrara water . 1 pt. 

Eau de Quinine.— A favorite hair wash that 
is much used in Berlin and Liepzig contains 2 
grm. balsam of Peru, 6 grm. castor oil, 60 srm. 
rum, 35 grm. water, 5 grm. tincture of red chin- 
chona. Its constituents are at least harmless, 
which can be said of but few of our American 
preparations for the hair. 

Raspberry Water.— To 1 pt. of raspberry juice 
add 1 gill of red currant juice, 1 lb. of sugar, 
and 1 qt. of water. 

Bite Water.— Take of— 
Rice 2 oz. 

Let it be well washed, and add to it- 
Water 2 qt. 

Boil it for an hour and a half, and then add 
sugar and nutmeg as much as may be required. 
To be taken ad libitum. 

Rice, when boiled for a considerable time, 
assumes a gelatinous form, and, mixed with 
milk, is a very excellent diet for children. Tt 
possesses, in some measure, a constipating 
property which may be increased by boiling the 
miik. 

Eau Romaine. — 

Jasmine water 3 qt. 

Vanilla water 1 qt. 

Acacia water 1 qt. 

Tuberose water. 1 pt. 

Essence of amber , 2 oz. 

Tincture of benzoin 8 oz. 

2. Essence of ambergris 1 fl.drm. 

Tincture of benzoin 4 fl.drm. 

Spirit of tuberose 1)4. fl. oz. 

Tincture of vanilla 2 fl. oz. 

Esprit de fleurs d'acacia. . . . 2Mj fl. oz. 

Esprit de jasmin 7}& tt. oz. 

Essence de petit grain 8 or 10 drops. 

Mix. 



The last essence is often omitted, and the 
tincture of benzoin reduced in quantity. 
3. Essence of ambergris 1 fl. oz. 

Tincture of benzoin 4 fl. oz. 

Spirit of tuberose ^ pt. 

Spirit of acacia flowers 1 "* pt. 

Tincture of vanilla 1 pt. 

Spirit of jasmin 3 pt. 

Sea Water.— 

Chloride of sodium 4 oz. 

Sulphate of soda 2 oz. 

Chloride of calcium 14 oz. 

Chloride of magnesium 1 oz. 

Iodide of potassium 4 grn. 

Bromide of potassium 2 grn. 

Water . 1 gal. 

A common substitute for sea water as a bath 
is made by dissolving 4 or 5 oz. of common salt 
in 1 gai. of water. 

The following mixture of dry salts may be 
kept for the immediate production of a good 
imitation of sea water : 

Chloride of sodium (that obtain- 
ed from evaporating sea water, 
and not recrystallizeci, in pre- 
ference) 85 oz. 

Effloresced sulphate of soda 15 oz. 

Dry chloride of calcium 4 oz. 

Dry chloride of magnesium. . . .16 oz. 

Iodide of potassium 2 drm. 

Bromide of potassium 1 grn. 

Mix, and keep dry. Put 4 or 5 oz. to 1 gal. of 
water. 

Eau Sedative. — Dorvault gives the following : 

Ammonium hydroxide 60 parts. 

Tincture of comphor 10 parts. 

Sodium chloride 60 parts. 

Water 1000 parts. 

Mix. 

Seidlitz Water.— This is usually imitated by 
strongly asrating a solution of 3 drm. sulphate 
of magnesia in 1^ pt. of water. It is some- 
times made 6, 9 and 12 drm. of the salts to ty£ 
pt. of water, according to the strength desired. 
Seidlitz Powder.— The common seidlitz pow- 
ders do not resemble the water. A closer imi- 
tation would be made by using effloresced sul- 
phate of magnesia instead of the potassio-tar- 
trate of soda. A still more exact compound 
will be the following : 

Effloresced sulphate of mag- 
nesia 2 oz. 

Bicarbonate of soda . . 3^ oz. 

Dry bisulphate of soda Yz oz. 

Mix, and keep in a close bottle. 
Seidscliutz Water.— 

Sulphate of magnesia 3 dr. 

Chloride of calcium 8 grn. 

Nitrate of lime 8 grn. 

Bicarbonate of soda 8 grn. 

Sulphate of potash 5 grn. 

Aerated water 1 pt. 

Seltzer Water.— This is a natural mineral 
water; but if an imitation of it be required the 
following is its analysis, according to Berg- 
man: 

1. Water 16 fl. oz. 

Carbonic anhydride 17 . cub.in. 

Carbonate of sodium 4 grn. 

Carbonate of magnesium 5 grn. 

Carbonate of calcium 3 grn. 

Chloride of sodium 17 grn. 

Of course a proper machine will be required 
for forcing the gas into it, unless it be made on 
a small scale in a gazogene. 

2. Fused chloride of calcium 4 grn. 

Chloride of magnesium \:l grn. 

Chloride of sodium 15 grn. 

Citrate of iron ¥z grn. 

Tartaric acid 2 arm. 

Bicarbonate of soda 2J4drm. 

Water q. s. 



Waters. 



600 



Waxes, 



Dissolve all the salts, excepting the tartaric 
acid and the bicarbonate, in about 1 pt. of 
water, and introduce the solution into a cham- 
pagne bottle. Then,' having completed the 
requisite quantity of liquid so as to leave an 
empty space of about 2 fi. oz., add the tartaric 
acid, and, immediately after, the bicarbonate 
of soda. Cork the bottle tightly, secure the 
cork with stout cord, and set the bottle aside 
for about six hours before it is opened. It is 
then ready for use. 

Soda Water.— The ordinary soda water sold 
in bottles consists simply of carbonic acid 
water flavored in the usual way; thus for lemon 
the recipe is : 

Syrup 1 gal. 

Citric acid 2]/ 2 drm. 

Oil of lemon 1 drm. 

Triturate the acid and oil together until 
thoroughly mixed, then add the syrup gradul 
ally. 

Water, To Soften Hard.— Two parts bicar- 
bonate of soda, 4 parts calcined soda, 4 
parts of a solution of silicate of soda. The 
mixture should stand for twenty -four hours, 
when it generally becomes hard, so that it can 
be rubbed to a powder; 2 to 3 lb. of the mixture 
will generally soften 50 gal. of hot water. 

Strawberry Water. — 

Strawberries 1 lb. 

Loaf sugar y % lb. 

J uice of 1 lemon. 

Crush the sugar finely, and sift over the 
strawberries, which should be red and ripe. 
Add y% pt. of cold spring water, filter through 
a sieve, add 1 quart of spring water, and the 
strained juice of 1 lemon. Time required, half 
an hour. Make this in June or July. 

Sulpkureted Waters.— Pass sulphureted hy- 
drogen into cold water (previously deprived of 
air by boiling, and cooled in a closed vessel) 
till it ceases to be absorbed. 

Tar Water.— Put in a glass or china jar : Quar- 
ter pound of Stockholm tar, 3 pt. of water. Let 
the tar infuse for twenty-four hours, stirring it 
occasionally, and pour off this first water; then 
pour 3 pt. of fresh water on to the tar, and let 
it infuse for twelve hours. The jar should be 
replenished with water as it is used, renewing 
the tar every month only. Tar water may be 
drank alone or mixed with claret; it is con- 
sidered a good blood purifier. 

Tar Water, Infusion of Tar, Tar Tea.— 

Wood tar i qt. 

Cold soft water 1 gal. 

Mix, and stir them briskly with a stick for at 
least fifteen minutes. After subsidence, pour 
off the water, strain it, and keep it in well 
stoppered bottles or jars. Used as a lotion in 
various chronic skin diseases, particularly of 
the scalp in children; also in failing hair, bald- 
ness, etc. It was once in high repute as a 
medicine for internal use. 

Vanilla Water.— 

Vanilla (in coarse powder) 1 lb. 

Salt 5 lb. 

Water 2^ gal. 

Macerate for twenty-four hours, and then 
distill over (rapidly) 1 gal. 

Vichy Salts.— 

Bicarbonate of soda 2J4 oz. 

Muriate of soda, .22^1 grn. 

Effloresced sulphate of soda. . .'. 1}4 drm. 
Effloresced sulphate of magnesia V/% scr. 
Dry tartarized sulphate of iron. 1J4 grn. 
Dry tartaric acid or dry bisul- 

phate of soda V/» oz. 

Mix the powders, previously dried, and keep 
in a well corked bottle. 



Vichy Water.— For 10 gal. (80 lb.) of water 
use : . x 

Sodium carbonate 4249 grn. 

Sodium chloride 112 grn. 

Potassium chloride 141 grn. 

Sodium bromide 10 grn. 

Sodium silicate 15}^ grn. 

Lithium carbonate 11 grn. 

Calcium chloride 736 grn. 

Magnesium chloride 308 grn. 

Barium chloride 634 grn. 

Aluminum chloride 12>| grn. 

Iron chloride ^ grn. 

2. Bicarbonate of soda 1 drm. 

. Chloride of sodium 2 grn. 

Sulphate of soda 8 grn. 

Sulphate of magnesia 3 grn. 

Tincture of chloride of iron 2 drops. 

Aerated water 1 pt. 

3. Dorvault's.— 

Bicarbonate of soda 75 grn. 

Chloride of sodium 4 grn. 

Sulphate of iron £ grn. 

Sulphate of soda 10 grn. 

Sulphate of magnesia 3 grn. 

Water . 1 pt. 

By adding 45 grn. (or less) of citric acid, an 
effervescing water is obtained. 

4. M. Soubeiran, relying on the analysis of 
Longchamps, imitates vichy water by the fol- 
lowing combi nation : 

Bicarbonate of soda 135 grn. 

Chloride of sodium 2^ grn. 

Crystal chloride of calcium .. ..12 grn. 

, Sulphate of soda 11^ grn. 

Sulphate of magnesia 3% grn. 

Tartrate of iron and potash y% grn. 

Water (1 liter) 2t% pt. 

Carbonic acid (5 liters) 305 cub.in 

Dissolve the salts of soda and iron in part of 
the water, and add the sulphate of magnesia 
and then the chloride of calcium in the re- 
maining water. Charge now with the carbonic 
acid gas under pressure. 

Vichy Salts.— 

Bicarbonate of soda 1^ oz. 

Chloride of sodium 15 grn. 

Effloresced sulphate of soda 1 drm. 

Effloresced sulphate of magnesia. 1 scr. 

Dry tartarized potash and iron. . 1 grn. 
Dry tartaric acid or dry bisul- 

phate of soda 1 oz. 

Mix the powders, previously dried, and keep 
them in a close bottle. 

Violet Water.— 

Violet pomade 6 lb. 

Rectified spirit 1 gal. 

Macerate and digest in closed vessel for a 
month and decant. Then add 3 oz. tincture 
orris root and 3 oz. cassia spirit to each pint. 
West End Cologne — 

Oil bergamot 2 oz. 

Oil lavender, fine 2 oz. 

Oil cloves y 2 oz. 

Oil mace y 2 oz. 

Extract civet 1 oz. 

Extract benzoin 1 oz. 

Extract vanilla 1 oz. 

Alcohol 2 gal. 

Water 4 pt. 

Wax Candles. See Candles. 

Waxed Paper. See Paper. 

Waxes. — Term applied to many bodies 
with some resemblance to the prototype of 
the group— beeswax. The principal waxes are 
as follows : 

Beeswax.— Obtained from the cells of bees, 
and is largely adulterated. 

Carnauba Wax.— Product of a palm tree of 
Brazil. 

Chinese White Wax.— Joint product of an 



Waxes. 



601 



Waxes. 



insect and one or more trees, rarely seen in 
this country. 

Cordillera Wax.— Product of the wax tree or 
varnish tree of the Cordilleras. 

Fig Tree Wax. — Vegetable wax obtained 
from Java. 

Indian White Wax.— This wax is produced 
from an insect ; it is largely used for making 
candles in India. 

Japan Wax. — Product of several trees of 
Japan. 

Ozocerite, or Ozokerit.— This is an earth wax, 
and is of mineral origin, and bears a close re- 
lationship to petroleum and coal. ' 

Palm Wax.— Product of a palm growing in 
the Cordilleras. 

Bleaching of Wax.— When beeswax is exposed 
in thin layers to the air and to direct sun- 
light it is quickly rendered colorless, but in the 
dark, in presence of a free supply of air, oxy- 
gen, or ozone, no decolorization whatever is 
effected, even after a long time. In presence 
of sunlight, oxygen, and especially ozone, de- 
stroys the color very rapidly, but the presence 
of oxygen is not absolutely necessary. When 
the wax is exposed to sunlight in v.acuu, or in 
an atmosphere of carbonic anhydride, it is 
bleached, but much more slowly than in the 
presence of air. 

The composition of the unbleached wax dif- 
fers considerably from that of wax which has 
been bleached by exposure to air and sunlight. 
The latter contains a slightly larger percentage 
of free acids, but a large proportion of the un- 
saturated acids of the oleic series and of the un- 
saturated hydrocarbons in the crude wax have 
disappeared. This fact shows that in the bleach- 
ing process not only does the coloring matter 
suffer total combustion, but the unsaturated 
acids and the unsaturated hydrocarbons are 
converted into saturated compounds by the 
fixation of oxygen. This is also the case with 
other fatty substances, such as suet, and the 
reason why the addition of 1 to 5 per cent, of 
suet to beeswax causes decolorization to pro- 
ceed more quickly is because the suet, in its 
oxidation or combustion, aids the destruction 
of the coloring matters. The additon of a small 
quantity of other oxidizable substances, such 
as essence of terebenthene, also hastens the 
action, so that it would seem that the destruc- 
tion of the coloring matter is due to the foi'm- 
ation of ozone by the oxidation of the added 
substance.—^., and P. Buisine. 

Beeswax. — To separate honey from wax, put 
honeycomb and all in a tin pan upon a moder- 
ately warm stove, adding a tablespoonf ul of 
water to each lb. of honey. Stir occasionally 
with a piece of wire until the contents of the 
pan are in a liquid condition. Do not allow 
boiling to begin. Remove the pan from the 
fire and set it aside to cool. The cake of wax, 
to which all impurities will adhere, may then 
be carefully lifted off with a knife. 

Black Wax.— Melt 225 parts of best yellow 
wax and add 25 parts prepared silver litharge, 
and boil until the compound assumes a brown 
color, then add 8 parts of calcined lampblack, 
and pour into paper moulds. 

Engravers' Border Wax.— 

1. Beeswax 1 part. 

Pitch 2 parts. 

Tallow 1 part. 

Bordering. — 

2. Resin 3 oz. 

Beeswax 2 oz. 

Sweet oil q. s. 

Incorporate thoroughly by heat, turn in to 
cold water, and work thoroughly with the 
hands; if brittle melt again, and add more oil. 

BottleWax.—l. Resin, pitch, ivory black, equal 
parts. 

2. Resin 614 parts. 

Beeswax \& part. 

Venetian red or red lead \ l A parts. 



3. Shellac 3 parts. 

Venice turpentine 1*4 parts. 

Vermilion « 2% parts. 

Or Venetian or red led, q. s. 

4. Resin, 6 parts ; shellac and Venice turpen- 
tine, each 2 parts; coloring matter to suit. 

5. The following recipe is recommended by 
Scheirer : 

Burgundy pitch 50 parts. 

Turpentine 25 parts. 

Colophony 100 parts. 

Heat the pitch until all the water is driven 
off, then add the turpentine and colophony, 
and when the whole is liquid, add a mixture of 
the following in fine powder : 

Chalk . . .50 parts. 

Carbonate of magnesia 5 parts. 

Armenian bole 50 parts. 

Mix thoroughly. 

6. The ingredients are shellac, 2 lb.; rosin, 4 
lb.; Venice turpentine, 2^ lb.; red lead, 1^ lb. 
Melt the shellac and rosin cautiously in a bright 
copper pan, over a clear charcoal fire. When 
melted add the turpentine, and lastly, mix in 
the red lead. Pour into moulds, or form sticks 
on a warm marble plate. The gloss may be pro- 
duced by polishing the sticks with a rag until 
they are cold. 

7. Black Bottle Wax.— Common resin, 20 lb.; 
tallow, 5 lb.; lampblack, 4 lb. Mix with heat. 

8. Red Bottle Wax.— Common resin, 15 lb.; 
tallow, 4 lb.; red lead, 5 lb.; mix and heat. 

9. Resin, 6 oz.; shellac, 2 oz.; Venice turpen- 
tine, 2 oz,; melt and add lampblack, 9 oz. Pour 
into moulds. 

10. Common resin, pitch and ivory black,, 
equal parts. 

11. Four oz. shellac, 1 oz. Venetian turpen- 
tine, and 3 oz. vermilion. Melt the lac in a. 
copper pan, suspended over a clear charcoal 
fire, then pour the turpentine slowly into it, 
and soon afterward add the vermilion, stirring- 
briskly all the time of the mixture with a rod 
in either hand. 

Wax, to Clean. See Cleansing. 

Engraving Wax.— The following is said to be 
a good receipt for map engraving wax: Four 
oz. of linseed oil ; 3^ oz. of gum benzoin, and y% 
oz. of white wax ; boil %. 

Factitious Wax.— A spurious compound for 
veterinary purposes. 

1. Yellow resin, 161b.; hard mutton suet or 
stearin, 8 lb.; palm oil, 2J^ lb.; melted together. 

2. As last, but substituting turmeric, 1 lb. for 
the palm oil. 

3. Best annatto, 6 oz. or q. s.; water, 1 gal.; 
boil; add of hard mutton suet or stearin, 35 
lb.; yellow resin, 70 lb.; again boil, with con- 
stant agitation, until perfectly mixed, and of 
a proper color, and as soon as it begins to 
thicken pour it out into basins to cool. When 
cold rub each cake over with a little potato 
starch. 

Wax for Fish Lines, etc.— Use a mixture of 
beeswax and shoemakers' wax. In winter the 
quantity of the latter is in excess, while in 
summer more of the beeswax is used. These 
two ingredients are mixed together in a suit- 
able vessel over a water bath. 

Floors, Waxing Hard Wood.—l. Take 1 lb. of 
the best beeswax, cut it up into very small 
pieces, and let it thoroughly dissolve in 3 pt. of 
turpentine, stirring occasionally if necessary. 
The mixture should be only a trifle thicker than 
the clear turpentine. Apply it with a rag to 
the surface of the floor, which should be 
smooth and perfectly clean. This is the diffi- 
cult part of the work, for if you put on either 
too much or too little, a good polish will be im- 
possible. The right amount varies, less being 
required for hard, close grained wood, and 
more if the wood is soft and open grained. 
Even professional waxers are sometimes 
obliged to experiment, and novices should 
always try a square foot or two first. 



Waxes. 



Waxes. 



Put on what you think will be enough, and 
leave the place untouched and unstepped on 
for twenty-lour hours, or longer if needful. 
When it is thoroughly dry, rub it with a hard 
brush until it shines. If it polishes well, re- 
peat the process over the entire floor. If it 
does not, remove the wax with fine sandpaper 
and try again, using more or less than before, as 
may be necessary, and continue your experi- 
menting until you secure the desired result. If 
the mixture is slow in drying, add a little of the 
common driers sold by paint dealers, japan, for 
mstance, in the proportion of 1 part of the 
drier to 6 parts of turpentine. When the floor 
is a large one, you may vary the tedious work 
of polishing by strapping a brush to each foot 
and skating over it. 

2. Linseed oil, 100 parts; litharge, 10 parts; 
the best yellow wax, 75 parts; tallow, 7 parts; 
molasses, 90 parts; lampblack, 50 parts; oil of 
turpentine, 140 parts ; alcohol, 17 parts ; shel- 
lac, 2^4 parts; aniline violet, 1 part. Boil the 
litharge for an hour with linseed oil, then add 
the melted wax and tallow and the molasses. 
Heat the whole to a temperature of 230° F. over 
a water bath until all the water has evaporated; 
then add the coloring matter. 

Flowers, How to Make Wax.— This affords a 
pleasant way of passing time and is useful. 
Use only the purest virgin wax, entirely freed 
from all extraneous matters. Wax that is 
either granular or friable must be rejected. It 
is generally melted in vessels of tinned iron, 
copper, or earthenware. To render it ductile, 
fine Venice turpentine, white, pure, and of an 
agreeable odor, is added. The mixture is con- 
stantly stirred with a glass or wooden spatula. 
All contact with iron must be avoided, and if 
the vessels are of that material, they must be 
well and carefully tinned. When stiff leaves 
are to be executed, two parts of spermaceti are 
added to eight parts of wax, to give transpar- 
ency. Much care and tact are needed in color- 
ing the wax. The colors being in fine powder, 
are made into a paste by adding, little by little, 
essence of citron or lavender. When the trit- 
uration is perfect, this paste is mixed with melt- 
ed wax, stirring rapidly all the while; and while 
the mass is still liquid, it is poured into moulds 
of pasteboard or tinned iron of the shape of 
tablets, and is then ready for use. Sometimes 
It is passed through fine muslin as it flows into 
the moulds. 

Another method is to tie up the color in a 
muslin bag, and wave it about among the 
molten wax until the desired tint is obtained. 
To combine colors, it is only necessary to have 
2 or 3 bags containing different colors, and to 
employ as much of each as shall have the de- 
sired^effect. These bags, far from being spoiled 
by dipping in wax already containing other 
shades, have only to be rinsed in pure water to 
fit them for coloring other wax. The colors 
most in use in wax flower making are pure 
forms of white lead, vermilion, lake, and car-« 
mine, ultramarine, cobalt, indigo, and Prussian 
blue, chrome, Naples j'ellow, and yellow ocher. 
Greens and violets are chiefly made from mix- 
tures of the above. 

The wax being prepared, the manufacture of 
the artificial flowers is carried on in two ways. 
The first consists in steeping liquid wax in little 
wooden moulds rinsed with water, around'which 
the wax forms in a thin layer, so as to take the 
form of the mould, and thus to present, when 
detached from it, the appearance of the whole 
or part of a flower. In this way lilac and other 
simple blossoms are obtained with much rapid- 
ity. 

The branches are also executed with wax 
softened by heat, and moulded with the fingers 
round a thread of wire. 

As for leaves and petals, they are cut out of 
sheets of colored wax of the proper thickness. 
These sheets are glossy on one side, and velvety 
on the other. 

To express the veining of leaves, they are 



placed in moistened moulds, and pressed with 
the thumb sufficiently to get the impression, 
which is accurately copied from nature. 

The petals are made to adhere simply by press- 
ure; the leaves are placed on a little foot stalk, 
and the latter fastened to the stem. 

The manner of procuring moulds for the ac- 
curate imitation of leaves is as follows: A nat- 
ural leaf of the plant it is wished to imitate is 
spread out on a flat surface of marble, for ex- 
ample. It is lightly but equally greased with 
olive oil, and surrounded with a wall of wax, 
which must not touch it. Then in a small vessel 
containing a few spoonfuls of water a few pin- 
ches of plaster of Paris are to be thrown, and 
briskly stirred till the liquid has the consistence 
of thick cream. This is poured over 1 he leaf, and 
left till it is well hardened. It is then lifted up 
and the leaf detached, when it will be seen that 
the plaster has taken a perfect impression of 
every vein and indentation. Such moulds are 
rendered far more durable if they are impreg- 
nated while warm with drying oil. This gives 
them greater solidity, and prevents their 
crumbling from frequent immersion in water. 

It is necessary to impress strongly on all 
amateur wax flower makers the necessity for 
having all tools and moulds completely moist- 
ened with water, otherwise the wax will be 
constantly adhering, and preventing neatness 
of workmanship. 

Gilding, Wax for.— 

Oil ..25 parts. 

Yellow wax 25 parts. 

Acetate of copper 13 parts. 

Red ocher 37 parts. 

The whole is melted, and stirred until cold. 
Gilders'' Wax, for Fire Gilding.— 

1. White wax 24 parts. 

Copper scale 6 parts. 

Verdigris 3 parts. 

Borax y^ part. 

2. Armenian bole 12 parts. 

White wax 48 parts. 

Verdigris 6 parts. 

Burntocher 2 parts. 

Ferric sulphate 8 parts. 

Borax . . . . 1 part. 

3. White wax 48 parts. 

Copper sulphate 12 parts. 

Verdigris 12 parts. 

Borax . . V/%, parts. 

4. Bed chalk 16 parts. 

Yellow wax 36 parts. 

Copper sulphate water 6 parts. 

Verdigris 5 parts. 

Borax 3 parts. 

Burnt copper 6 parts. 

Grafting Wax. — 

1. Pitch 4 oz. 

Resin. „ . 4 oz. 

Lard 2 oz. 

Beeswax 2 oz. 

Melt over a slow fire, or 

2. Melt together equal quantities resin and 
beeswax, and add enough tallow to produce the 
proper consistency. 

Grafting Wax.— 

3. Pine resin 50 parts. 

Tallow 10 parts. 

Turpentine • 5 parts. 

Alcohol, 90% 5 parts. 

The resin is melted in ah iron vessel. The 
turpentine is added, next the tallow, and finally 
the 90^ Alcohol. Stir the ingredients thor- 
oughly and cool. 

4. A good grafting wax can be made by melt- 
ing together 50 lb. resin, 10 lb. beeswax, and 1 
gal. raw linseed oil. As soon as the resin and 
wax are melted, dipl pt. at a time into a bucket 
of cold water, keeping it away from the bucket 
with a stick. As soon as it is cool enough, 
stretch with slightly greased hands. If the wax 



Waxes. 



603 



Waxes. 



is to be used in very warm weather, a little less 
oil and beeswax will be better. 

5. Liquid Grafting- Wax.— This, if properly 
made, may be readily applied to outdoor graft- 
ing, without the trouble of heating, and it is 
also a good application to wounds made in 
pruning. The following directions are given 
by W. W. Tracy: Melt 1 lb. resin with 1 lb. tal- 
low, and, when mixed, remove from the stove 
and allow it to cool till a scum begins to form. 
Then add a teaspoonf ul of turpentine. .Replace 
on the stove, and add 7 oz. of a mixture of 2 
parts alcohol and 1 part water, stirring briskly, 
and taking care that the alcohol does not burn, 
as it will if too hot. Stir till of the cousistence of 
honey, keep corked, and apply with a brush. If 
it gets too hard, remelt, and apply a few drops 
of turpentine and alcohol and water. It hard- 
ens after applying. 

Green Wax.— Melt 100 parts yellow wax, 100 
parts white rosin, 33 parts ordinary turpentine, 
and then mix with 8 parts pulverized verdigris. 
1'our into paper moulds. 

Impression Wax.— Temper parafin wax with 
olive oil to suit conditions. Mix a little whit- 
ing with it while hot. 

Modeling Wax, to Make.—l. Melt 20 oz. best 
white wax, and while it is cooling mix with 1 
oz. flake white. 
2. Best yellow wax 50 parts. 

Venice turpentine 7 parts. 

Lard 3J4 parts. 

Bole elutriated 36 parts. 

Mix, and knead thoroughly. 
3. It is made of white wax, melted and mixed 
with lard to make it workable. In working it, 
the tools used, the board or stone, are moist- 
tened with water, to prevent its adhering; it 
may be colored to any desirable tint with a dry 
color. 
. 4. Melt over a moderate fire 100 parts yellow 
wax, and add 13 parts Venetian turpentine, 
6^ parts lard, 72^ parts elutriated bole. Mix 
thoroughly, pour the mixture gradually into a 
vessel containing water, and knead it several 
times. with the hands. The wax must be melted 
at a temperature sufficiently low not to create 
bubbles. Add Indian red if desired for color. 

Moulds, Wax, Preparation for Taking Moulds. 
— Whether the beeswax have stearine in it or 
not, it is best to prepare it in the following- 
manner : Put some common virgin wax into 
an earthenware pot or pipkin, and place it 
■over a slow fire; and when it is all melted, stir 
into it a little white lead (flake white), or black 
lead (plumbago), say about 1 oz. white lead to 1 
lb. wax; this mixture tends to prevent the 
mould from cracking in the cooling, and from 
floating in the solution; the mixture should be 
remelted two or three times before using it for 
the first time. Resin has been recommended 
as a mixture with wax; mixtures of which, in 
various proportions, have been used with suc- 
cess; but when often used, decomposition or 
some change takes place, which makes the mix- 
ture granular and flexible, rendering it less 
useful for taking moulds. When resin is used, 
the mixture, when first melted, should be 
boiled, or nearly so, and kept at that heat 
until effervescence ceases; it is then to be 
poured out upon a flat plate to cool, after 
which it may be used as described. 

Moulding Wax, Dentists.— Dr. P. David com- 
municates to the Journal de Pharmacie et de 
Chimie an analysis of the composition known as 
Godiva or Stent. Upon this he bases the fol- 
lowing formula : 

Stearine 25 parts. 

Half soft copal 25 parts. 

Talc 50 parts. 

Carmine 05 parts. 

Oil of rose geranium 2 drops to 1 oz. 

Melt the resin by the heat of a sand bath, 
and when slightly cooled add the stearine, stir- 
ring constantly. When this has melted add the 
other ingredients, previously intimately mixed, 



and stir so that a homogeneous product may 
be obtained. 

The adhesiveness of the composition may be 
increased or diminished by modification of the 
amount of copal. A more thorough blending 
of the color may be insured by dissolving the 
carmine in a little potash solution before mix- 
ing with the chalk. 

Palm Wax.— Obtained from trunk of Ceroxy- 
lon andicola. The crude wax does not ineP 
below the temperature of boiling water. 

Parafflne Wax.— Stearic Acid, to Color Black- 
—Melt the materials, and digest them for sev- 
eral minutes, with powdered anacardium nuts 
(Anacardium orientale). This nut contains a 
black fluid vegetable fat. 

Polishing Wax.— Melt 2 parts best yellow wax 
and y% part rosin, then add 1 part oil of turpen- 
tine. 

Bed Wax.— Ten parts best white wax, 6 parts 
of Venice turpentine; then add ]4 part finely 
pulverized cinnabar to color. Pour into paper 
moulds. 

Sealing Wax.—l. The chief ingredient of seal- 
ing wax is shellac, which is melted and mixed 
with an equal or lesser weight of Venetian tur- 
pentine ; for the cheaper qualities, it is adulte- 
rated with ordinary resin; too much of the 
latter, however, makes it brittle. The color is 
given by powdered paints ; for black, 1 lb. ivory 
black with 1 lb. resin and 2 lb. shellac ; for red, 
1 lb. vermilion, 1 lb. powdered chalk, 1 lb. resin, 
and 1 lb. shellac ; for yellow, 1 lb. chrome yel- 
low, 1 lb. Venetian turpentine, 1 lb. shellac; for 
white, 1 lb. white lead, 1 lb. pale resin, 1 lb. Ve- 
netian turpentine, 1 lb. shellac ; for green, 1 lb. 
Prussian blue, 1 lb. orpiment, 1 lb. Venetian 
turpentine, 1 lb. shellac ; for gold, 1 lb. silver 
foil, 2 lb. white resin, 2 lb. Venetian turpen- 
tine, 6 lb. shellac; the transparent yellow 
brown of the shellac gives the silver foil a gold 
color. 

2. It is impossible to succeed in making this 
article when a good shellac is not used as a 
basis. In order to ascertain if it is fit for the 
purpose, try to melt a small quantity over 
a low coal fire ; if it melts easily, thoroughly, 
and flows well, it is good ; if not, reject it. In 
making sealing wax, mix first the paints, and 
let them be exceedingly wefl pulverized ; let us, 
for instance, suppose that you wish to make the 
red sealing wax now in the trade under the 
name of express company sealing wax ; take 2 
lb. good vermilion and 7 lb. Paris white (which 
is very fine chalk), mix them thoroughly, then 
place 8 lb. shellac in a proper stoneware vessel, 
and heat it carefully over a moderate fire, stir- 
ring - it with an iron spatula until it has become 
liquid ; then warm 6 lb. of Venetian turpentine, 
and add the same to the shellac ; when well 
mixed, add gradually the mixture of chalk and 
vermilion, and stir continually till you have a 
homogeneous whole; it is better to use for this 
latter purpose a pestle. The fire must be only 
warm enough to keep the mass fluid. When 
well mixed, it is taken from the fire, when a 
warm, smooth stone must be ready to make the 
sticks; in order to do this you take with a 
spoon as much as is required for a stick, and 
roll it between the hands till it has about the 
shape, then place it on the warm stone and roll 
it with a board or metal plate; to give it a smooth 
surface it is, after solidification, superficially 
heated over a fire or proper lamp ; this is the 
old way to make the sticks, without using 
forms ; if you will go to the expense of procur- 
ing proper forms, you may press the sticks in 
them when in semi-solid condition, and give 
them any shape, square, flat, etc. Some expe- 
rience, of course, is necessary to work witli 
success at the right stage of heat. 

Mixing.— It is essential that all the ingredients 
be dry, and to insure this they are kept in 
paper bags on a shelf running round the walls 
of the stove room at about 18 in. below the 
ceiling. The order of adding the ingredients is 
as follows: The resins and turpentine are first 



Waxes. 



604 



Waxes. 



melted together; then the neutral bodies 
(chalk, etc.), if any, are stirred in ; next the 
pigments are added ; and the volatile balsams 
and oils are only introduced at the last moment 
before forming. When only one pigment is 
used, it is simply warmed and stirred into the 
mass. When a shade is to be produced by a 
mixture of colors, no neutral bodies are added 
to the resins, but they are mixed with the 
colors in a china dish,warmed, and then added 
to the melted mass. Any required tint is ob- 
tained by mixing, and frequent testing. 

Melting.— The melting of the mass should be 
conducted at the lowest possible temperature, 
sufficing only to keep it in a fluid state. Quan- 
tities of 20 lb. to 25 lb. are treated at a time in a 
vessel large enough to permit quick stirring. 
Often the furnace used resembles an ordinary 
cook stove, the fire heating cast iron plates ; 
but these are objectionable from the inequality 
of the heating, and the risk of fire. Enameled 
cast iron pots are best for melting in, keeping 
a separate pot for each mixture. Before using 
a pot for a new color, it must be allowed to 
get quite cold, when the adhering wax can be 
easily cleaned off. The shellac is first put into 
the pot and melted, while being continually 
stirred with a flat paddle of hard wood ; the 
turpentine is then intimately incorporated ; 
next follow the neutral bodies and colors in a 
thin stream, with constant stirring, which is 
more necessary if the pigments are heavy. 
When the mass seems uniform, drops of it are 
examined by letting them fall on a cold, smooth, 
metallic plate, when the color, hardness, and 
fracture can be tested. When satisfactory, the 
heat is adjusted to maintain a fluid condition, 
aromatic substances are quickly stirred in, and 
forming is commenced. 

Forming.— Sealing wax is moulded into sticks 
in special forms consisting of one piece for rec- 
tangular or triangular sticks, but must be 
of two for oval or round. Forms in one 
piece are made of rectangular brass plate, 
carrying grooves ^5 in. wider at top than at 
bottom, for facilitating removal of the sticks. 
It is a common practice to put forms on a 
stove, or cool them off while moulding by 
placing them on metallic trays with cold water 
beneath, to cool the sticks rapidly; this releases 
the forms more quickly, but makes the sticks 
brittle, and it is better to let them cool gradu- 
ally on a wooden table, while if the form be- 
comes so warm as to much protract the set- 
ting of the wax, it may be dipped in cold water 
and carefully dried before using again. En- 
graved forms are difficult to turn out, but this 
may be partly remedied by slightly rubbing 
the engraved parts with oil of turpentine. Sur- 
face ornamentation, such as gilding or silver- 
ing, is effected by placing the substance in the 
form. As brass forms are expensive, they are 
sometimes replaced by home-made ones of type 
metal. To produce them, a stick of fine wax is 
coated with a thin film of olive oil, and a cast 
of it is ta ken in plaster of Paris; when this is 
thoroughly dry, it is put into a small wooden 
box, and melted type metal is poured round to 
make a form. The forming of the wax is con- 
ducted as follows : The molten wax is ladled 
from the pot into a casting spoon, previously 
heated. By this it is poured in a uniform 
stream into the forms. These should be slightly 
warmed before the first moulding takes place. 

Polishing.— Polishing, dressing, or enameling 
is usually applied to all grades, though the 
finer qualities have a lustrous surface on 
coming out of the form. When the improved 
furnace before mentioned is not in use, a 
special polishing stove is necessary. This con- 
sists of an iron slab covering a vault, heated by 
a fire beneath. The sticks are taken in the 
hand and held in the heat of the polishing stove 
till the surfaces begin to melt and the sticks 
bend. Eor gilding, silvering, or bronzing, the 
part to be ornamented is touched with a brush 
dipped in 90$ alcohol, and the gold or silver 



leaf or bronze powder is applied, and adheres 
tenaciously. 

Composition.— The following recipes for the 
compounding of sealing waxes will be found te 
embrace all that are of general utility. 

Black.— 

1. Shellac 15 parts. 

Turpentine ..27 parts. 

Pine resin . . .20 parts. 

Chalk 12 parts. 

Soot 16 parts. 

2. Shellac. 16 parts. 

Turpentine 12 parts. 

Resin 12 parts. 

Chalk 3 parts. 

Gypsum 2 parts. 

Vine black 7 parts. 

3. Shellac 48 parts. 

Turpentine 52 parts. 

Pine resin 46 parts. 

Chalk 1 28 parts. 

Soot 8 parts. 

Boneblack 8 parts.. 

Asphaltum , 8 parts. 

4. Shellac 2 parts. 

Yellow resin 3 parts.. 

Ivory black 2 parts. 

Powder fine and mix by melting carefully. 

Fine.— 

5. Shellac 60 parts. 

Venice turpentime 20 parts. 

Melt shellac carefully; add Venice turpen- 
tine; stir in 30 parts of finely powdered ivory- 
black. 

Common. — 

6. Resin 6 lb. 

Shellac 2 lb. 

Melt; add 2 lb. Venice turpentine, and lamp- 
black to color. 

7. Black Bottle Sealing Wax.— Take 6 parts 
of resin; 3 parts paraffin, melt together. Add 
283^ parts of lampblack. Another color can be 
produced by taking about 5 to 7 parts to 100» 
parts of the mass, of chrome yellow, ultra- 
marine, etc. 

Blue — 

1. Shellac 7 parts. 

Turpentine 6 parts. 

Pine resin 3}4 parts. 

Magnesia 1 part. 

Chalk 2 parts. 

(2 to 
— \^Y% parts. 



Blue coloring matter. 



2. Shellac 2 parts. 

Smalts 1 part. 

Yellow resin 2 parts. 

Powder and mix carefully with heat. 

Light Brown.— Take 7J^ oz. shellac and 4 oz. 
Venice turpentine, and color with 1 oz. brown 
ocher and ^ oz. cinnabar (red sulphuret of 
mercury or vermilion). 

Brown.— 

Shellac 4 parts. 

Turpentine 12 parts. 

Pine resin 8 parts. 

Gypsum 4 parts. 

Chalk ,. ... 4 parts. 

Umber 4 parts. 

The shellac for preparing ' chocolate brown 
sealing wax must not be too dark. The pro- 
duct of the above recipe is dark brown, and 
unbleached shellac and dark resin may be used 
for preparing it. 

Deed — 

1. Light colored rosin 12 parts. 

Turpentine 7 parts. 

Clarified tallow 6 parts. 

Whiting 8 parts. 

Minium . . . .... 6 parts. 






Alaxes. 



605 



Waxes. 



2. White wax.... 10 parts. 

Turpentine 3 parts. 

Cinnabar 2 parts. 

Glycerine 1 part. 

The ingredients are melted together and 
stirred while cooling off until they congeal. 

3. Colophony. 12 parts. 

Tallow 6 parts. 

Turpentine ..12 parts. 

Chalk ...16 parts. 

Minium .16 parts. 

Green.— ) 

1. Shellac 14 parts. 

Turpentine 16 parts. 

Pine resin 8 parts. 

Magnesia 3 parts. 

Berlin blue 5 parts. 

Chrome yellow 5 parts. 

2. Shellac 15 parts. 

Turpentine .12 parts. 

Pine resin 24 parts. 

Gypsum 4^ parts. 

Chalk 6 parts. 

Mountain blue 9 parts. 

Ocher 9 parts. 

Green ultramarine maybe used to advantage 
for the finer qualities, instead of a mixture of 
colors. 
Letter, Without a Light. — 

Colophony 3 parts. 

Resin 3 parts. 

Suet 3 parts. 

Venice turpentine 4 parts. 

Pulverized carbonate of lime 4 parts. 

Pulverized minium 4 parts. 

Melt the first 3 ingredients together, then add 
the others in succession, stirring constantly till 
cold. — Moniteur Quemeville. 

Parcel.— 

1. Shellac 7 parts. 

Rosin 13 parts. 

Turpentine 10 parts. 

Oil of turpentine 1 part.. 

Chalk 3 parts. 

Gypsum 2 parts. 

Cinnabar 5 parts. 

2. Shellac 6 parts. 

Rosin 24 parts. 

Turpentine.. 15 parts. 

Oil of turpentine Impart. 

Chalk 9 parts. 

Gypsum 16 parts. 

Minium 18 parts. 

3. Shellac 1H part. 

Resin 8^ parts. 

Turpentine 6 parts. 

Oil of turpentine J^part. 

Chalk 2 parts. 

Brickdust 1 part. 

Colcothar 5 parts. 

4. Colophony ...20 parts. 

Pine resin 10 parts. 

Turpentine 5 parts. 

Chalk IVz parts. 

Oil of turpentine y§ part. 

5. For brown, 10 parts umber or bole are 
added to No. 4. 

Reds.— Very fine reds are— 

1. Shellac 24 parts. 

Turpentine 16 parts. 

Cinnabar 18 parts. 

Oil of turpentine .4 parts. 

Magnesia , 6 parts. 

2. Shellac 10 parts. 

Turpentine ...6 parts. 

Oil of turpentine 1 part. 

Chalk 1 part. 

Magnesia 2 parts. 

Cinnnabar 8 parts. 



3. Shellac . .20 parts. 

Turpentine 2 parts. 

Oil of turpentine 1 part 

Chalk 3 parts. 

Gypsum. 3 parts. 

Magnesia % part. 

Cinnabar 12 parts. 

Common. — 

4. Resin 4 lb. 

Shellac 2 lb. 

Melt. Mix in 

Venice turpentine M lb. 

Red lead M lb. 

5. Fine.— Melt cautiously 4 oz. pale shellac in 
a copper vessel, at the lowest possible tempera- 
ture; add 1J4 oz. of Venice turpentine, pre- 
viously warmed, and stir in 3 oz. vermilion, 
pour into metallic moulds and allow it to 
cool. 

6. Shellac .« .50 parts. 

Venice turpentine 12*^ parts. 

Chinese vermilion 373^ parts. 

Medium Fine Reds. — 

1. Shellac 1 part. 

Turpentine 8 parts. 

Oil 01 turpentine ]4 part. 

Chalk 3 parts. 

Magnesia 1 part. 

Cinnabar 6 parts. 

2. Shellac 12 parts. 

Resin 8 parts. 

Oil of turpentine 3 parts. 

Turpentine 14 parts. 

Chalk 3 parts. 

Gypsum 3 parts. 

Cinnabar 9 parts. 

3. Shellac 4 parts. 

Resin 6 parts. 

Turpentine 6 parts. 

Oil of turpentine )4 part. 

Chalk 2 parts. 

Gypsum 1 part. 

Cinnabar 4 parts. 

Fine Red.— 

Shellac 55 parts. 

Turpentine 74 parts. 

Chalk or magnesia 30 parts. 

Gypsum or zinc white 20 parts. 

Cinnabar , , , , , . .13 parts. 

Ordinary Red. — 

1. Shellac 52 parts. 

Turpentine 60 parts. 

Pine resin 44 parts. 

Chalk 18 parts. 

Cinnabar 18 parts. 

2.Rosin 50 parts. 

Red lead 37J^ parts. 

Turpentine 12>£ parts. 

Gold Sealing Wax.— Melt cautiously 4 oz. pale 
shellac in a copper vessel, at the lowest possi- 
ble temperature ; add 1J4 oz. of Venice turpen- 
tine, previously warmed; and stir in 3 oz. mica 
spangles; pour into metallic moulds, and allow 
it to cool. 

Translucent. — A beautiful variety (a ven- 
turing which can be prepared at compara- 
tively low cost, is obtaiued by stirring finely 
powdered mica into the melted ground mass. 
Gold and silver waxes are obtained by mixing 
finely powdered leaf metal with the melted 
ground mass. Ground masses for translucent 
wax are : 

1. Bleached shellac 3 parts 

Viscid turpentine 3 parts. 

Mastic 6 parts. 

Chalk 2 parts. 

2. Bleached shellac 15 parts. 

Viscid turpentine 20 parts. 

Mastic 25 parts. 

Sulphate of baryta 15 parts. 

Or— 

Nitrate of bismuth 15 parts. 



Waxes. 



606 



Welding. 




3. Bleached shellac 3 parts. 

Viscid turpentine. 4 parts. 

Mastic 5 parts. 

Nitrate of bismuth ...3 parts. 

Cheap Sealing Wax. — The following- recipe 
furnishes a cheap sealing- wax, useful for many 
purposes. Melt together— 

1. Common beeswax 2 lb. 

Turpentine 6 oz. 

Olive oil 2 oz. 

Red lead ... . 6 oz. 

Boil a little, and stir until it is almost cold; 
then cast it into cold water, and make it up in- 
to rolls or cakes. 

2. Resin 4 lb. 

Shellac 2 lb. 

Venice turpentine 1J^ lb. 

Red lead . . 1J^ lb. 

Mix and melt. 

Colored Sealing Wax. — 

Pale shellac 4 oz. 

White resin 1*4 oz. 

Venice turpentine 2 oz. 

Add a finely powdered pigment of the re- 
quired color. 

Colorless Sealing Wax- 
Beeswax 11 parts. 

Turpentine 3 parts. 

Rhine oil 1 part. 

Shellac 5 parts. 

Mix with heat. 

Soft Sealing Wax for Diplomas. — 

Yellow wax 24 parts. 

Turpentine i}4 parts. 

Olive oil V/% parts. 

After these ingredients are melted, stir in 
cinnabar, or other coloring matter. 

Sealing Wax, to Dissolve.— Buy the best fine 
sealing wax, break up as small as possible, and 
put into a bottle containing methylated spirit; 
leave for a day or two to thoroughly dissolve, 
unless in a hurry, when the process may be 
hastened by keeping the bottle immersed in 
warm— but not boiling— water, or you will have 
an explosion. 

To Make Sheet Wax.— Dr. H. E. Beach, Clarks- 
ville, Teun., says : Take of pure clean wax any- 
where from 1 to 5 lb., put in a tin bucket or 
any deep vessel, with clear water sufficient to 
fill it within 2}4 in. of the top. Set on the stove 
till thoroughly melted, then set aside until par- 
tially cooled ; skim all the air bubbles off. Then 
fill a smooth, straight bottle with ice water, a 
bucket of which you should have by you. Soap 
the bettle and dip it deliberately in the solution 
two or more times, according to the thickness 
you desire your wax. After the last dip, as soon 
as the wax hardens to whiteness, cut a line 
through it and remove it from the bottle as 
quickly as possible. Spread to cool and 
straighten out smooth while warm. Continue 
this process until all the wax is made into 
sheets. 

Any office boy or girl can do the work, and 
make enough sheet wax in an hour — equal to 
any you can buy— to last a whole year. Par- 
affine, or paraffine and wax, may be made in the 
same way, and colored and perfumed to suit 
one's fancy. The water in the bottle should 
always be kept cold, in order to get the best 
results.— Archives of Dentistry. 

Shoemakers'' Wax.— This is made by melting 
together the best Swedish pitch and tallow in a 
vessel over the fire. The quantity of tallow 
must be determined by experiment. Roll into 
balls. The right kind of pitch is of a brown 
color when fractured. 

Waxing Soap Papers. — Ordinary waxed paper 
is prepared by placing cartridge or other paper 
on a hot iron, and rubbing it with beeswax, or 
by brushing in a solution of wax in turpentine. 
On a large scale, it is prepared by opening a 



quire of paper flat upon a table, and rapidly- 
ironing it with a very hot iron against which is 
held a piece of wax, which melting, runs down 
upon the paper and is absorbed by it. Any ex- 
cess on the topmost layer readily penetrates to 
the lower ones. 

Sugar Cane Wax.— Cerosin.— Obtained by rasp- 
ing the bark of the cane, and purifying by re- 
crystallization from boiling alcohol. Its com- 
position is said to be C 4 sH 96 2 . Melts at about 
82° C. 

Wax for Waxing Threads to be Woven.— 

Melted beeswax 2]4 -parts. 

Pulverized soap stone y^ part. 

Pulverized graphite 2 parts. 

Tree Wax.— Sixty parts finely powdered lime. 
20 parts of fine charcoal are mixed with q. s. of 
linseed oil. Apply with a brush. 

Wax Milk.— Boil 1 part yehow soap, 3 parts 
Japanese wax in 21 parts wa~er, until the soap 
dissolves. Used for polishing carved wood- 
work. 

Weeds, to Destroy.— 1. The best way, says 
a correspondent, to apply salt to paths, to 
destroy weeds, is as follows : Boil the salt in 
water, 1 lb. to 1 gal., and apply the mixture 
boiling hot with a watering pot that has a 
spreading rose; this will keep weeds and worms 
away for two or three years. Put 1 lb. to the 
square yd. the first year; afterward a weaker 
solution may be applied when required. 

2. The plants should be cut off close to the 
ground and a few drops of coal oil poured on 
to the crowns. They immediately commence 
to decay and are utterly destroyed. Trouble- 
some weeds on the lawn can thus be speedily 
disposed of, but others will likely take their 
place. 

W r eight, Measures of. See Appendix. 

Weights and Measures. See Appen- 
dix. 

Welding, Simple Directions for.— The 
great secret of welding is to have a clean fire,. 
then heat the iron and " strike while the iron 
is hot." Make the fire of blacksmiths' coal 
which has been caked (coke). If the work is 
small have only a little fire. As the weld re- 
quires considerable pounding, plenty of stock 
should be left by using generous laps. Be sure 
the laps fit well before welding. When the 
iron gets from a red go a white heat sand the 
iron without removing from the fire and watch 
the iron carefully. When it sparks freely and 
has a glazed appearance, remove from the fire, 
lay quickly, after a shake to remove the oxide, 
and pound the lap well until the iron becomes 
too cold to work. 

Welding, Composition for.— 1. To 20 parts of 
iron filings, add 10 parts of borax and 1)4 part 
sal ammoniac, and 1 part of balsam of copaiva 
or other resinous oil. Mix well, heated and 
pulverized. The surfaces to be united are 
powdered with this mixture ; after which 
place the article in the fire and let it come to 
a cherry red heat; when the composition 
melts, take the portions to be welded from the 
fire and join together. This composition is 
used in Germany with great success. 

2. Another composition for welding consists 
of thirty parts of borax, 4 parts of sal am- 
moniac, and 4 parts of cyanide of potash. Dis- 
solve in water, and then evaporate the water 
at a low temperature. 

Copper, Welding.— 1. (Rust.) Prepare a mix- 
ture of 358 parts soda phosphate, 124 parts bor- 
acic acid ; apply the powder when the metal is 
at a dull red heat ; it is then brought to a 
cherry red and at once hammered. As the 
metal is apt to soften when exposed to a high 
degree of heat,a wooden hammer is recommend- 
ed. Remove all carbonaceous matter from the 
surfaces to be joined, as the success of the 
operation depends on the formation of a fusible 
phosphate of copper. The phosphate of cop- 
per dissolves a thin film of oxide on the sur- 



Welding. 



607 



Welding. 



faces of the metal, keeping them clean, and in 
condition to weld. 

Weldableby Electricity.— Following- is a list 
of the different materials which have been suc- 
cessfully welded together by the Thompson 
process, which may be of interest, inasmuch as 
the term welding is ordinarily used with espe- 
cial reference to the joining of two pieces or' 
material of the same or closely allied composi- 
tion: 

Metals.— Wrought iron, cast iron, malleable 
iron, wrought copper, cast copper, lead, tin, 
zinc, antimony, cobalt, nickel, bismuth,; alum- 
inum, silver, platinum, gold (pure), manganese, 
magnesium. 

Alloys.— Stubs steel, cast brass, gun metal, 
chrome steel, Mushet steel, Crescent steel, Bes- 
semer steel, steel castings, brass composition, 
various grades of tool steel, various grades of 
mild steel, fuse metal, type metal, coin silver, 
solder metal, German silver, silicon bronze, 
aluminum brass, phosphor bronze, aluminum 
bronze, various grades of gold, aluminum al- 
loyed with iron. 

Combinations . — 

Copper to brass. 

Copper to wrought iron. 

Copper to German silver. 

Copper to gold. 

Copper to silver. 

Brass to wrought iron. 

Brass to cast iron. 

Tin to zinc. 

Tin to brass. 

Brass to German silver. 

Brass to tin. 

Brass to mild steel. 

Wrought iron to cast iron. 

Wrought iron to cast steel. 

Wrought iron to mild steel. 

Wrought iron to tool steel. 

Gold to German silver. 

Gold to silver. 

Gold to platinum. 

Silver to platinum. 

Wrought iron to Mushet steel. 

Wrought iron to Stubs steel. 

Wrought iron to Crescent steel. 

Wrought iron to cast brass. 

Wrought iron to German silver. 

Wrought iron to nickel. 

Tin to lead. 
It will be seen from the foregoing that ma- 
terials heretofore impossible to weld to pieces 
of similar composition have been welded, and 
not only this, but different combinations have 
been made, which are entirely impossible by 
ordinary methods. 

Fluxes, Welding.— 1. A welding material com- 
posed of 25 parts by weight of borax, a paper 
or metallic support, and 60 parts metallic filings 
of the same nature as tbe metals to be welded, 
and made by first melting the borax; second, im- 
mersing the support in the fused borax; third, 
smoothing the same by passing it through pres- 
sure rollers; fourth, sprinkling its two faces 
with the metal filings; fifth, heating the sheet 
in an oven; sixth, passing through pressure rol- 
lers. 

2. A welding material composed of borax and 
of metallic filings of the same nature as the 
metals to be welded, mixed with the fused 
borax, and in the proportions substantially as 
set forth, and then rolled out into sheets of 
about T V in. thick. 

3. The welding sheets coated with a layer of 
gum lac or other appropriate varnish . 

The following compound has been frequently 
offered as a trade secret : Take copperas, 2 oz.; 
saltpeter, 1 oz.; common salt, 6 oz.: black oxide 
of manganese, 1 oz.; prussiate of potash, 1 oz. 
Pulverize these ingredients and mix with them 
3 lb. nice welding sand. 

Iron and Steel together, Welding.— Nothing 
is better than borax and good management. 
Have the iron sparkling hot. *teel bright 



cherry. Make the weld at first blow. Long ex- 
perience necessary. 

Powder, Welding.— Belgian Welding Powder. 
— 1. Iron Clings, 800 parts; borax, 400 parts; bal- 
sam of copaiba or other resinous oil, 40 parts; 
sal ammoniac, 60 parts. Mix, heat, and pul- 
verize finely . Powder the surfaces to be welded, 
bring to a cherry red heat, at which the powder 
melts; take from the fire and join. 

2. Calcine and pulverize together 50 parts iron 
or steel filings, 5 parts sal ammoniac, 3 parts 
borax, 2}4 parts balsam copaiba. Heat one of 
the pieces to be welded red, carefully clean 
olf scale, spread the powder upon it; apply the 
other piece at a white heat, and weld with a 
hammer. Used for welding iron and steel, or 
both, together. 

Steel, Welding to Cast Iron.— Heat the steel to 
cherry red (after it is shaped to correspond to 
the surface of the cast iron to which it is to 
be joined). Apply borax to the surfaces to be 
welded. Heat the parts to a welding heat. 
Apply strong pressure, without hammering, 
which will securely weid the steel and iron. 

Steel Welding.— 1. An excellent composition 
for welding cast steel is prepared by boiling 
together 16 parts borax and 1 part sal ammoniac 
over a slow fire for 1 hour. When cold, grind 
it to powder. The steel must then be made as 
hot as it will conveniently bear, and the com- 
position used the same as sand. 

2. Take copperas, 2 oz.; saltpeter, 1 oz.; com- 
mon salt, 6 oz.; black oxide of manganese, 1 oz.; 
prussiate of potash, 1 oz.; pulverize and mix 
with welding sand, 3 lb. Use it in the same 
way as you would sand. 

3. Ten parts borax, 1 part sal ammoniac ; 
pulverize together thoroughly, with which 
sprinkle the parts to be welded. 

Welding Cast Steel. — 4. To make composition 
used in welding cast steel, take of borax 10 
parts; sal ammoniac, 1 part; grind or pound 
roughly together; then fuse in a metal pot 
over a clear fire, continuing the heat until all 
spume has disappeared from the surface. 
When the liquid appears clear, the composition 
is ready to be poured out to cool and concrete. 
To prepare it for use it is ground to a fine 
powder. The steel to be welded is raised to a 
bright yellow heat, and then dipped into this 
welding powder ; it is then placed in the fire 
again ; and when it attains the same heat as 
before, it is ready to be placed under the ham- 
mer. 

5. A mass of ingredients is sold for the pur- 
pose of welding cast steel, but the simplest and 
best method is, according to the Revue Indiis- 
trielle, the one employed by Fiala, of Prague, 
Bohemia. He uses pulverized white marble 
for the purpose. The two pieces to be welded 
together are heated, and, alter rolling in marble 
dust, are promptly joined together, and sub- 
jected to a good hammering. 

6. Welding Cast Steel Without Borax.— Cop- 
peras, 4 parts ; saltpeter, 2 parts ; prussiate of 
potash, 2 parts; black oxide of magnesia, 2 
parts; common salt, 12 parts; all pulverized. 
Mix with good welding sand 48 parts, and use 
precisely the same as you would sand. 

7. Composition for Welding Cast Steel.— 
Slightly color pulverized borax with dragon's 
blood. Heat the steel red hot, shake the borax 
over it. Place in the fire until the borax 
smokes, which will be much below ordinary 
welding heat; then hammer the steel. 

8. Composition Used in Welding Cast Steel.— 
Borax, 15 parts; sal ammoniac, ty* part; grind 
or pound together ; fuse, continuing the heat 
until all scum has disappeared from the sur- 
face. When the liquid is clear pour out to cool, 
then grind to a fine powder. Heat the steel to 
be welded to a bright yellow, dip in the weld- 
ing powder, place in the fire again, until it at- 
tains the same degree of heat as before. Then 
place under the hammer. 

9. Shear and double shear steel are easily weld- 
ed, and the latter will answer almost all the 



Whisky. 



608 



Whitewash. 



purposes of cast steel. Cast steel, however, is 
more difficult to weld, but it can be done by 
practice. Care must be taken not to heat too 
hot, or it will fall to pieces under the hammer. 
Use powdered borax as a flux. 

Whale Oil. See Oils. 
Whisky. See Liquors. 
White Alloys. See Alloys. 
White Metal. See Alloys. 
White Pigments. See Pigments. 

Whitewash.— 1. A good durable white- 
wash is made as follows: Take y ? bushel of 
freshly burnt lime, slake it with bofling water ; 
cover it during the process, to keep in the 
steam. Strain the liquid through a fine sieve, 
and add to it 7 lb. of salt previously well dis- 
solved in warm water; 3 lb. of ground rice 
boiled to a thin paste and stirred in boiling hot; 
Y % lb. of powdered Spanish whiting; l lb. of 
clean glue, which has been previously dissolved 
by soaking it well, and then hanging it over a 
slow fire in a small kettle, within a large one 
filled with water. Add 5 gal. of hot water to 
the mixture, stir it well, and let it stand a few 
days covered from dirt. It must be put on 
quite hot. For this purpose it can be kept in a 
kettle on a portable furnace. About 1 pt. of 
this mixture will cover a square yard. 

2. A Wash for Fences, etc.— White lime, ^ 
bushel ; hydraulic cement, 3 pecks ; umber and 
ocher, each 10 lb.; Venetian red, 1 lb.; lamp- 
black, J4 lb.; slake the lime, shake up the 
Jampblack with a little vinegar, mix well toge- 
ther, add the cement, and fill the barrel with 
water. Let it stand several hours; stir fre- 
quently. A larger proportion of ocher gives 
a darker color. Use only 1 coat. This is said 
to look well after five years' use. 

3. Whitewash that Will Not Rub Off.— Mix 
y% pt. flour with water; pour on boiling water 
enough to thicken it. Pour while hot, into a 
pailful of lime and water, which has been 
mixed ready to put on the wall. Stir all well 
together. 

4. Whitewash, U. S. Government.— The fol- 
lowing coating for rough brick walls is used 
by the U. S. government for painting light- 
houses, and it effectually prevents moisture 
from striking through : Take of fresh Rosen- 
dale cement, 3 parts, and of clean, fine sand, 
1 part; mix with fresh water thoroughly. 
This gives a gray or granite color, dark or light, 
according to the color of the cement. If brick 
color is desired, add enough Venetian red to 
the mixture to produce the color. If a very 
light color is desired, lime ntay be used with 
the cement and sand. Care must be taken to 
have all the ingredients well mixed together. 
In applying the Avash, the wall must be wet 
with clean fresh water; then follow immediate- 
ly with the cement wash. This prevents the 
bricks from absorbing the water from the wash 
too rapidly, and gives time for the cement to 
set. The wash must be well stirred during the 
application. The mixture is to be made as 
thick as can be applied conveniently with a 
whitewash brush It is admirably suited for 
brickwork, fences, etc., but it cannot be used 
to advantage over paint or whitewash. 

5. Whitewash, Incombustible. — Slake stone lime 
in a large tub or barrel with boiling water, 
covering the tub or barrel, to keep in all the 
steam. When thus slaked, pass 6 qt. of it 
through a fine sieve. It will then be in a 
state of fine flour. Now, to 6 qt. of this lime, 
add 1 qt. of rock or Turk's Island salt and 
1 gal. of water; then boil the mixture and skim 
it clean. To every 5 gal. of this skimmed mix- 
ture add 1 lb. of alum, 14 lb. of copperas; by 
slow degrees, add % lb. of potash and 4qt. of 
fine sand or hickory ashes, sifted. We suppose 
any kind of good hard wood ashes will answer 
as well as hickory. This mixture Avill now 
admit of any coloring matter you please, and 
may be applied with a brush. It looks better 



than paint, and is as durable as slate. It will 
stop small leaks in the roof, prevent the moss 
from growing over and rotting the wood, and 
render it incombustible from sparks falling 
upon it. When laid upon brick work, it ren- 
ders the brick impervious to rain or wet. 

6. Well wash the ceiling by wetting it twice 
with water, laying on as much as can well be 
floated on, then rub the old color up with a 
stumpy brush and wipe off with a large sponge. 
When this is done, stop all the cracks with 
whiting and plaster of Paris. When dry, clair- 
cole with size and a little of the whitewash. If 
very much stained, when this is dry, paint 
those parts with turps, color, and, if necessary, 
claircole again. To make the whitewash, take 
1 dozen lb. of whiting (in large balls), break 
them up in a pail, and cover with water to 
soak. During this time melt over a slow fire 
4 lb. common size, and at the same time, with a 
palette knife or small trowel, rub up fine about 
a dessertspoonful of blue black with water to 
a fine paste ; then pour the water off the top of 
the whiting, and with a stick stir in the black ; 
when well mixed, stir in the melted size and 
strain. When cold it is fit for use. If the jelly 
is too stiff for use, beat it well up and add a 
little cold water. Commence whitewashing 
over the window, and so work from the light ; 
lay off the work into that done, and not all in 
one direction, as in painting. Distemper col- 
or of any tint may be made by using any 
other color instead of the blue black— as ocher, 
chrome, Dutch pink, raw sienna for yellows and 
buff; Venetian red, burnt sienna, Indian red, 
or purple brown for reds ; celestial blue, ultra- 
marine, indigo for blues; red and blue for 
purple, gray, or lavender ; red lead and chrome 
for orange ; Brunswick green for greens. 

7. Whitewash for Outdoor Use. — Quick- 
lime, Mbu.; slake, add J^ lb. common salt;J4 
lb. sulphate of zinc (white vitriol) ; 2 qt. sweet 
milk. Dissolve the salt and white vitriol be- 
fore adding. Mix, with sufficient water to give 
the proper consistency. Apply as soon as pos- 
sible. 

8. Whitewash for Fenees or Outbuildings.— 
Slack the lime in boiling water. To 1J^ gal. 
ordinary whitewash add y% pt. molasses and ^ 
pt. table salt. Stir frequently while applying. 
Two thin coats are sufficient. 

To Keep Whitewash.— Keep the lime covered 
with water in a covered tub. It the water 
evaporates, the lime is useless, but if kept cov- 
ered it will be good for a long time. 

To Color and Prevent Whitewash from Rub- 
ing Off.— Give the desired color by adding small 
quantities of lampblack, brown sienna, ocher, 
or other coloring material. Add alum to lime 
whitewash to prevent rubbing off. 

Whitewash for Outdoor Use. — Put into a 
water tight barrel J4 bushel lime. Slake by 
pouring boiling water over it, enough to cover 5 
inch deep, stirring until thoroughly slaked. 
When it is slaked add 1 lb. sulphate of zinc 
and y% lb. common salt, dissolved in water. 

The above wash may be made cream color by 
adding V/^ lb. yellow ocher. 

Wlnteivash for Damp Walls.— For brickwork 
exposed to damp, take half a peck of well 
burned quicklime, fi*esh from the kiln, slake 
with hot water sufficient to reduce it to a 
paste, and pass it through a fine sieve; add a 
gallon of clean white salt which has been dis- 
solved, in a small quantity of boiling water, 
and a thin, smooth paste, also hot, made from 
1 lb. of fine rice flour; also J4 of a lb. of the 
best white glue, made in the water bath. Mix 
together, stir well, add *4 of a lb. of best 
Spanish whiting in 5 qt. of boiling water; stir, 
cover to retain heat and exclude dust, and let it 
stand a week. Heat to boiling, stir, and apply 
hot. The above proportions will cover forty 
square yards. — Scientific American. > ', 

Zinc Whitewash.— Common size mixed with 
oxide of zinc ; apply to the ceiling with a brush. 
Then apply a wash of chloride of zinc. This 



Whiting. 



609 



Wines. 



will combine with the oxide, and form a 
smooth cement, with a glossy surface. 

Whitewash, a Waterproof.— Kesenschek, of 
Munich, mixes together the powder from 3 
parts of silicious rock (quartz), 3 parts broken 
marble and sandstone, also 2 parts of burned 
porcelain clay, with 2 parts of freshly slaked 
lime, still warm. In this way a wash is made 
which forms a silicate if often wetted, and be- 
comes, after a time, almost like stone. The 
four constituents, mixed together, give the 
ground color, to which any pigment that can 
be used with lime is added. It is applied quite 
thickly to the wall or other surface, let dry one 
day, and the next day frequently covered with 
water, which makes it waterproof. This wash 
can be cleansed with water without losing any 
of its color; on the contrary, each time it gets 
harder, so that it can even be brushed, while 
its porosity makes it look soft. The wash, or 
calcimine, can be used for ordinary purposes, 
as well as for the finest painting. A so-called 
fresco surface can be prepared with it in the 
dry way. 

Whiting. —Whiting is made from chalk 
ground with water; only the finer and lighter 
particles are taken. It is sometimos called 
whitening. 

Whiting, to Make into a Polishing Cake.— Use 
plaster of Paris or dental plaster. Mix with 
water. Apply with a rag. 

Whiting Balls.— Whiting can be pressed into 
balls after moistening it with thin gum water. 

Wicks*. Lamp, Incombustible. See 
Fireproofing. 

"Windows.— To keep frost, etc., off plate 
glass windows keep the inside air dry, or inner 
sash tight, so that the air in window inclosure 
will be cold, and ventilated from the outside. 
A partial remedy is to have ventilating open- 
ings in the top of the window casing. 

Windows, to Clean. See Cleansing. 

Windows, Frosty.— A thin coat of pure 
glycerine applied to both sides of the glass will 
prevent any moisture forming thereon, and 
will stay until it collects so much dust that it 
cannot be seen through. Surveyors can use it 
to advantage on their instruments in foggy 
weather. In fact, it can be used anywhere to 
prevent moisture from forming on anything, 
and locomotive engineers will find it particu- 
larly useful in preventing the accumulation of 
steam as well as frost on their windows during 
the cold weather. 

Wines and Wine Making. 

Wine Making. —The grapes are not removed 
from the vine until they are quite ripe. As 
the maturation not only of different varieties, 
but of the same kind, is dependent upon the 
season, no stated period can be fixed for the 
commencement of the vintage. The grapes are 
ready to be gathered when the white kind be- 
comes of a brownish yellow color, and the red 
or blue, very dark purple or nearly black. 
Shears, pruning knives, or scissors, are used 
for the removal of the fruit from the vine. 

Tjj making the finer wines, previous to being 
pressed, the bunches are carefully examined, 
and any unripe or damaged grapes are picked 
off and used to make inferior wine, or in the 
gathering the unripe specimens are left on the 
branch to ripen. The blue and dark varieties, 
when intended for the best wines, are, with few 
exceptions, removed from the stalks before 
being pressed; the white grapes are pressed 
with the stalkSo 

Except with those grapes which produce 
wines that are likely to become viscous or ropy, 
the stalks are not left for any length of time 
in contact with the grape juice or must. There 
are various modes of separating the grapes 
from the stalks. One method consists in the 
employment of a wooden fork or trident, M> yd. 
or more in length; by turning this round in a 
wooden pail filled with the fruit, the grapes 



become detached from the stalks, which arc 
thus brought to the surface and removed. 

In an other contrivance the separation is ef- 
fected by inclosing the bunches in cages made 
of parallel wires. Inside the cage there is a 
stirrer; when this is turned by an external 
handle, the grapes alone drop through the 
wires, leaving the stalks in the cage. Some- 
times the separation is accomplished by means 
of hurdles, which are so manipulated that the 
fruit only shall pass through the meshes. 

Previous to their being pressed, the grapes 
have to undergo the preliminary process of 
bruising or crushing. This is sometimes done 
by their being trodden under the naked feet of 
men, on a large wooden stage or platform; at 
other times the men wear heavy boots, while 
in some cases the grapes are placed in a vat 
and bruised with a kind of wooden pestle. 
Sometimes they are crushed between wooden 
grooved rollers. Of all these processes, the first, 
although the least cleanly, possesses the advan- 
tage of not crushing the pips or stalks, and is 
thus free from the risk of imparting an un- 
pleasant flavor to the wine. 

There is considerable divergence in the state- 
ments of different writers as to the yield of 
must or juice from ripe grapes. Payen says it 
amounts to from 94 to 96$ of the total weight 
of the grape. Dupre and Thudichum obtained 
from three samples of grapes respectively 78'75#,. 
76'75^, and T2"2b%. Wagner averages it from 
about 60 or 70$. 

When a white wine is required, the bruised 
grape, whether of the white or red variety, is 
at once pressed, except when, as happens with 
some kinds of fruit, it is kept to allow of the 
development of the bouquet. The mode of pro- 
cedure is different when a red wine is to be pre- 
pared. The crushed grapes must then be kept 
in a tub or vat, loosely covered over, until an 
examination of a small quantity of the juice 
shows it has acquired the necessary color. For 
it to do this sometimes takes from three or four 
days to a month. 

During this period, alcohol has been formed 
in the pulp, and this, with the tartaric acid of 
the fruit, has dissolved out the coloring princi- 
ple of the grape. Great care is necessary at this 
stage to prevent the too long exposure of the 
crushed and fermenting fruit to the air. 

Wine presses are of various patterns. 

In many wine making establishments, iron 
presses have supplanted wooden ones, over 
which they possess the advantages of greater 
cleanliness and non absorption of the must. 
The wine press in general use in the Gh'onde 
consists of a tail, round basket, made of perpen- 
dicular laths. The fruit is placed in this basket, 
and upon the fruit a wooden block, to which a 
screw is attached ; a nut works upon the screw 
from above downward, and presses the wooden 
block upon the fruit, the liquid from which is 
forced out through the laths and collected. 

In the manufacture of champagne and some 
red wines, very powerful presses are employed ; 
but these possess the objection of pressing the 
fixed oil from the pips and an unpleasantly 
tasting juice from the stalks, and thereby dam- 
aging the product. In some establishments, 
centrifugal machines have been used, not only 
with the result of yielding a better wine, but 
of effecting a considerable gain in time and 
labor. 

The must, being received into proper recep- 
tacles, next undergoes the vinuos fermentation. 
In the case of white wines the must is kept 
separate from that subsequently procured 
by submitting the husks, pips, and stalks to ad- 
ditional pressure, and is sold as the first or su- 
perior wine. 

But with red wines the husks (and in some 
cases the marc) are thrown into the fermenting 
vat, by which means the wine acquires an ad- 
ditional amount of coloring matter. In this 
case, when the completed wine is drawn off, the 
husks are again pressed, and the wine so ob- 



Wines. 



610 



Wines, 



tained added to the first instalment. As the 
tannic acid is derived from the skins and seeds 
of the grape, wines prepared in this manner 
usually contain a considerable amount of this 
substance. 

The fermentation is conducted in different 
countries at different temperatures, and, of 
course, with different results. When must is 
fermented at 15° to 20° Cent. (59° to 68° Fah.) it 
yields a wine strong in alcohol, but wanting- in 
bouquet ; while if the fermentation be carried 
on at 5° to 15° Cent. (41° to 59° Fah.) the pro- 
duct will be a wine rich in bouquet, but poor in 
alcohol. 

The wines of Spain, the south of France, Aus- 
tria and Hungary, are produced at the higher 
temperature, and those of Germany, for the 
most part at the lower one. The fermentation 
is carried on in large wooden vats. In some 
places vats of sandstone or brick are used for 
this purpose. The fermentation of white wines, 
such as those of the Rhine and Gironde, is ef- 
fected in new and perfectly clean casks or 
hogsheads, the bungholes of which are left open 
to allow the escape of the carbonic acid. Opin- 
ions differ as to whether air should be admitted 
or not during fermentation. The process is 
undoubtedly quickened if the must be aerated. 
The aeration is sometimes performed by a bel- 
lows fitted with a rose nozzle. During the 
operation of blowing in, the must is to be kept 
at a low temperature, to prevent the volatili- 
zation of the bouquet. When the opposite 
method is followed, various devices are in use 
for excluding the air, or at any rate an excess 
of it. In some cases the vat, being provided 
with a suitable lid, has a hole, or is arranged 
with a tube, for the escape of the carbonic 
acid. Koles and Bamberger accomplish the 
same end, without letting in the external 
air, by means of a glass tube bent twice at 
right angles; one limb of the tube passes 
through the bunghole into the wine and the 
other or outer limb into a vessel of water. In 
another contrivance the lid of the vat is fitted 
with a valve, which, opening only outward, al- 
lows of the exit of the carbonic acid. 

Red wines are fermented in large and, in 
most cases, open vats, fitted in the inside with 
perforated shelves, which, being below the sur- 
face of the liquid, prevent the husks rising to 
the top, and setting up acetous fermentation. 
After the completion of the fermentation Of 
Burgundy wines, in some places it is the filthy 
custom for men to enter the vat, and by their 
vigorous movements to mix the contents. 

It is satisfactory to learn that this particu- 
larly objectionable practice is getting some- 
what into disuse. 

The length of time necessary for the comple- 
tion of the fermentation varies with the local- 
ity, the temperature of the apartment, and 
with the quality of the wine required. In 
France, for the ordinary descriptions of wine, 
it generally takes from three days to a week, 
and in Germany from one to two weeks; 
with the finer kinds of wine it occupies four, 
five or six weeks. The progress of the fer- 
mentation may be estimated from the specific 
gravity of the liquid, since as the fermentation 
proceeds, and the sugar is undergoing conver- 
sion into alcohol, the wine, of course, becomes 
more attenuated and its specific gravity di- 
minishes. It has been calculated that half per 
cent, of the alcohol present in the wine escapes 
during fermentation, as well as a considerable 
quantity of carbonic acid. An apparatus has 
been invented for collecting these products, by 
causing them to pass into water by means of a 
hydraulic bung. 

When the fermentation is over the wine is 
run into casks, any sediment, such as lees or 
yeast, being left behind in the fermenting ves- 
sel. It is most important that the casks used 
for this purpose should be absolutely clean. 
Before a cask is used a second time it should 
be thoroughly sulphured. 



Those wines which contain a large amount of 
alcohol are sometimes allowed to remain in the 
fermenting vat until they have cleared; but 
weak wines are immediately drawn off into 
the cask, to prevent the setting in of the acetous 
fermentation. The casks must be filled to the 
bungholes. A second or minor fermentation 
takes place in the wine when in the cask, dur- 
ing which tartar or bitartrate of potash is de- 
posited on the sides of the cask, and yeast at 
the bottom. This second fermentation should 
be allowed to go on at a low temperature, 5° to 
10° C. (41° to 50° F.), and at a slow rate. In 
some cases it is made to extend to three or 
six months. 

When the second fermentation is over, the 
casks are filled to the bunghole and securely 
closed, or the wine is at once drawn into fresh 
casks to be stored. In these it remains closely 
bunged up until more tartar is deposited, after 
which it may be racked off into bottles or 
casks. When wine is to be stored for any 
length of time it is necessary to repeat the 
racking off frequently. Racking is performed 
by means of a siphon inserted in the bunghole, 
or by a cock suitably fixed in the cask. If the 
racked wine is not perfectly clear, it is fined by 
the addition of isinglass, previously softened by 
soaking in a small quantity of wine. After the 
addition of the isinglass, the cask is then filled 
to the bunghole, closed, and remains undis- 
turbed for about six weeks, and if, at the end 
of that time, it is not perfectly bright, it is 
made to undergo a second racking. In wine 
making countries, blood and solution of glue 
are sometimes used for fining red wines which 
contain much tannin. Milk is also occasionally 
employed for the same purpose. The racking 
should be performed in cool weather, and pre- 
ferably in the early spring. 

The manufacture of champagne differs in its 
details from that of the so-called still wine. 
The best wine is made from a black grape of 
very fine quality, known as the Noirien, or 
Pineau, and grown in the champagne district. 
None but the best selected grapes are used ; all 
those that are rotten, unripe, or in any way un- 
sound, being rejected. The grapes are gath- 
ered when they have attained their greatest 
size. The vintage commences early in October. 
To prevent the juice being colored by the skin 
of the grape, the fruit is submitted to pressure 
as quickly as possible after being gathered. 
Very powerful machines are employed for this 
purpose, since the champagne grape, unlike 
other varieties, is not previously crushed. 
Great care is taken to apply the pressure evenly 
and to conduct the operation with all expedi- 
' tion, for if this exceeds two hours the must will 
be colored. The grapes are sometimes pressed 
four times. In good seasons the must obtained 
from the different pressings is mixed together. 
In middling ones the first yield is kept for 
making the best wines, nor is the fourth mixed 
with the other two. The light colored must is 
first conveyed into a large vat, where it re- 
mains for six, twelve, or eighteen hours, ac- 
cording to the temperature. 

At the end of this time certain vegetable 
matters that would damage the taste of the en- 
suing wine, as well as render it liable to a 
second fermentation, become deposited. Di- 
rectly the must has cleared it is run into small 
barrels of 2,000 liters capacity, in which it un- 
dergoes fermentation. Sometimes the clearing 
of the juice is accomplished by filtration; at 
others, when the weather is warm and fermen- 
tation sets in so rapidly as not to allow the im- 
purities to subside, it is run into casks filled 
with the fumes from burning sulphur ; by this 
means the excessive fermentative action is ar- 
rested, and sufficient time is given for the dregs 
to settle. The juice having been made clear by 
either of the above methods, is drawn into bar- 
rels, which are arranged in rows in the cellars. 
The barrels are filled to the bung, the froth 
which is formed during the fermentation flow- 



Wines. 



611 



Wines. 



ing out at the bungholes. In some wine making 
establishments, the barrels are tightly bunged 
up, there being previously added to the con- 
tents 1% of brandy. The casks are opened at 
the end of December, and the wine fined by 
means of isinglass; this operation being con- 
ducted at the lowest possible temperature. If, 
at the end of a fortnight, it has not become 
bright, it is left for another fortnight, and 
then, if not clear, it undergoes a second fining-. 
The fining process must be used with caution ; 
when overdone it diminishes, and frequently 
stops the activity of the subsequent fermenta- 
tion. To obviate this, the wine should] be judi- 
ciously exposed to the air, and a minute quan- 
tity of yeast added to each hogshead before it 
is bottled. 

When the wine has cleared, before being bot- 
tled, cane sugar is added to it, since the quan- 
tity of undecomposed natural sugar in the wine 
is not sufficient to furnish the requisite amount 
of carbonic acid gas, the ingredient to which 
champagne owes its effervescent properties. 

Champagne bottles constitute a very consid- 
erable item in the trade expenses of the wine 
maker. He pays the glass manufacturer 28 
francs a hundred for them ; and some wine 
makers give orders for as many as from 50,000 
to 250,000 at a time. 

The bottles as they arrive are examined by 
an experienced person, and those which con- 
tain flaws of any kind, or are not perfectly new, 
symmetrical, and strong are rejected. These 
average about 10$. The bottles are required 
to be as nearly as possible of uniform weight 
and thickness. The inside of each bottle is 
scrubbed by means of a revolving hair brush 
and clean water. After being drained, the bot- 
tles are rinsed with 90% alcohol and closed 
with an old but clean cork. They are thus 
ready, when required, for filling 1 . The wine 
maker also expends a large amount of money 
in the purchase of corks, which must be of the 
best and soundest description. It has been 
found to be very false economy to use inferior 
kinds. The wine being drawn into bottles to a 
height of 2 or 3 inches from the top of the 
neck, the bottles have next to be corked, the 
cork being secured in the bottle by a small iron 
band, called an agrafe. All these operations 
have to be performed deftly and rapidly by ex- 
perienced workmen. With what speed they are 
accomplished may be imagined from the fact 
that an atelier of five workmen, who divide 
the labor, will bottle and cork from twelve to 
fifteen hundred bottles daily, two bottles pass- 
ing through all hands in one minute. The cork- 
ing, etc., finished, the bottles are next placed 
on their sides, and stacked in cellars or caves, 
each stack being supported by thin laths. 

As the summer approaches, the wine begins 
to show signs of fermentation, which increases 
with the hot weather. When the fermentation 
reaches such a stage as to cause the wine to oc- 
cupy the previously unfilled space in the neck 
of the bottle, a large number of bottles begin 
to burst, as well as to leak ; and in some years 
as much as 30$ of the wine is lost from these 
causes, Two courses, each of which requires to 
be promptly adopted, are open to the wine 
maker under these circumstances. Either he 
must remove the wine to a cooler cellar, or un- 
cork the bottles. Sometimes, if the breakage, 
or casse, as it is termed, has not exceeded 1% or 
8% by the time August is reached, he takes the 
chance of further loss, and lets the wine re- 
main, for with the fall in temperature, which 
usually occurs in September and October, the 
energetic action of the wine ceases, and the 
breakage also. 

The leaky and broken bottles are then re- 
moved from the sound ones, which are re- 
stacked and left until a yeasty substance has 
discontinued depositing upon their lower sides. 
The bottles are kept in this condition until re- 
quired for sale. Before, however, they are in 



a fit state for the purchaser, the yeasty matter 
has to be removed, and the wine to be liqueured. 
The yeast is got rid of as follows: The bottles 
are placed necks downward, on perforated 
shelves arranged in rows. A workman then 
seizes a bottle, and holding it in the inverted 
position, by a dexterous movement discharges 
the yeast from the side and brings it down upon 
the cork. This operation, which extends over 
some weeks, has to be repeated from time to 
time, until the supernatant wine is quite clear. 
The bottles are then very cautiously removed 
from the cellars to the corking and tying down 
rooms, when they come into the hands of a 
workman called a disgorger. The disgorger, 
holding the bottle still neck downward, pro- 
ceeds to liberate the cork, by slipping off the 
agrafe, and when the cork is three parts out he 
quickly inverts the bottle. The cork is then 
forcibly ejected with a loud report by the 
froth, which carries with it the greater part of 
the yeast and other solid matters, what remains 
of these being got rid of by the workman work- 
ing his finger round the neck of the bottle, 
whereby they are detached, and forced out by 
the still rising froth. The workman then 
places his thumb over the mouth of the bot- 
tle, which is afterward temporarily closed with 
an old cork. 

The liqueur, which is next to be added, is of 
very varied composition, as almost every cham- 
pagne maker has his favorite and special pre- 
paration. 

The best liqueurs are made of some choice 
wine, mixed with the purest cane sugar. The 
inferior kinds consist of a mixture of 90% 
alcohol, sugar and some flavoring material. A 
certain measured quantity of the liqueur is 
added to each bottle of wine. The bottle is then 
corked, wired, tied down and washed, and the 
cork covered with tin foil and labeled. It is 
then ready for sale and export. It sometimes 
happens that after the previous round of oper- 
ations has been gone through, the champagne 
becomes turbid, and a minor second fermenta- 
tion sets in. In this case, it is made to undergo 
a repetition of the processes already described. 
It is a desideratum with every champagne 
maker that when the bottle is opened for its 
contents to be drunk, the removal of the cork 
should be accompanied with a full, deep, and 
distinct report. When, instead of this, the 
report is short and sharp, and resembles a pop- 
ping noise, this is owing to the space between 
the liquid and the cork, filled with the gas, be- 
ing too small. When the gas escapes with a 
hissing noise, it is because the cork fits the neck 
of the bottle unequally, or has not been driven 
in in a perfectly straight direction. The good 
name of any maker would be seriously dam- 
aged were he to send out champagne liable to 
comport itself in this manner. He therefore 
spares no expense in providing himself with 
the very best and soundest corks. The best 
way to prevent the escape of the gas from the 
bottle is always to keep the bottles lying on 
their sides. 

All effervescing wines are manufactured in a 
similar manner to champagne. 

Since the alcohol in the wine is derived from 
the sugar contained in the must, it would seem 
that the sweetest and ripest grapes should yield 
the strongest product. When the decomposi- 
tion of the sugar has been complete, this will 
be the result; but it frequently nappens that, 
owing to an insufficiency in the must of the 
protein compounds which nourish the yeast 
cells (the torula cerevisiaz), by the agency of 
which the fermentation is accomplished, the 
whole of the sugar is not converted into 
alcohol, in which case a sweet wine will be pro- 
duced; or the sweetness may be due to the al- 
cohol formed stopping the fermentation before 
all the sugar had been decomposed, or to an ex- 
cess of glycerin. If on the other hand, the 
grape iuice is rich in albuminous matter, but 
poor in sugar, the consequent wine will be what 



Wines. 



612 



Wines. 



Table Showing the Quantity of Alcohol in Wine. 



Names, etc. 



f Weakest , 

-r, n „+ J Mean of 7 samples 

^ ort 1 Strongest 

. White 

' Weakest 

Mean of 13 wines, excluding those very long ) 
kept in cask ) 

Sherry -J Strongest 

[Mean of 9 wines long kept in cask in the) 

I East Indies j 

I Madre da Xeres 

Mo/ , OT .; J Long kept in cask in the East | Strongest 

Maaena -j Indies [Weakest 

Teneriffe (long in cask at Calcutta) 

Cercial . . . 

Lisbon (dry) 

Shiraz 

Amontillado 

Claret (a first growth of 1811) „ 

Chateau-Latour (a first growth of 1825) 

Rosan (second growth of 1825) 

Ordinary Claret (Vin Ordinaire) 

Rivesaltes 

Malmsley 

Riidesheimer, first quality 

Riidesheimer, inferior 

Hambacher, superior quality 



Alcohol of 
0*7937 per 
cent, by 
weight. 


Proof spirit 

per cent. 

by volume. 


14-97 


31-31 


16-20 


34*91 


17-10 


37-27 


14 97 


31-31 


13-98 


30-84 


15-37 


33-59 


16.17 


35-12 


14-72 


31-30 


16-90 


37-06 


16-90 


37-06 


14-09 


30-86 


13-84 


30-21 


15-45 


33-65 


16-14 


34-71 


12-95 


28-30 


12-63 


27-60 


7-72 


16-95 


7-78 


17 06 


7-61 


16-74 


8-99 


18-96 


9-31 


22-35 


12-86 


28-17 


8-40 


18-44 


6-90 


15-19 


7.35 


16-15 



is termed a dry one. Such are the red wines of 
France and the Rhine. 

According to Wagner, red French wines con- 
tain 9 to 14* by volume of alcohol. Burgundy, 
9, 10, and 11*. Bordeaux, 10, 11, and 12*. Other 
French wines contain 8 to 10*; the wines of the 
Palatinate, 7 to 9'5*; Hungarian wines, 9 to 11*. 
Champagne contains 9 to 12*; Xeres, 17*; Ma- 
deira, 17 to 23*7* 

In addition to ethylic alcohol and water, 
which, as shown in the previous table, vary 
largely in the proportions in which they are 
present in different kinds of wine, most wines 
contain the following substances: Propylic, 
butylic, caprylic and caproic alcohols; acetic and 
cenanthic ether; grape sugar(dextrose and lev- 
ulose); glycerin; gums; pectin; coloring and 
fatty substances; protein bodies; carbonic acid, 
ordinary and levo-tartaric and racemic acids; 
citric acid; malic acid; tannic acid; acetic acid; 
lactiG- acid; succinic acid; organic and inorganic 
salts. 

Of these, the propylic and butylic, caprylic, 
and caproic alcohols, the ethers, the glycerin, 
the carbonic, acetic, lactic, and succinic acids 
are produced during fermentation, the remain- 
ing substances being original constituents of 
the grape juice, which also contains bi tartrate 
of potash; but this being insoluble in weak 
spirit, is thrown down or deposited as the con- 
version of sugar into alcohol proceeds. In its 
crude condition, it is known as argol, and is 
the source of cream of tartar and tartaric 
acid. As a result of its formation in the grape 
a considerable amount of free acid is removed 
from the fruit. This is why wine made from 
grapes is so much superior, and keeps so much 
better than that manufactured from fruits 
that abound instead in citric and malic acids. 
These latter require the addition of large quan- 
tities of sugar to disguise their acidity, a pro- 
ceeding which frequently gives rise in them to 
a second fermentation, and often to the conse- 
quent formation of acetic apid. The acetic 
ether in wine is produced by the mutual reac- 
tion of acetic acid and ethyUc alcohol. Neu- 
bauer, dissenting from Dupre and Thudichum, 
says the cenanthic ether is the constituent to 
which wines owe their bouquet. He regards 



—Dr. Christison. 

this ether as a combination of various sub- 
stances of which caprylic and caproic acid 
ethers are the most important. Their forma- 
tion is believed to take place partly during and 
partly after fermentation. The rest of the 
non-volatile constituents, such as the sugar, 
the gum, the protein bodies, coloring matter, 
inorganic salts, etc., which remain behind when, 
a wine is evaporated to dryness, constitute, 
with a certain quantity of substance the com- 
position of which has not been denned, the 
extractive matter. 

The amount of extractive matter in wines 
varies as greatly as from 1* to 20*. This differ- 
ence occurs even in wines of a similar char- 
acter, and from the same district. Thus in 
Rhine wines it ranges from 10*6* to 4'2*, in the 
Palatinate wines, from 10'7* to 1'9*, in Bo- 
hemian wines, the mean is 2*26*, in the wines of 
Austria, 2*64*, and in those of Hungary, 2*62*. 
It is highest in sweet wines. In many adul- 
terated wines, as the extractive matter is either 
very small or sometimes altogether absent, it 
has been proposed to employ the estimation of 
its amount in a wine as a test of its genuine- 
ness or the reverse. 

Light wines owe their color, varying from 
pale yellow to brown, possibly to oxidized ex- 
tractive matter, or to the cask. The color of 
red wine is due to the action of its free tartaric 
acid on a blue substance residing in the skin of 
the grape. This body, which is known to wine 
makers as wine blue, and which bears a 
great resemblance to litmus, in turning red 
when acted upon by acids, was named cenocyan 
or osnocyamin, by Mulder or Maumene. It is 
insoluble in water, alcohol, ether, olive oil, and 
oil of turpentine, but is dissolved by alcohol 
containing small quantities of tartaric or 
acetic acid. Glycerin was found to be a nor- 
mal constituent of wine by Pasteur in 1859. 
As the wine matures, the glycerin disappears. 
In Austrian wines, Pohl found 2 - 6* of glycerin. 
In some wines it reaches 3*, but in most it sel- 
dom exceeds 1*. In old wines it exists only in 
very small quantity. Faure states that another 
normal constituent of wine is a gum, to which 
is given the name cenanthin. 

The ash of wine, as might be expected, con- 



Wines. 



613 



Wines. 



tains the same fixed constituents as that of the 
grape juice, and in both the potash and phos- 
phoric acid largely predominate. 

As the excellence and character of a wine 
depend, in addition to its peculiar bouquet, 
upon the relative proportions of alcohol, free 
acid, and water, and as these are approximately 
constant in all wines of good quality, it is 
essential that the grape juice should not only 
contain such an amount of sugar as when fer- 
mented will yield the requisite quantity of 
alcohol (but since the goodness of the wine is 
inversely as its content of free acid), that the 
latter should not exceed a certain limit. The 
taste of a wine, however, is frequently a falla- 
cious test as to the quantity of free acid in it. 
Of two wines, one containing more free acid 
than the other, the latter may be less sour to 
the palate, provided it contains a larger propor- 
tion of sugar, glycerin, or alcohol than the 
former. 

Apart from the consideration, whether the 
acid of the grape eventually becomes trans- 
formed into sugar or not, the fact remains 
that in sunless and wet years, when the fruit 
has not sufficiently ripened, there is a defi- 
ciency of sugar, and an access of acid. Frese- 
nius states that the proportions are in — 

Grapes grown in a very inferior year as 1 part 
of acid to 12 parts of sugar. Grapes grown in 
a better year as 1 part of acid to 16 parts of 
sugar. Grapes grown in a good year as 1 part 
of acid to 24 parts of sugar. 

According to the same authority, when the 
proportion reaches 1 part of acid to 10 parts of 
sugar the grape is unsuited for making wine. 

To get over the difficulty of dealing with a 
must that contains too low a proportion of 
sugar and too high a one of acid, two methods 
are adopted by the wine maker. The first, 
which was proposed by Chaptal, in an essay on 
the cultivation of the grape, published so long 
ago as 1800, consists in adding raw sugar to the 
must, in quantity sufficient to yield the amount 
of alcohol in which the wine would be other- 
wise deficient. Chaptal calculated that 2 parts 
of sugar would give 1 part of alcohol. If, there- 
fore, the grape juice should be found upon 
analysis capable of producing a wine with only 
8% of aldohol, instead of its normal amount, 
say, -of 16% after fermentation for every 100 
parts of wine to be manufactured, 16 parts of 
sugar would have to be added. When the 
amount of free acid in the must exceeds 6 
parts in 1,000, powdered marble is added, in the 
proportion of 50 parts of marble for every 60 
parts of acid in excess. This method is inap- 
plicable if the acid exists as acetic. 

By Gall's method, when the free acid in the 
must exceeds 0*6$, the juice is diluted with 
water to that strength. In this case the per- 
centage of sugar will also have been reduced. 
Gall believed a normal must should have the 
following composition : 

Sugar 24-0$ 

Free acid 0'Q% 

Water 75*4$ 

One hundred parts by weight of such a must 
would therefore contain 24 parts of sugar, 0*6 
part of free acid, and 75 - 4 parts of water. If 
by examination a sample of grape ' juice 
should be found to contain, say, 16*7$ of sugar 
and 0'8$ of free acid, to bring it up to Gall's 
standard, it would be necessary to add to every 
1,000 lb. of such juice 153 lb. sugar and 180 lb. 
of water. 

Grape sugar made from starch and dilute 
sulphuric acid is usually employed for this 
purpose, but such sugar has the objection of 
containing large quantities of dextrin, the 
presence of which injures the keeping power 
of the resulting wine. The wine produced by 
Gall's plan is said to be very pleasant, and not 
devoid of natural bouquet. Sometimes the wine 
maker adds a flavoring material to it. The pro- 
cess seems best adapted for those musts which 



are poor in sugar, but contain an excess of free 
acid. The removal of this may also be satis- 
factorily accomplished by the use of neutral 
tartrate of potash. Among other methods 
practiced for increasing the alcoholic content 
of wine, is that of submitting it to a tempera- 
ture at or below freezing, whereby a consider- 
able quantity of its water becomes congealed, 
and may be separated along with some tartar, 
and coloring and albuminous matters, which 
are precipitated by the cold. Owing to the re- 
moval of these last from the wine, it is not so 
liable to undergo a second; fermentation, while 
the abstraction of part of its water, of course, 
makes it richer in alcohol. 

Gypsum is also frequently added to wines for 
the purpose of withdrawing some of their wa- 
ter, and therefore of increasing their strength. 
This it does, but only to a trifling extent. At 
the same time, it should be remembered that 
its addition to wine gives rise to the formation 
of soluble sulphate of potash, a bitter and ac- 
tive purgative, and wholly or partly removes 
the tartaric acid and the phosphates. Dupre 
and Thudichum have shown by experiment 
that this practice of plastering, as it is called, 
also reduces the yield of the liquid, as a con- 
siderable part of the wine mechanically com- 
bines with the gypsum and is lost. 

Another reprehensible practice is the addi- 
tion to the wine of brandy or of alcohol. 

General Formulce for the Preparation of Imi- 
tation Wines.— 1. From ripe saccharine fruits. — 
Take of the fruit, 4 to 6 lb.; clear soft water, 1 
gal.; sugar, 3 to 5 lb.; cream of tartar (dissolved 
in boiling water), 1*4 oz.; brandy, 2 to S%; flavor- 
ing as required. If the full proportions of fruit 
and sugar are used, the product will be good 
without the brandy, but better with it. 1% lb. 
raisins may be substituted for each pound of 
sugar. 

In the above manner are made the following 
wines: Gooseberry wine, currant wine (red, 
white, or black), mixed fruit wine (currants and 
gooseberries, or black, red, and white currants; 
ripe black heart cherries and raspberries (equal 
parts), a good family wine; cherry wine, cole- 
press's wine (from apples and mulberries, equal 
parts), elder wine, strawberry wine, raspberry 
wine, mulberry wine, whortleberry or bilberry 
wine; blackberry wine, damson wine, morella 
wine, apricot wine, apple wine, grape wine, etc. 

2. From dry saccharine fruit (such as raisins). 
—Take of the dried fruit, 4^ to 7^ lb.; clear 
soft water, 1 gal.; cream of tartar (dissolved), 1 
oz.; brandy, iy z to 1%. Should the dried fruit 
employed be at all deficient in saccharine mat- 
ter, 2 to 3 lb. of it may be omitted, and half 
that quantity of sugar or two- thirds of raisins 
added. In the above manner are made date 
wine, fig win, raisin wine, etc. 

3. From acidulous, astringent, or scarcely 
ripe fruits, or those which are deficient in sac- 
charine matter.— Take of the picked fruit, 2^ 
to sy 2 lb.; sugar, 8)4 to 5^ lb.; cream of tartar 
(dissolved), J^ oz.; water, 1 gal.; brandy, 2 to 6%. 

In the above manner are made gooseberry 
Wine, bullace wine, damson wine. 

4. From footstalks, leaves, cuttings, etc.— 
By infusing them in water, in the proportion 
of 3 to 6 lb. to the gal., or q. s. to give a proper 
flavor, or to form a good saccharine liquid; and 
adding 2% to 4 lb. of sugar to each gal. of 
strained liquor. One and a half lb, of raisins 
may be substituted for each lb. of sugar. 

In the above manner are made grape wine 
(from the pressed cake of grapes), English 
grape wine, rhubarb wine (from garden rhu- 
barb), celery wine, etc. 

5. From saccharine roots and stems of 
plants.— Take of the bruised, rasped, or sliced 
vegetable, 4 to 6 lb.; boiling water, 1 gal.; in- 
fuse until cold, press out the liquid, and to each 
gal. add of sugar 3 to 4 lb.; cream of tartar, 1 
oz.; brandy, 2 to 5#. For some roots and stems 
the water must not be very hot, as they are 
thus rendered troublesome to press. 



Wines. 



614 



Wines. 



In the above manner are made beet-root 
wine, parsnip wine, turnip wine, etc. 

6. From flowers, spices, aromatics, etc.— 
These are prepared by infusing a sufficient 
quantity of the bruised ingredient for a few 
days in any simple wine (as that from sugar, 
honey, raisins, etc.), after the active fermenta- 
tion is complete, or, at all events, a few weeks 
before racking them. 

In the above manner are made clary wine (mus- 
catel) (from flowers, 1 qt. to the gal.); cowslip 
wine (from flowers, 2 qt. to the gal.); elder flow- 
er wine (flowers of white berried elder, % pt., 
and lemon juice, 3 fl. oz. to the gal.); ginger 
wine (1J4 oz. ginger to the gal.); orange wine 
(1 dozen sliced oranges per gal.); lemon wine 
(juice of 12 and rinds of 6 lemons to the gal.); 
spruce wine (34 oz. of essence of spruce per 
gal.); juniper wine (berries, % pt. per gal.); 
peach wine (4 or 5 sliced, and the stones broken, 
to the gal.); apricot wine (as peach wine, but 
with more fruit); quince wine (12 to the gal.); 
rose clove gillyflower, carnation, lavender, 
violet, primrose, and other flower wines (dis- 
tilled water from the flowers, 1% pt., or floAvers 
1 pt. to the gal.); mixed fruit wine; pine apple 
wine; cider wine; elder wine; birch wine (from 
the sap, at the end of February or beginning of 
March); sycamore wine (from the sap); malt 
wine (from strong wort); and the wines of any 
of the saccharine juices of ripe fruit. 

7. From saccharine matter.— Take of sugar, 
3 to 4 lb.; cream of tartar, y*> oz.; water, 1 gal.; 
honey, 1 lb.; brandy, 2 to 4 per cent. A hand- 
ful of grape leaves or cuttings, bruised, or 1 pt. 
of good malt wort, or mild ale, may be substi- 
tuted for the honey. Chiefly used as the basis 
for other wines, as it has little flavor of its 
own. 

In all the preceding formulae lump sugar is 
intended when the wines are required very 
pale, and good Muscovado sugar when this is 
not the case. Some of the preceding wines are 
improved by substituting good cider, perry, or 
pale ale or malt wort, for the whole or a por- 
tion of the water. Good porter may also be 
advantageously used in this way for some of the 
deep colored red wines. When expense is no 
object, and very strong wines are wanted, the 
expressed juices of the ripe fruits, with the 
addition of 3 or 4 lb. of sugar per gal., may be 
substituted for the fruit in substance, and the 
water. 

Management of Wine. — The remarks ar- 
ranged under this heading are more particu- 
larly intended for the use of the dealer, the 
publican, and the private individual ; as those 
which precede it are for the wine maker; 
matters common to each class will, however, 
be f oxlnd in both sections of the present article. 

Age. — The sparkling wines are in their prime 
in from eighteen to thirty months after the 
vintage. Thin wines, of inferior growths, 
should be drank within twelve or fifteen 
months, and be preserved in a very cool cellar. 
Sound, well fermented, full bodied still wines 
are improved by „ge, with reasonable limits, 
provided they be well preserved from the air, 
and stored in a cool place having a pretty uni- 
form temperature. 

Bottling.— The secret of bottling wine with 
success consists in the exercise of care and 
cleanliness. The bottles should be sound, clean 
and dry, and free from the least mustiness or 
other odor. The corks should be of the best 
quality, and immediately before being placed 
in the bottles should be compressed by means 
z>f a cork squeezer, or of one of the numerous 
machines made for this purpose. For superior 
or very delicate wines, the corks are sometimes 
prepared by placing them in a copper or tub, 
covering them with weights to keep them 
down, and then pouring over them boiling 
water holding a little pearlash in solution. In 
this liquid they are allowed to remain for 
twenty -four hours, when they are well stirred 
about in the liquid, drained and reimmersed 



for a second twenty-four hours in hot water, 
after which they are well washed and soaked in 
several successive portions of clean and warm 
rain water, drained, dried out of contact with 
dust, put into paper bags, and hung up in a 
dry place for use. Many wine merchants, how- 
ever, disapprove of this course, and merely dip 
the corks in clean cold water before inserting 
them in the bottles. The wine should be clear 
and brilliant, and if it be not so, it must un- 
dergo the process of fining before being bottled. 
The bottles, corks and wine, being ready, a fine 
clear day should be preferably chosen for the 
bottling, and the utmost cleanliness and care 
should be exercised during the process. Great 
caution should also be observed to avoid shak- 
ing the cask, so as not to disturb the bottoms. 
The remaining portion that cannot be drawn 
off clear should be passed through the wine bag,, 
and, when bottled, should be set apart as in- 
ferior to the rest; or the lees are collected in a 
cask kept for the purpose, and the clear wine 
resulting from their subsidence is used for fill- 
ing up casks about to be fined. The coopers, 
to prevent breakage and loss, place each bot- 
tle, before corking it, in a small bucket or boot 
having a bottom made of soft cork or leather, 
which is strapped on the knee of the bottler. 
The bottlers seldom break a bottle, though they 
flog in the corks very hard. The bucket or 
boot is now very largely supplanted by Ger- 
vaise's corking machine, an apparatus which 
first submits the cork to great pressure, and 
then immediately afterward drives it firmly 
into the neck of the bottle, in which, owing to 
its subsequent expansion, it fits very closely 
and perfectly. When the process of bottling 
is complete, the bottles of wine are stored in a 
cool cellar on their sides, but on no account in 
an upright position. Sometimes they are 
placed in damp straw, or in sweet, dry saw- 
dust or sand. 

Alcoholizing.— Alcohol is frequently added to 
weak or vapid wines, to increase their strength 
or to promote their preservation. In Portugal, 
% of alcohol is commonly added to port before 
shipping it for England, as without this addi- 
tion it generally passes into the acetous fer- 
mentation during the voyage. A little alcohol 
is also usually added to sherry before it leaves 
Spain. The addition of alcohol to wine injures 
its proper flavor, and hence it is chiefly made 
to port, sherry, and other wines, whose flavor 
is so strong as not to be easily injured. Even 
when alcohol is added to wines of the latter 
description, they require to be kept for some 
time to recover their natural flavor. 

Cellaring.— A wine cellar should be dry at 
bottom, and either covered with good hard 
gravel or be paved with flags. Its gratings or 
windows should open toward the north, and it 
should be sunk sufficiently below the surface 
to insure an equable temperature. It should 
also be sufficiently removed from any public 
throughfare so as not to suffer vibration from 
the passing of carriages. Should it not be in a 
position to maintain a regular temperature, 
arrangements should be made to apply artificial 
heat in winter and proper ventilation in sum- 
mer. The temperature should range from 55° 
to 65° F. For Burgundies the former tempera- 
ture is the more suitable; for ports, sherries 
and strong wines, the latter temperature. 

Decanting.— In decanting wine, care must be 
taken not to shake or disturb the crust when 
moving it about or drawing. the cork, particu- 
larly of port wine. Never decant wine without 
a wine strainer, with some clean fine cambric 
in it, to prevent the crust and bits of cork go- 
ing into the decanter. In decantiug port wine, 
do not drain it too close; as there are generally 
two thirds of a wineglassful of thick dregs in 
each bottle, which ought to be rejected. In 
white wine there is not much deposit; but it 
should nevertheless be poured off very slowly, 
the bottle being raised gradually. 
Detartarization.— Rhenish wines, even of the 



Wines, 



615 



Wines. 



best growths, and in the finest condition, be- 
sides their tartar, contain a certain quantity of 
free tartaric acid, on the presence of which 
many of their distinctive properties depend. 
The excess of tartar is gradually deposited dur- 
ing the first years of the vatting, the sides of 
the vessels becoming more and more encrusted 
with it; but, owing to the continual addition of 
new wine and other causes, the liquid often 
gains such an excess of free tartaric acid as to 
acquire the faculty of redissolving the de- 
posited tartar, which thus again dissappears 
after a certain period. The taste and flavor of 
the wine are thus exalted, but the excess of 
acid makes the wine less agreeable, and prob- 
ably less wholesome. 

Under these circumstances the best correc- 
tive is pure neutral tartrate of potash. When 
this salt, in concentrated solution, is added to 
an acid wine, the free acid combines with the 
neutral salt, and separates from the liquid 
under the form of the sparingly soluble bitar- 
trate of potash. If to 100 parts of a wine which 
contains 1 part of free tartaric acid we add V/% 
parts of neutral tartrate of potash,there will sep- 
arate on repose at 70° to 75° F., 2 parts of crys- 
tallized tartar; and the wine will then contain 
only % part of tartar dissolved, in which there 
are only 0*2 part of the original free acid; 0*8 
part of the original free acid having been with- 
drawn from the wine. This method is particu- 
larly applicable to recent must and to wines 
which contain little, if any, free acetic acid; 
when this last is present, so much acetate of 
potash is formed as occasionally to vitiate the 
taste of the liquid. 

Fining.— Wine is clarified in a similar man- 
ner to beer. White wines are usually fined by 
isinglass. The quantity of isinglass varies with 
the quality and condition of the wine, and is 
regulated by the experience of the cellarman. 
Stout wines require a larger amount than thin 
ones. Even with stout ones it ought not to ex- 
ceed }4 oz. to the hogshead. The Rhenish wines 
do not require more than y± oz., and the hocks 
still less. The choicest. Russian isinglass only 
should be employed. Tt should be dissolved in 
cold w,ater, and thinned with wine. Red wines 
are generally fined with the whites of eggs, in 
the proportion of 15 to 20 to the pipe. Some- 
times, but rarely, hartshorn shavings, or pale 
sweet glue, is substituted for isinglass. 

Flatness.— This is removed by the addition of 
a little new brisk wine of the same kind; or by 
rousing in 2 or 3 lb. of honey; or by adding 5 or 
6 lb. of bruised sultana raisins and 3 or 4 qt. of 
good brandy, per hogshead. By this treatment 
the wine will usually be recovered in about a 
fortnight, except in very cold weather. The 
process may be expedited, if a tablespoonful or 
two of yeast be added, and the cask removed 
to a warmer situation. 

Insipidity. See Flatness. 

Maturation. — The natural maturation or 
ripening of wine and beer by age depends 
upon the slow conversion of the sugar which 
escaped decomposition in the gyle tun or fer- 
menting vessel into alconol. This conversion 
proceeds most perfectly in vessels which en- 
tirely exclude the air, as in the case of wine in 
bottles; as when air is present, and the temper- 
ature sufficiently high, it is accompanied by 
slow acetification. This is the case with wine in 
casks, the porosity of the wood allowing the 
very gradual permeation of the air. Hence the 
superiority of bottled over draught wine or 
that which has matured in wood. Good wine, 
or well fermented beer, is vastly improved by 
age when properly preserved; but inferior 
liquor, or even superior liquor, when pre- 
served in improper vessels or situations, be- 
comes acidulous from the conversion of its al- 
cohol into vinegar. Tartness or acidity is con- 
sequently very generally, though wrongly, re- 
garded by the ignorant as a sign of age in 
liquor. The peculiar change by which fer- 
mented liquors become mature or ripe by age 



is termed the insensible fermentation. It is the 
alcoholic fermentation impeded by the presence 
of the already formed spirit in the liquor, and 
by the lowness of the temperature. 

Mould or fungus is very frequently produced 
by keeping the wine in too warm a cellar, or 
in a cask not filled to the bung hole, or else 
in one from which the bung has been left 
out. As it forms mostly on weak wines, its. 
presence may be referred to a deficiency of 
alcohol. 

The best method for its removal is either 
burning sulphur in a partially filled cask, or 
drawing off the wine into a fresh cask, in which 
sulphur has been previously burnt. It is ad- 
visable that wines so treated should be drunk 
as soon as possible. 

Wine sometimes has an unpleasant musty 
taste, which it has acquired from being put 
into a dirty cask, or into one that has been un- 
used for some time. This bad flavor, which is 
known as caskiness, may generally be removed 
by vigorously agitating the wine for some time 
with a little sweet, olive, or almond oil. The 
cause of the bad taste is the presence of an 
essential oil, which the fixed oil combines with 
and carries to the surface, whence it may be 
skimmed off, or the wine lying under it may 
be drawn off. A little coarsely powdered and 
freshly burnt charcoal, or some slices of bread 
toasted until they become black, or a little 
bruised mustard seed, sometimes effects the re- 
moval of the objectionable taste. 

Ripening.— To promote the maturation or 
ripening of wine, various plans are adopted by 
the growers and dealers. One of the safest 
ways of hastening this, especially for strong 
wines, is not to rack them until they have stood 
15 or 18 months upon the lees ; or, whether 
crude or racked, keeping them at a tempera- 
ture ranging between 55° and 65° F., in a cellar 
free from draughts and not too dry. Full or 
heavy sherries or ports, when bottled and 
treated in this manner, ripen very quickly in a 
temperate situation. 

Racking.— Racking should be performed in 
cool weather, and preferably early in the 
spring. A clean siphon, well managed, answers 
better for this purpose than a cock or faucet. 
The bottoms, or thick portion, may be strained 
through a wine bag, and added to some other 
inferior wine. 

Ropiness, Viscidity; Graisse. — This arises 
from the wine containing too little tannin or 
astringent matter to precipitate the gluten, al- 
bumen, or other azotized substance, occasion- 
ing the malady. Such wine cannot be clarified 
in the ordinary way, because it is incapable of 
causing the coagulation or precipitation of the 
finings. The remedy is to supply the principle 
in which it is deficient. M. Frangois, of Nantes, 
prescribes for this purpose the bruised berries 
of the mountain ash in the proportion of 1 lb. 
to the barrel. A little catechu, kino, or, better 
still, rhatany, or the bruised footstalks of the 
grape, may also be conveniently and advanta- 
geously used in the same way. For pale white 
wines, which are the ones chiefly attacked by 
the malady, nothing equals a little pure tannin, 
or tannic acid dissolved in proof spirit. 

Second Fermentation; La-pousse. — Inordin- 
ate fermentation, either primary or secondary. 
in wine or any other fermented liquid, may be 
readily checked by sulphuration, or by the ad- 
dition of sulphur, mustard seed, or sulphite of 
lime. The latter must, however, be used with 
discretion. 

Sparkling, Creaming and Briskness.— These 
properties are conveyed to wine by racking it 
into closed vessels before the fermentation is 
complete, and while there still remains a consid- 
erable portion of undecomposcd sugar. Wine 
which has lost its briskness may be restored by 
adding to each bottle a few grains of white 
lump sugar or sugar candy. The bottles are 
afterward inverted, by which means any sedi- 
ment that forms falls into the necks, when the 



Wines. 



616 



Wines. 



corks are partially withdrawn,and the sediment 
is immediately expelled by the elastic force of 
the compressed carbonic acid. If the wine re- 
mains muddy, a little solution of sugar and 
fining-s are added, and the bottles are again 
placed in a vertical position, and, after two or 
three months, the sediment is discharged as 
beofre. 

Ages of Different Wines when at Their Prime. 
See also the Management of Wine above.— The 
age named below for each wine will be found 
to be that at which it possesses its fullest flavor 
and when it will be best to drink it. 

Port 20 years. 

Madeira 10 years. 

Sherry 10 years. 

Red Madeira 6 years. 

Madeira-malmsey 5 years. 

Callavella. . . „ 4 years. 

Malaga 3 years. 

Muscatel 3 years. 

Red hermitage 20 years. 

White hermitage 20 years. 

Roussillon 20 years. 

Rivesaltes 20 years. 

Banyuls 20 years. 

Oollioure .... 15 years. 

Salces 10 years. 

La Palme 10 years. 

Sigean 8 years. 

Carcassone 8 years. 

Beziers 8 years. 

Lunel 8 years." 

Champagne 6 years. 

Montpellier 5 years. 

Frontignan 5 years. 

Acid Taste of Wines, to Remove.— Neutralize 
the excess of acid by powdered chalk. 

Alcoholizing Wine. See Management of Wine, 
p. 614. 

Apple Wine.—l. Finest cider, 60 gal.; brown 
sugar, }4 cwt.; bitter almonds, 14 oz. Mix the 
cider and sugar, and ferment; then rack the 
mixture, and put into the cask the almonds, 
with 16 or 18 cloves, and 3 or 4 pieces of bruised 
ginger. When fine, bottle it and keep it in a 
cool place. The addition of a small piece of 
lump sugar to each bottle will make the cork 
fly out, as from champagne; but do not add 
this unless you have a very cold cellar to keep 
it in. 

2. Forty lb. sugar, 15 gal. cider. The cider 
must be pure and made only from really ripe, 
sound apples ( this is important). If the wine 
is to be quite sweet, add another 10 lb. of sugar, 
and put all into the cider, letting it stand till 
dissolved. Put the liquor into a cask but leave 
it unfilled to the extent of 2 gal. Put the cask 
into a cool position, with the bung out for for- 
ty-eight hours. After this bung it up, but let 
there be a small vent somewhere— in the bung 
would do— until the fermentation is over. Then 
bung up securely, and the wine will be ready 
for consumption in twelve months. There is 
no racking required in the manufacture of this 
wine. To remain in the cask twelve months. 
Make this in January or February. 

Apricot Wine.— Twelve lb. ripe apricots, 6 oz. 
loaf sugar to each qt. liquor. Wipe the apri- 
cots, cut them in pieces and let them boil in 2 
gal. water. After boiling, let them simmer till 
the liquor is strongly impregnated with the 
flavor of the fruit. Strain through a hair sieve, 
and put 6 oz. lump sugar to every qt. liquor. 
Boil again, skim very carefully, and as soon 
as no more scum appears, put it into an earthen 
pan. Bottle next day if it is quite clear, and 
put 1 lump of sugar into each bottle. It should 
we fine wine in six months. Two hours to boil. 
Make this in August or September. 

Balm Wine.—l. Into 8 gal. of water put 20 lb. 
of moist sugar; boil for two hours, skimming 
thoroughly ; then pour into a tub to cool ; 
place 2^ lb. of balm tops, bruised, into a barrel 
with a little new yeast; when the liquor is cold 
pour it on the balm; stir it well together, and 



let it stand twenty-four hours, stirring it fre- 
quently ; then close it up tightly at first, and 
more securely after fermentation has quite 
ceased ; when it has stood two months, bottle 
off, putting a lump of sugar into each bottle; 
cork down well and keep in bottle at least a 
year. 

2. Put a peck of balm leaves into an open 
tub; pour on them 4 gal. of boiling water; 
cover up the tub and let them infuse for twelve 
or fourteen hours ; strain the liquor at the end 
of that time through a hair sieve, and to every 
gallon add 2 lb. of good moist sugar, stirring 
well for twenty minutes; take the whites of 4 
eggs, whisk them over the fire in a saucepan; 
remove it from the fire as the scum rises, and 
skim the latter off; then add it to the liquor; 
boil the whole for three quarters of an hour, 
letting it work three or four days before you 
tun it; bung down, and when fine, bottle it off; 
in six or eight months it will be fit to drink. 

Bilberry Wine.— The fruit should be picked 
on a very dry day, when it is quite ripe. The 
leaves and stalks must be carefully removed 
from the berries and the fruit, then weighed. 
To 4 gal. of fruit allow either 6 gal. of cold 
water or else 3 gal. of water and 3 gal. of cider, 
and 10 lb. of good moist sugar; let all these in- 
gredients ferment in an open tub until work- 
ing is over; then add y% gal. of brandy, a 
handful of lavender and rosemary leaves 
mixed, 2 oz of powdered ginger, and 2 oz. of 
powdered tartar; let the liquor rest after this 
addition for forty-eight hours, then strain very 
carefully through a hair sieve into a perfectly 
clean cask, laying the bung lightly on the bung 
hole until the working is quite over; and no 
hissing sound is heard; then close down quite 
tightly, and bottle off at the end of three 
months; keep six or eight months in bottle be- 
fore use. 

Blackberry Wine.—l. To 1 gal. of mashed 
blackberries add a quart of boiling water; let 
it stand for twenty-four hours, or nearly as 
long, then strain through a coarse bag or 
towel, adding 3 qt. of water and 2 lb. of brown 
sugar to each gallon of the mixture, making 
equal parts of water and juice; mix well, then 
put in demijohns, stone jugs or a tight, clean 
keg; close partially and put in a cool place; if in 
a warm place or left entirely open it will sour; 
if stopped entirely tight it will burst the vessel 
—but cork left loosely in; let it stand until fer- 
mentation ceases, which will be about October; 
then bottle, and this makes excellent wine and 
a fine medicinal drink for summer affections. 

2. The following is said to be an excellent 
receipt for the manufacture of superior wine 
from blackberries: Measure your blackberries, 
and bruise them; to every gallon add 1 qt. of 
boiling water; let the mixture stand twenty- 
four hours, stirring occasionally; then strain 
off the liquor into a cask; to every gallon add 
2 lb. of sugar; cork tight, and let stand about 
one year, and you will have wine fit for use, 
without anj r further straining or boiling. This 
wine is very highly recommended for house- 
hold use. 

Bottling of Wine. See Management of Wine, 
on page 614. 

Catawba Champagne. — Twenty gal. Cataw- 
ba, 1 qt. Cognac brandy, and 2 gal. champagne 
syrup. 

Cellaring Wine. See Management of Wines, 
page 614. Also Laying Down Wines, below. 

Champagne, Imitation.— 
1. Prepared cider. 25 gal. 

Citric acid 5 drm. 

Simple syrup V/i pt. 

Water 1!4 gal. 

Spirits (10 under proof) 2^i gal. 

Tartaric acid 134 oz. 

Let this stand twelve days, then fine and bot- 
tle, if it is frothing and sparkling; it not, add 



Wines. 



617 



Wines. 



more acid; and fine again. Add to each bottle 
about 2 teaspoonsful ol' syrup, made by dis- 
solving Yz lb. rock candy in 1 pt. white wine. 

2. Cider, pale, 1 hogshead; spirit, 3 gal.; honey 
or sugar, 20 lb. Mix and allow to remain two 
weeks; then fine with skimmed milk, ^ gal. 
This will be very pale. 

3. Cheap Champagne.— 

Bordeaux 10 gal. 

Bodenheimer or Hockheimer 10 gal. 

Water , ..10 gal. 

French spirit 1 igal. 

Syrup 3 'gal. 

Made of 18 lb. sugar and 6 qt. water. 

4. Champagne, Gooseberry. — Ferment to- 
gether 5 gal. white gooseberries, mashed, 
with 4J^ gal. water. Add 6 lb. sugar, 4V£ lb. 
honey, 1 oz. finely powdered white tartar, 1 
oz. dry orange and lemon peel, and }4 gal. 
white brandy. This will produce 9 gal. Before 
the brandy is added, the mixture must be 
strained and put into a cask. 

5. Champagne Liqueur.— 

Fine loaf sugar 13 lb. 

Water Vy& gal. 

Boil together. While boiling, add by degrees 
3 qt. alcohol, 90$, filter. Add to the following 
compound : 

6. Louis Roederer.— Mix the champagne liqueur 
with 11J4 gal. white wine; V& bottle cognac; 
6 drops sulphuric ether, dissolved in the cog- 
nac. 

7. Champagne, Syrup for.— Dissolve 12 lb. 
white sugar in 1 gal. water, and add the whites 
of 2 eggs. Heat until it candies. Strain through 
flannel. 

Cherry Wine.— Take of cold soft water, 10 gal.; 
cherries, 10 gal.; ferment. Mix raw sugar, 30 
lb.; red tartar, in fine powder, 3 oz. ; add 
brandy, 2 or 3 qt. This will make 18 gals. Two 
days after the cherries have been in the vat, we 
should take out about 3 qt. of the cherry stones, 
break-them and the kernels, and return them 
into the vat again. 

Black Cherry Wine.—2A lb. of small black cher- 
ries, 2 lb. of sugar to each gal. of liquor. 

Bruise the cherries, but leave the stones 
whole, stir well, and let the mixtnre stand 24 
hours, then strain through a sieve, add the 
sugar, mix again, and stand another 24 hours. 
Pom away the clear liquor into a cask, and 
when fermentation has ceased, bung it closely. 
Bottle in 6 months 1 time. It will keep from 12 
to 18 months. 

Time.— To remain in the cask six months. 
Make this in July or August. 

Claret — 

1. Prepared cider 30 gal. 

Good port wine 6 gal. 

Water V/& gal. 

Tartar 1^ lb. 

Syrup 1J^ pt. 

Citric acid 234 drm. 

Raisins 3 lb. 

Color if desired with red sanders or red beet 
juice. Let it stand 10 to 12 days, rack. 

2. Good cider and port wine, equal parts. 

3. To each gallon of the last add cream of 
tartar (genuine) 3 drm., and the juice of one 
lemon. 

4. To either of the preceding add French 
brandy, 2 oz. 

5. Instead of port, use red cape or British 
port. 

If the first three of the above are well mixed 
and fined down, and not bottled for a month or 
five weeks, they can scarcely be distinguished 
from good Boi'deaux. A mixture of 4 parts of 
raisin wine with 1 part each of i-aspberry, and 
barberry or damson wine, also forms an excel- 
lent factitious claret. 



Coca Wine. — This is a French preparation. Its 
strength is about 1 in 30, and the dose a wine- 
glassful. Coca wine is, roughly speaking, about 
one-sixth of the strength of the official liquid 
extract (Extractum Cocce Liquidum B. P., or 
Extractum Erythroxyli Fluidum U. S.). To ob- 
tain the liquid extract,coca leaves are exhausted 
by percolation (which differs from either decoc- 
tion or infusion) with proof spirit. At the 
termination of the process, the strength should 
be adjusted so that 1 oz. = 1 of leaves. The 
process of percolation is as follows : The leaves 
are placed in a vessel very like an elongated 
funnel, closed at its base by a porous diaphragm. 
This funnel fits into a receiver, and a small tube 
passes up its outer side and enters it near the 
top, forming a means of communication be- 
tween the two. Spirit is now poured on the 
leaves, and the percolator closed. As the 
percolate filters slowly through into the 
reservoir, the displaced air passes up the 
tube, and so maintains an equilibrium in both 
vessels. The virtue of the coca leaves lies 
principally in the presence of the alkaloid 
cocaine. This, in the dried leaves, is supposed 
to exist as an inert salt, similar to many of the 
cinchona alkaloids in bark. 

Coloring Matters Used to Color Wine. — Vari- 
ous matters are largely employed to artificially 
heighten the colors of wines. The different 
spurious coloring matters can be detected by 
using a solution of lead acetate, and the pre- 
cipitates formed give a good test by which the 
various colors can be determined. 

1. Mai va flowers or hollyhock produce, when 
steeped in spirits for 24 hours, or even when 
boiled with water, a very beautiful purple. 

2. The pokeberry (the dark berries from the 
plant growing all over the United States) has 
a very dark red color. 

3. Whortleberry, huckleberry, elderberry, 
blackberry and mulberry. 

4. Cochineal gives a fine red color by boiling 
finely ground cochineal with cream of tartar. 

5. Brazil wood, sanders wood and logwood. 
These woods are boiled in water, and the de- 
coctions yield shades of color from red to blue. 

6. Orchil produces a beautiful purple. 

7. Red beets and carrots produce likewise a 
good color. 

8. Indigo solution, neutralized by potash, 
produces a fine blue. 

9. Annatto and extract of safnower produce 
a beautiful yellow. 

10. Red cabbage produces a beautiful bluish 
red. 

11. Turmeric is the most common color for 
yellow, as the spirit extracts all color immedi- 
ately; as also quercitron bark. 

12. Garacine (extract of madder) produces 
various shades of red. 

13. Tincture of saffron (Spanish saffron) for 
yellow. 

14. Blue vitriol, or solution of indigo, pro- 
duces blue. 

15. Burnt sugar produces a fine and perma- 
nent brown color for wines. It is best to boil 
down common sug;;r or loaf sugar nearly to 
dryness. It is then dissolved in hot water 
sufficient to make the consistency of syrup ; 
and tor the purpose of neutralizing it and mak- 
ing it a more permanent color, add to each gal. 
of su<?ar color, about loz. liquid ammonia. 

16. Green color for absinthe is prepared from 
a solution of extract of indigo and turmeric, 
dissolved in spirits. 

17. Violet is obtained by a solution of extract 
of logwood and alum. 

18. Alkanet root produces a fine blue red by 
macerating in alcohol. 

19. Barwood acquires a dark wine red color 
by digesting in alcohol. 

'20. Brazil wood, by being macerated in al- 
cohol, or by boiling for half hour, produces a 
deep red. 



Wines. 



618 



Wines. 



Spurious Coloring Matter. — 

The following coloring matters give, with 
lead acetate, the following precipitates : 

Pure red wine gives bluish gray. 
Red poppy " dirty gray. 

Elderberry " dirty green. 

Bilberry " grayish green. 

Privetberry " green. 

f bluish gray to violet in 

r>wnrf plrlpr " J tne f res h berries and 

Dwart eider -{ flne gTeen in the f er _ 

I. mented extract. 
Mallow flower " dark green. 
Logwood " feeble dark blue. 

Brazil wood " wine red. 

The following colors, when present, give the 
following precipitates with alum and ammo- 
nium carbonate ; 

Pure red wine gives dirty green. 
Red poppy " slate gray. 

Elderberry " bluish gray. 

Bilberry " bright violet 

Privetberry " bright green. 

Dwarf elderberry " bright violet. 
Mallow flower " bluish violet. 
Logwood " dark violet. 

Brazil wood " carmine red. 

Cranberries can be made into wine in the 
same way as bilberries. In America the cran- 
berry is largely cultivated, and forms a con- 
siderable article of commerce, a quantity of the 
fruit being exported. In the northern parts of 
Russia it isalso very abundant. 

Cowslip Wine.— To every gal. of water allow 
3 lb. of lump sugar, the rind of 2 lemons, the 
juice of one, the rind and juice of 1 Seville 
orange, 1 gal. of cowslip pips. To every 4^j gal. 
of wine allow 1 bottle of brandy. Boil the 
sugar and water together for j^ hour, care- 
fully removing all the scum as it rises. Pour 
this boiling liquor on the orange and lemon 
rinds, and the juice, which should be strained ; 
when milk warm, add the cowslip pips or flow- 
ers, picked from the stalks and seeds ; and to 9 
gal. of wine 3 tablespoonfuls of good fresh 
brewers' yeast. Let it ferment three or four 
days, then put all together in a cask with the 
brandy; and let it remain for two months, 
when bottle it off for use. To be boiled % hour ; 
to ferment three or four days ; to remain in 
the cask two months. Make this in April or 
May. 

CurrantWine.— Squeeze the currants through 
a coarse bag ; have equal parts of water and 
juice, or J^$ water, as taste may direct, and add 
3 lb. of loaf sugar to each gal. of the mixture ; 
mix well and bottle in stone jugs or demijohns; 
treat same way as blackberry wine— partially 
corked and keep in a cool place. Some keep a 
bottle of the mixture to fill up the vessels as 
they effervesce, but it is not always necessary. 
Bottle in October, when fermentation ceases ; 
this makes a beautiful and delicious wine, and 
improves with age. 

Red Currant Wine (with Raspberries.)— Ten 
gal. of red currant juice, 1 pt. of raspberry 
juice, 20 gal. of water, 18 lb. of finely sifted 
loaf sugar. Put the ingredients together and 
let them stand until the sugar is dissolved, then 
put the liquor into a cask and bung lightly for 
the air to aid in the fermentation. Let it cease 
fermenting, then bung tightly. Bottle in a 
year's time, using sound corks and sealing 
them. It will be in excellent condition in three 
months. 

Currie Wine.— Currie powder, 5 oz.; white 
wine, 1 gal. Digest for one week and strain. 

Cyprus— Muscatel (very old), 25 liters; alcohol, 
85^,' 5 liters ; white wine (dry and alcoholic), 64 
liters; infusion of walnuts, 1 liter; white sugar, 
2 kilos.; water, 1 liter. Mix the different wines 
together ; add the alcohol and the infusion of 
walnuts ; dissolve the sugar in the water, and 
boil till the solution becomes of a golden color; 
add it to themixture with a little of the infusion 
of cloves. 



2. British Cyprus.— From, the juice of white 
elderberries, 1 qt., and Lisbon sugar, 4 lb., to 
water, 1 gal., together with }4 drm. each of 
bruised ginger and cloves. When racked add 
raisins and brandy, of each 2 oz. 

Damson Wine. — 

1. Water 12 gal. 

Damsons (bruised) 8 gal. 

Raw sugar 30 lb. 

Ferment, then add — 

Red tartar (dissolved) 6 oz. 

Cloves (bruised) J4 oz. 

Let it stand until fine, then bottle. 

2. Crush 20 lb. ripe damson plums; boil in 3 
gal. water; press out the juice; add 6 lb. sugar; 
put in a barrel and let it ferment; then add 
after two weeks a little good brandy; bottle. 

3. One gal. of boiling water to every 8 lb. 
of bruised fruit, 2% lb. of sugar to each gal. of 
juice. 

AYell bruise the fruit and pour the boiling 
water on it; let it stand forty-eight hours. 
Then strain the mixture into a cask and put 
in the sugar. When fermentation ceases fill 
up the cask and bung closely. Bottle in ten 
months' time. It will be fit for use in a year, 
but improves with keeping. Time required, 
about two years. 

Detannation of Wines. — The Formulary rec- 
ommends the following method for removing 
the tannin or astringent matter from sherry 
wine : 

Sherry 7 pt. 

White of egg 1 fl. oz. 

Alcohol 1 pt. 

Beat the white of egg to a froth and mix it 
with wine; heat to about 170° F., or until the 
albumen is coagulated. Then cool, add the 
alcohol, and after standing a few hours, filter 
clear through paper. 

This wine is a much better menstruum and 
preservative medium for organic substances 
than sherry Itself. 

Detartarization of Wine. See Management of 
Wine, on page 614. 

Elder Wine. — 

Alcohol, 90* 12^ gal. 

Water 12^ gal. 

Elderberries (juice of) 634 gal. 

Loaf sugar 18% lb. 

Port wine 2J4 gal. 

Orange flower water „ . % pt. 

Allow it to stand one week; draw off. 

Elderberry Wine.—l. Gather the berries when 
quite ripe, on a dry day ; pick them off the 
stems, and bruise them with your hands. Strain 
the juice ; let the liquor rest in glazed earthen- 
ware pans for twelve hours to settle. Allow^o 
every pint of juice a 1)4 pt. ot water, and to 
every gallon of the mixed water and juice 3 lb. 
of good moist sugar. Put it over the fire in a 
large saucepan, and when it is ready to boil, 
clarify it with the whites of four eggs. Let it 
boil for an hour, and, when nearly cold, put in 
some yeast to work it ; pour it into the cask, 
reserving some of the liquor to fill up the cask 
with, as it sinks with working. If you have 
about 10 gal. or so, it should be fit to bottle off 
in two months' time after it has been closed 
down. Keep at least a year in bottle. 

2. Gather the berries when quite ripe, and in 
dry weather. Pick them clean ; put them into 
a copper with % gal. of water, and keep up a 
slow fire until the berries sink, then strain the 
juice through a hair sieve, and to every gallon 
of it allow 3 gal. of soft water, and to every 
gallon of the mixed liquor 3 lb. of good moist 
sugar. Put back into the copper, and boil for 
an hour, skimming thoroughly ; draw off into a 
tube, and, when it is about 70°, put a toast 
spread with yeast into it, and let it work for 
forty-eight hours, or longer if necessary ; pour 
it or draw it off if you have a tap in your tub, 



Wines. 



619 



Wines. 



as should be the case, into the cask which is to 
hold it, and if you have 18 gal. of liquor, add 

1 oz. of cloves, 2 oz. of allspice, 2 oz. of Jamaica 
ginger, and 1 oz. of sweet almonds, all bruised. 
Bung very slightly until fermentation is quite 
over; then close down tightly and tap in three 
months. 

3. Old recipe : Put the ripe picked over ber- 
ries into an earthen pot; put this into a copper 
with sufficient water to come up about two- 
thirds of the height of the pot, which is about 
as far as the berries should reach inside ; be 
careful that no water touches them. 'Make a 
gentle fire, and keep the pot in the water till it 
is quite hot ; then take it out. Pour the berries 
into a coarse cloth, strain the juice, and put it 
into a large saucepan ; to every quart of juice 
allow a pound of good moist sugar; let it boil, 
and skim well. It should boil until rather 
thick, then pour it into a jar. Put 60 lb. of 
raisins into a cask, and fill it up with water; let 
it stand for a fortnight ; stir it well every day ; 
then pour off the liquor into a clean cask that 
just holds it. It should stand until it has done 
hissing; then bung it down close, and stand 
until fine. To every gallon of this liquor, allow 
half a pint of the elder sirup ; mix well, and 
when it has fined down, rack off into another 
cask ; bottle off after three months. 

4. Chop a quantity of Malaga raisins quite 
fine ; allow lqt. of water to every lb. of raisins, 
and put raisins and water into an open tub ; 
cover over with a double cloth, and let it stand 
for nine days, stirring up each day. Then draw 
off the liquor as long as it will run, and press 
the raisins to get out the remainder of the 
juice ; mix all together in a barrel. To every 
gal. of liquor allow 1 pt. of the juice of elder- 
berries, prepared simply by mashing the berries 
with the hands, and straining off the juice. 
Stop down close, and stand for six weeks, then 
draw off the fine liquor, and to every gal. add 
14 lb. of moist sugar. Stand again until quite 
fine, and then bottle off. Keep in a cool cellar 
for use. 

5. Take 30 lb. of Malaga raisins, add 8 gal. of 
water to them, and allow to steep for twelve 
days; draw off the liquor, and put it into a 
copper with 2 gal. of elderberry juice ; boil for 
ten minutes, removing all scum as it rises ; then 
add 7 lb. of moist sugar, y% oz. of allspice, 
y% oz. of cloves, and 2 oz. of Jamaica ginger, 
all well bruised; boil again for an hour, 
skimming thoroughly; draw it off and float 
some toast covered with yeast in it ; leave it to 
work for two or three days, then pour into a 
clean cask, and, when all fermentation is over, 
bung down tightly. If made the end of August 
or in September, this wine would be ready to 
tap about Christmas, and should be bottled in 
January or March. 

6. Allow 3 qt. of elderberries, which are quite 
ripe and carefully picked over, to every gal. of 
water; boil, skimming well, until the berries 
break, then strain the liquor, and to every gal. 
allow 3 lb. of moist sugar, and to every 4 gal. 
add 2 oz. of bruised ginger, 2 oz. of cloves, and 

2 oz. allspice; boil for an hour; work with 
yeast when nearly cold ; cask it the third day, 
and when all working is over, bung down. 

1. To every gal. of berries allow a gal. of 
water; steep in a tub for four days, bruising 
well each day. Squeeze the pulp, and strain off 
the juice. To every gal. add 3 lb. of brown 
sugar, and spices in the same proportion as in 
the above recipe ; tie the spice in a muslin bag ; 
boil all the ingredients for an hour ; work with 
yeast when nearly cold ; then pour into a well 
cleaned cask, and bung down when the fer- 
menting operation has quite ceased. Bottle off 
in two or three months. Into every bottle put 
a lump of white sugar and a little brandy. 

8. To 1 gal. of berries add 3 qt. of water; 
bruise in a tub, and stand for three days. To 
every qt. of liquor allow 1 lb. of moist sugar, 1 
oz. of ginger, and 1 oz. of cloves, both bruised 
(the spice should be put into muslin bags) ; put 



all together into a perfectly clean vessel, and 
boil for one hour ; then pour into an earthen- 
ware pan; when cool enough to dip in the 
finger, put in a tablespoonf ul of brewers' yeast; 
let it work three days, then skim and put in a 
small cask just large enough to hold the 
amount. Keep out the air for three weeks, 
but do not bung down close until that period 
has elapsed. Tap in two months to test it ; if 
fine, bottle off. 

Elder flower wine is made from the flowers in 
this manner: 1. Gather the flowers on a dry 
day; remove all stalks, and to every qt. of 
flowers allow 1 gal. of water and 3 lb. of loaf 
sugar ; boil the sugar and water for a quarter 
of an hour; then pour it on the flowers, and 
let it work for three days; then strain the 
wine carefully through a hair sieve, and put it 
into a cask. To every 5 gal. of wine add y 2 oz. 
of isinglass, dissolved in cider, and 3 eggs 
(whites only) beaten up ; close up the cask, and 
stand six months before bottling off. 

2. Boil 18 lb. of powdered loaf sugar in 6 gal. 
of spring water ; beat up the whites of 2 eggs, 
and add ; skim very thoroughly, and put in a 
M of a peck of elder flowers, picked from their 
stems ; take off the fire, and stir until cool, then 
add 4 tablespoonf uls of yeast and 6 spoonfuls of 
lemon juice, strained and free from pips; mix 
well with the liquor by stirring twice daily for 
four days. Stone 6 lb. of Malaga raisins, and 
put them into a well cleaned out cask ; pour 
the wine upon them. Stop up the cask closely, 
and keep it in a rather warm place. If made in 
July or August, bottle off in February or 
March. This wine, when well made, very much 
resembles Frontignac. 

Fig Wine. — Figs are largely employed, es- 
pecially in Algeria, for the production of fic- 
titious wine. For this purpose figs from Asia 
Minor are preferred on account of their rela- 
tive cheapness aad richness in sugar. When 
the fruit is treated with a suitable quantity of 
tepid water, acidified with tartaric acid, f er 
mentation rapidly commences, resulting in the 
production of a vinous liquid of about 8° alco- 
holic strength, and so inexpensive that it de- 
fies all competion of genuine grape wine, 
Algerian or otherwise. Fig wine cannot be 
distinguished either by taste or the ordinary 
methods of analysis from genuine grape wine, 
especially when it is mixed with a proportion 
of the latter. The detection of fig wine, how- 
ever, is rendered comparatively easy by the 
fact that it contains mannitol. In order to 
separate the mannitol, 100 c. c. of fig wine are 
evaporated to a syrup, which is allowed to stand 
in a cool place for twenty-four hours. At the 
end of this time the residue will have solidified, 
well defined groups of crystals being formed. 
The crystals are washed with cold alcohol of 
85$ strength in order to remove impurities. 
The residue is mixed with animal charcoal and 
extracted with boiling 85$ alcohol and filtered. 
The alcoholic solution yields on evaporation a 
crystalline mass of mannitol, which may be 
recognized by its physical and chemical. prop- 
erties. Certain white wines from the Gironde 
district, as well as raisin and some other wines, 
contain mannitol, but only to the extent of a 
few decigrammes per lit.; while fig wine con- 
tains from 6 to 8 grm. per lit. By a determi- 
nation of the mannitol it is possible to detect 
an adulteration of normal Algerian wine with 
one half or even one fourth of fig wine. 

To Fine Wines.— There are various modes of 
fining wine; eggs, isinglass, gelatine and gum 
arabic are all used for the purpose. Which- 
ever of these articles is used, the process is 
always the same. Supposing eggs (the cheapest) 
to be used : Draw a gal. or so of the wine and 
mix 1 qt. of it with the whites of 4 eggs, by 
stirring it with a whisk; afterward, when thor- 
oughly mixed, pour it back into the cask 
through the bunghole, and stir up the whole 
cask in a rotary direction with a clean split 
stick inserted through the bunghole. Having 



Wines. 630 

stirred it sufficiently, pour in the remainder of 
the wine drawn off, until the cask is full; then 
stir again, skimming- oil the bubbles that rise 
to the surface. When thoroughly mixed by 
stirring, close the bunghole, and leave it to 
stand for three or four days. This quantity of 
clarified wine will fine 13 doz. of port or sherry. 
The other clearing ingredients are applied in 
the same manner, the material being cut into 
small pieces, and dissolved in the qt. of wine, 
and the cask stirred in the same manner. 

To Lay Down Wine. — ■ Having carefully 
counted the bottles, they are stored away in 
their respective bins, a layer of sand or saw- 
dust being placed under the first tier and 
another over it; a second tier is laid over this, 
protected by a lath, the head of the second 
being laid to the bottom of the first; over this 
another bed of sawdust is laid, not too thick, 
then another lath; and so on till the bin is filled. 
Wine so laid in will be ready for use according 
to its quality and age. Port wine, old in the 
wood, will be ready to drink in five or six 
months; but if it is a fruity wine, it will im- 
prove every year. Sherry, if of good quality, 
will be fit to drink as soon as the sickness (as 
its first condition after bottling is called) ceases, 
and will also improve; but the cellar must be 
kept at a perfectly steady temperature, neither 
too hot nor too cold, but about 55° or 60°, and 
absolutely free from draughts of cold air. 

To Fine White Wine.— To fine 30 gal. white 
wine the whites of 3 eggs, will be required with 
the addition of y% an egg shell reduced to pow- 
der, and a tablespoonful of salt. Beat up 
all together with a little of the wine and 
then pour gradually into the wine, stirring 
constantly. 

To Fine Bed Wines.— The operation is carried 
on in the same manner. To lighten up a wine 
add 6 eggs and a handful of salt, use the whites, 
yelks, and shells. 

Flatness of Wine. See Management of Wine, 
page 615. 

Ginger Wine.—l. This is an excellent stoma- 
chic, and is very popular in England as a cheap 
substitute for a grape wine : 

Sugar 12 lb. 

Water 3^ gal. 

Ginger. 4 oz. 

Boil them together for half an hour; when 
cooled to 75 degrees, add the rinds of 6 lemons 
and some good yeast; let it ferment for ten or 
fourteen days, then add 1 pint of brandy and 
bottle if for use. 

2. To 9 gal. of water allow 27 lb. of loaf sugar, 
9 lemons, 12 oz. of bruised ginger, 3 tablespoon- 
f uls of yeast, 2 lb. of raisins stoned and chop- 
ped, lpt. of brandy. 

Boil together for one hour in a copper (let it 
previously be well scoured and beautifully 
clean) the water, sugar, lemon rinds and bruis- 
ed ginger. Remove every particle of scum as 
it rises, and when the liquor is sufficiently 
boiled, put it into a large tub or pan, as it must 
not remain in the copper. When nearly cold 1 ,* 
add the yeast, which must be thick and very 
fresh, and the next day, put all in a dry cask 
with the strained lemon juice and chopped 
raisins. Stir the wine every day for a fort- 
night; then add the brandy, stop the cast down 
by degrees, and in a few weeks it will be fit to 
bottle. Sufficient to make 9 gal. of wine. The 
best time for making this wine is either in 
March or September. 

Gooseberry Wine, Effervescing.— To every gal- 
lon of water allow 6 lb. of green gooseberries, 
3 lb. lump sugar. 

This wine should be prepared from unripe 
gooseberries, in order to avoid the flavor which 
the fruit would give to the wine when in a ma- 
ture state. Its briskness depends more upon 
the time of bottling than upon the unripe 
state of the fruit, for effervescing wine can be 
made from fruit that is ripe as well as that 
which is unripe. The fruit should be se- 
lected when it has nearly attained its full 



Wines. 



growth, and consequently before it shows any 
tendency to ripen. Any bruised or decayed 
berries and those that are very small should be 
rejected. The blossom and stalk ends should 
be removed, and the fruit well bruised in a tub 
or pan, in such quantities as to insure each ber- 
ry being broken without crushing the seeds. 
Pour the water (which should be warm) on the 
fruit, squeeze and stir it with the hand until all 
the pulp is removed from the skin and seeds, 
and cover the whole closely for twenty-four 
hours; after which strain it through a coarse 
bag, and press it with as much force as can be 
conveniently applied, to extract the whole of 
the juice and liquor the fruit may contain. To 
every 40 or 50 lb. of fruit 1 gal. more of hot 
water may be passed through the marc, or 
husks, in order to obtain any soluble matter 
that may remain, and be again pressed. The 
juice should be put in a tub or pan of sufficient 
size to contain all of it, and the sugar added to 
it. Let it be well stirred until the sugar is dis- 
solved; and place the pan in a warm situation; 
keep it closely covered, and let it ferment for 
a day or two. It must then be drawn off into 
clean casks, placed a little on one side for the 
scum that rises to be thrown out, and the casks 
kept filled with the remaining must that should 
be reserved for that purpose. When the ac- 
tive fermentation has ceased,the casks should be 
plugged upright, again filled, if necessary, the 
bungs be put in loosely, and after a few days, 
when the fermentation is a little more languid 
(which may be known by the hissing noise 
ceasing), the bungs should be driven in tight, 
and a spile hole made, to give vent if neces- 
sary. About November or December, on a 
clear, fine day, the wine should be racked from 
its lees into clean casks, which may be rinsed 
with brandy. After a month, it should be ex- 
amined to see if it is sufficiently clear for bot- 
tling; if not, it must be fined with isinglass, 
which may be dissolved in some of the wine; 1 
oz. will be sufficient for 9 gal. In March or 
April, or when the gooseberry bushes begin to 
blossom, the wine must be bottled, in order to 
insure its being effervescing. Make this the 
end of May or the beginning of June, before 
the berries ripen. 

Grape Wine.—l. Ripe grapes.— Mash sound, 
ripe grapes well with your hands in an 
earthen pan, or if not with your hands, 
with a perfectly tasteless stick of wood. 
Do not crush the seeds; strain the liquor 
into a cask, gently squeeze the pulp, pour- 
ing the remainder of the juice into the cask 
(strained). Let it stand aside for a fortnight, 
then draw it off into another cask, covering 
up the bunghole with a piece of slate till all 
fermentation has ceased. Bottle in six months, 
cork and seal, and it will be drinkable in twelve 
months' time. 

2. Grape Wine.— Ten lb. fresh grapes are put 
into a large jar or crock, 3 qt. boiling water 
poured over them, and when the water is cool 
enough to permit of it, squeeze the grapes well 
with the hand. After allowing the jar to re- 
main 3 or 4 days covered with a cloth, press out 
the grapes, then add 5 lb. sugar. Allow it to 
remain for one week, skim and strain carefully, 
then bottle, corking loosely. After the fer- 
mentation is completed, strain and seal tightly. 

3. Put 20 lb. of ripe grapes into a stone jar 
and pour on 6 qt. boiling water ; when cooled 
sufficiently squeeze by hand." Cover jar with 
cloth, let stand for three days, then press out the 
juice; add 101b. crushed sugar. After standing 
a week, scum, strain and bottle, corking loose- 
ly. When fermentation is complete strain again 
and bottle, corking tightly. Lay on side in 
cool place. 

British Hock, British Bed Hock— Prom cream 
of tartar, 1J4 oz.; tartaric acid, )4 oz. (both in 
very fine powder); juices of the purple plum, 
ripe apples, and red beet, of each (warmed), 5 
pt.; lemon juice, 1 pt.; with white sugar, 2}£ 
lb. per gal. 



- 



AVines. 



621 



Wines. 



Honey Wine. — 

Honey 20 lb. 

Cider 12 gal. 

Ferment, then add — 

Rum 14 gal. 

Brandy y 2 gal. 

Red or white tartar (dissolved) . . 6 oz. 

Bitter almonds 34 oz. 

Cloves 34 oz. 

This is also called mead wine. 

Kola Wine.— , 

Kola nuts in coarse powder 1 oz. 

Sherry wine 30 oz. 

Macerate for eight days and filter. 

This wine may also be made with roasted 
kola nuts, which give a better tasting prepara- 
tion and it is none the worse for the addition of 
a little sugar.— Dieterich in Phar. Central. 

Madeira Wine.— 1. To 10 gal. prepared cider 
add 1 gal. Madeira wine; 3 qt. pure proof spirits; 

1 qt. brandy; % to 1 oz. tartaric acid; 34 drm. 
oil bitter almonds cut in y 2 pt. alcohol; 13^ lb. 
loaf sugar. Allow it to stand for two weeks; 
rack, fine and repeat if necessary. 

2. Pale malt, ground, 4 bushels; boiling water, 
44 gal.; infuse, sti'ain otf this while warm; take 
24 gal. and add sugar candy, 14 lb., and cream of 
tartar, 3 oz.; when dissolved add yeast 2 lb.; 
ferment, keep skimming off the yeast and when 
the fermentation is nearly finished add raisin 
wine, 23^ gal-; brandy and sherry wine of each 

2 gal.; rum, 1 qt.; bung it down for six or nine 
months. A second infusion of the malt may 
be made for beer. 

3. Purified honey 15 oz. 

Hop tops % oz. 

Alcohol, W° 193^ oz. 

French wine 43^ qt. 

Add 24 oz. tincture burned sugar. Filter. 

Mead or Honey Wine.— Take 10 gal. of water, 
2 gal. of strained honey, with 2 or 3 oz. of white 
Jamaica ginger root, bruised, and 2 lemons cut 
in slices. Mix all together and boil for half an 
hour, carefully skimming all the time. Five 
minutes after the boiling commences add 2 oz. 
of hops. When partially cold put it into a cask 
to work off. In about three weeks after work- 
ing it will be fit to bottle. This is a wholesome 
and pleasant beverage, particularly grateful in 
summer when drunk mixed with water. 

British Malmsey.— From sliced or grated par- 
snips, 4 lbs.; boiling water, 1 gal.; when cold 
press out the liquid, and to each gal. add of 
cream of tartar, 3^2 oz., and good Muscovado 
sugar, 3 lb.; ferment, rack and add of brandy, 
3% to 5%. Good Malaga raisins may be substi- 
tuted for the sugar. 

Maturation of Winet See Management of 
Wine, page 615. 

Medicated Wines. — Dieterich, in a late issue 
of his Pharmaceutische Manual, gives a number 
of formulas for the preparation of medicated 
wines. Few, if any, of these can be regarded 
as tipples, but all are peculiar for the fact that 
the wine from which they are made is detan- 
nated. We give a selection of the more impor- 
tant formulas for articles which should be sal- 
able if put up in attractive form and brought 
before customers in a nice way. 

Cascara Sagrada Wine. — 

White gelatine, in strips 15 grn. 

Distilled water 234 drm. 

Dissolve by the aid of heat, and add to— 

Sherry wine 28 oz. 

Shake well, set aside for some time, then add— 
Tasteless fluid extract of cascara 

sagrada 13^ oz. 

Sugar 13^ oz. 

Set aside in a cool place for eight days, and 
filter. 
A similar wine, not free from the bitter 



principle of the bark, may be made by macera- 
ting 13^ oz. of cascara sagrada and 13^ oz. of 
sugar in 30 oz. of sherry, for eight days, and 
filtering. A Rhamnus frangula wine can be 
made in the same way. 

Cinchona Wine.— 

White gelatine 15 grn. 

Distilled water 2}^ drm. 

Sherry wine . . 18 " oz. 

Detannate in the manner directed above; 
then add— 

Simple syrup 6 oz. 

Tincture of cinchona 6 oz. 

After eight days, filter. 

May also be made with red wine, or direct 
from the bark, the quantities being- 
Gelatine. ... . 15 grn. 

Distilled water «, 23^ drm. 

Sherry wine 30 oz. 

Cinchona bark, in coarse powder 10 drm. 
Sugar 13^ oz. 

Macerate for eight days, and filter. 

In this case, care must be taken to have the 
gelatine and wine reaction complete before add- 
ing the cinchona; otherwise the alkaloid may 
be thrown out by the tannin of the wine. 

Improved Quinine Wine. — 

Gelatine .15 grn. 

Distilled water . . 2)4, drm. 

Dissolve, and add to— 

Sherry wine 293^ oz. 

Shake, and set aside to clear ; then add the 
following solution : 

Hydrochlorate of quinine 30 grn. 

Dilute hydrochloric acid 30 drops. 

Water , J^j oz. 

After a week filter. 

This is double the strength given by Die- 
terich. 

To Mellow Wines.— Cover the orifices of the 
vessel containing it with bladder closely fas- 
tened, instead of the usual materials, and an 
aqueous exhalation will pass through the blad- 
der, leaving some fine crystallizations on the 
surface of the wine, which, when skimmed off, 
leaves the wine in a highly improved state of 
flavor. Remnants of wine covered in this 
manner, whether in bottles or in casks, will not 
turn mouldy as when stopped in the usual way, 
but will be improved instead of being deterio- 
rated. 

British Red Moselle.— Malmsey, colored with 
clarified elderberry juice. 

British Sparkling Moselle.— From rich cider 
apples (carefully peeled and garbled), pressed 
with one-fourth of their weight of white mag- 
num bonum plums (previously stoned), and the 
juice fermented with 23^ lb. double refined 
sugar per gal., as champagne. 

Mould. See Management of Wine, on page 615. 

Mulberry.— \. Juice of the fruit, 10 gal.; or of 
mulberries, bruised, 15 gal.; water, 15 gal.; sugar, 
35 gal. Boil and ferment, then add spirit, 2 or 
3 gal.; red tartar, 7 oz.; cassia, \& oz.; bitter al- 
monds, 3*6 oz. 

2. Ripe mulberries, ripe apples, equal quanti- 
ties; sugar or honey, 1 lb. to the gal. Express 
the juice, put it into a cask, and add the sugar. 
Ferment with yeast, 1 qt. to every hhd.; cate- 
chu, y 2 lb.; red argol, 3*6 lb. 

Mulled Wine.— Take 34 oz. bruised cinnamon, 
3^ nutmeg, grated, and 10 bruised cloves. In- 
fuse them in ¥2 pt. boiling water for an hour, 
strain, and add U oz. white sugar. Pour the 
whole into 1 pt. hot port or sherry wine. This 
is a good cordial and restorative in low stages 
of fever, or in the debility of convalescence 
from fevers. 

British Muscatel— As British sparkling mo- 
selle, with some infusion of clary, or of the 
musk plant, to flavor it. 



Wines. 



622 



Wines. 



Orange Wine.— The oranges must be perfectly 
ripe. Peel them and cut tnem in halves, cross- 
wise of the cells; squeeze into a tub. The press 
used must be so close that the seeds cannot pass 
into the must. Add 2 lb. white sugar to each 
gal. sour orange juice, or 1 lb. to each gal. sweet 
orange juice, and 1 qt. water to each gal. of the 
mixed sugar and juice. Close fermentation is 
necessary. The resultant wine is amber col- 
ored, and tastes like dry hock, with the orange 
aroma. Vinegar can be made from the refuse, 
and extract from the peels. 

Peach, to Make.— Take of cold soft water, 18 
gal.; refined sugar, 25 lb.; honey, 6 lb.; white 
tartar, in fine powder, 2 oz.; peaches, 60 or 80 
in number. Ferment, then add 2 gal brandy. 
This will make 18 gal. 

The first division is to be put into the vat, 
and the day after, before the peaches are put 
in, take the stones from them, break them and 
the kernels, then put them and the pulp into 
the vat. 

Pepsin Wine. — 

White gelatine, in strips — 15 grns. 

Distilled water 2}4 drm. 

White wine 25 oz. 

Detannate as described. At the same time 
mix together — 

Pepsin 7 drm. 

Glycerine ,6 drm. 

Distilled water .... 6 drm. 

Add to the wine along with 40 min. of hydro- 
chloric acid ; macerate for eight days, shaking 
occasionally; then filter. 
Port. — 

1. Ripefruit .4 lb. 

Clear soft water 1 gal. 

Sugar 3 lb. 

Cream tartar dissolved in boiling 

water 1)4 oz. 

Brandy 2 to 3%. 

Flavoring as required. 

The addition of an equal quantity of fruit 
and sugar increases the strength. 

2. Add to 10 gal. prepared cider, 2 gal. genuine 
port wine ; 2 qt. best cognac brandy ; 1 pt. sim- 
ple syrup; 1 lb. bruised raisins; 1 oz. tincture 
kino ; J^ oz. extract rhatany ; 3 qt. proof spir- 
its. Allow it to stand for two weeks, rack, fine 
and repeat if necessary. Keep the wine cool. 

3. British Port, London Port, Southampton 
Port — 

Red Cape 2 gal. 

Damson or elder wine 1 gal. 

Brandy \& pt. 

Powdered kino ^ oz. 

4. Strong old cider 6 gal. 

Elderberry juice 4 gal. 

Sloe juice 3 gal. 

Sugar 28 lb. 

Powdered extract of rhatany 1 lb. 

At time of racking add brandy . . % gal. 
Good port wine 2 gal. 

5. Good port, 12 gal.; rectified alcohol, 6 gal.; 
French brandy, 3 gal.; strong rough cider, 42 
gal.; mix in a well sulphured cask. 

6. Port wine, 8 gal.; brandy, 6 gal.; sloe juice, 
4 gal.; strong rough cider, 45 gal.; as the last. 

7. Cider, 24 gal.; juice of elderberries, 6 gal.; 
sloe juice, 4 gal.; rectified alcohol, 3 gal.; 
brandy, 1*4 gal.; powdered rhatany, 7 lb.; isin- 
glass, 4 oz.; dissolved in a gallon of cider; bung 
it down ; in three months it will be fit to bottle, 
but should not be drunk until the next year ; 
if a rougher quality is required, the quantity 
of rhatany may be increased, or alum, 5 or 6 
oz. (dissolved in water), may be added. 

Quinine Wine.— Break into small pieces 1 oz. 
of sulphate of quinine, and put it in a glass 
jar with 2 oz. of 90% Alcohol; let the qui- 
nine infuse for twenty-four hours; add 1 qt. 
of claret, and let it remain thus for twelve 
days ; then filter the wine through a felt bag, 



and bottle for use. The above quantity of qui- 
nine may be dissolved, without the addition 
of alcohol in any of the following wines: 
Medeira, Marsala, Malaga, Lunel, or Alicant. 

Racking Wine. See Management of Wine, on 
page 615. 
Bed Wine.— 

Cider 16 - gal. 

Honey 27 lb. 

Tartar (red) 8 oz. 

Raw sugar 3 lb. 

Sliced red beet 6 lb. 

Boil, ferment, add— 

Cassia ^ oz. 

Ginger J^ oz. 

Spirit 5 qts. 

Ripening of Wine. See Mananagement of 
Wine, on page 615. 

Ropiness of Wine. See Management of Wine, 
on page 615. 

Senna Wine- 
Alexandrian senna leaves 1}4 oz. 

Sherry wine 27 oz. 

Macerate for eight days, press and strain; 
then add 5 grns. of gelatine dissolved in 2}4 drm. 
of distilled water, and then the following: 

Tincture of orange peel 1 oz. 

Tincture of ginger *4 oz. 

Aromatic tincture 80 min. 

Honey .._.. .2 oz. 

Again allow to stand for ten days, and filter. 
This wine is an excellent aperient for persons 
suffering from hemorrhoids. It should be taken 
in tablespoonfuls, according to the effect de- 
sired. 

Sherry Wine.— I. To 8 gal. prepared cider add 
6 qt. best sherry wine ; 1 gal. native wine ; J4 
drm. oil bitter almonds cut in % pt. alcohol ; 3 
gal. proof spirits ; 1 lb. sugar ; saffron to color. 
Let the wine stand for ten days, rack and fine. 
2. Cape or raisin wine slightly flavored with 
a very little bitter almond cake, or, what is 
more convenient, a little of the essential oil 
dissolved in alcohol (essence of bitter almonds). 
— 3. To the last add a minute quantity of sweet 
brier, eau de fleurs d'oranges, or orris, to give 
it a very slight bouquet.— 4. To each gal. of 
strong raisin must, add, when racking, 1 Seville 
orange and 2 bitter almonds, both sliced. By 
omitting the almonds, and adding 2 or 3 green 
citrons to each 10 gal., this forms British 
Madeira : 
5. Loaf sugar 32 lb. 

Sugar candy 10 lb. 

Water 16 gal. 

Boil, add pale ale wort (as for Madeira), 6 gal.; 
yeast, 1 lb.; on the third day add raisins, stoned, 
10 lb.; and in another two or three days brand y 
1 gal.; bitter almonds, grated, 1 dr.; bung it 
down for four months, draw it off into another 
cask, add brandy 1 gal., and in three months 
bottle it.— 6. Teneriffe, slightly flavored with 
cherry laurel or almonds, forms a most excel- 
lent British sherry, either alone or diluted 
with an equal quantity of Cape or raisin wine. 

Sour Grupes, Cherry Wine from.— The way 
an imitation sherry is made in England is to 
mix equal quantities of new cider and honey, 
and evaporate to a density so that a fresh egg 
will float so as to be half immersed. The liquid 
is then cooled and kept in a stone vessel at a 
temperature of from 60° to 67° Fah., until in 
about twelve or fourteen days the peculiar 
smell of the fermentation is strongly estab- 
lished; then the liquid is 'put into a barrel, 
closed up, and placed in a cool cellar to settle; 
after three or four days it will be cleared; it is 
then bottled, and six weeks later is fit for drink- 
ing. We believe that grape juice may be used 
in place of cider; but if too acid, sugar and 
water would only make a kind of lemonade, 
and spoil the sherry taste, which is not acid. 
Sugar does not destroy this, but sulphite of 
lime is the proper material (not sulphate). 



Wire. 



623 



Wood. 



Sourness in Wine, to Correct a Bad Taste and 
Sourness.— Put in a bag the root of wild horse- 
radish cut in bits. Let it down in the wine and 
leave it there two days; t ake this out and put in 
another, repeating- the same till the wine is 
perfectly restored. Or fill a bag with wheat; 
it will have the same effect. 

Sour Wine, to Restore. — 1. Take calcined 
gypsum, in powder, 1 oz.; cream of tartar, in 
powder, 2 oz. 

Mix them in a pint or more of brandy; pour 
it into the cask; put in, also, a few sticks of 
cinnamon, and then stir the wine without dis- 
turbing the lees. Bung up the cask next day. 

2. Boil 1 gal . of wine with some beaten oyster 
shells and crab's claws, burnt into powder, an 
ounce of each to every 10 gal. of wine; then 
strain out the liquor through a sieve, and when 
cold, put it into wine of the same sort, and it 
will give it a pleasant, lively taste. A lump of 
unslaked lime put into each cask will also keep 
the wine from turning sour. 

Wine, Spirits of. See Alcohol. 

Strawberry Wine. — Take of cold, soft water, 
7 gal.; cidar, 6 gal.; strawberries, 6 gal. Fer- 
ment. Mix raw sugar, 161b.; red tartar, in fine 
powder, 3 oz.; the peel and juice of 2 lemons; 
then add brandy, 2 or 3 qt. This will make 18 
gal. 

Another.— Take of cold, soft water, 10 gal.; 
strawberries, 9 gal. Ferment. Mix raw sugar, 
25 lb.; red tartar, in fine powder, 3 oz.; 2 lemons 
and 2 oranges, peel and juice ; then add brandy, 
1 gal. This will make 18 gal. 

To Sweeten Wine.— In 30 gal. of wine infuse a 
handful of the flowers of clary ; then add 1 lb. 
of mustard seed, dry ground, put it into a bag, 
and sink it to the bottom of the cask. 

Tartaric Acid in Wine, Detection of Free.— 
Professor Claus evaporates to a syrup and agi- 
tates with ether. If free tartaric acid is pres- 
ent, the ether leaves, on evaporation, a crystal- 
line deposit, which, if dissolved in water, gives, 
on the addition of an alcoholic solution of 
potassic acetate, a precipitate of tartar. The 
author proves the solubility of tartaric acid in 
ether v which is denied in most text books.— 
Polyt. Notizblatt. 

British Tokay.— To good cider, 18 gal., add of 
elderberry juice, \b gal.; honey, 281b.; sugar, 14 
lb.; red argol, in powder, % lb.; crystallized 
tartaric acid, 3 oz.; mix, boil, ferment, and, 
when the active fermentation is complete, add 
of brandy, 1 gal., and suspend in the liquid from 
the bunghole a mixture of cassia and ginger 
of each, J^j oz.; cloves and capsicum of each, 34 
oz.; the whole bruised and loosely inclosed in a 
coarse muslin bag. It will be ripe in 12 months. 

White Wine — 

Cider 100 gal. 

Honey 80 lb. 

Sugar 20 lb. 

Mix and ferment. Add 6 gal. spirit; white 
tartar, 1±& lb.; bitter almonds bruised, 1 oz. 

Wire 9 to Ascertain Amount Required for 
Cable.— For the length of a wire in a strand, add 
to a given length as many times the circumfer- 
ence of the strand as there are twists in the 
given length, for the outside wires; and pro- 
portionately for the inner row. The center 
wire is supposed to be straight. Proceed in the 
same way for the strands. The excess of wire 
in each strand added to the excess of the 
strands over the length of the cable will give 
the whole length of wire used. 

Wire Rope, to Preserve.— Apply raw linseed 
oil with a piece of sheepskin, wool inside; or 
mix the oil with equal parts of Spanish b''own 
and lampblack. To preserve wire rope under 
ground or in water, take mineral or vegetable 
tar, add 1 bushel of fresh slaked lime to 1 bar- 
rel of tar, which will neutralize the acid; boil it 
well, then saturate the rope with the boiling 
tar. 



Wire, to Straighten. —Such a tool is shown 
in the accompanying cut. It consists of a cast- 




ing about 10 in. in length, having on each end a 
bearing which may be supported in suitable 
boxes. The pulley is a part of the casting, and 
is 3 in. in diameter and 2 in. wide. Four steel 
pins are inserted 1 in. apart and a little to one 
side of a central longitudinal line. A hole a 
little larger than the wire to be straightened is 
drilled axially through the bearing. The wire 
passes through the tool over and under 
the steel pins. It is well lubricated and is 
pulled through as the tool revolves rapidly. 

Wire, Comparison of Gauges, Re- 
sistance, etc. See Appendix. 

Woad.— Isatis sativa, a plant containing a 
small amount of indigo, formerly used as a dye, 
now added to indigo vats for wool dying, as a 
promoter of fermentation. A variety of the 
plant cultivated in the south of France is 
known under the name of pastel, whence the 
term pastel vat, applied to a kind of indigo vat. 

Wood's Alloy. See Alloys (Fusible). 

Wood, Brazil. — A soft red wood pro- 
duced by Ccesalpinia cristata, a tree growing in 
Brazil. The wood is brought over in irregular 
knotty masses. When freshly chipped it has a 
yellow color, but on exposure to air and mois- 
ture it turns reddish. It may be distinguished 
from the other hard, red woods, by the cir- 
cumstance that it speedily imparts a bright 
red color to water. 

Wood, Cam (Kambe Wood).— Camwood is 
obtained from Sierra Leone, the Gaboon, and 
other parts of the west coast of Africa. It be- 
longs to the hard section of the red woods. It 
yields its coloring matter to water much more 
readily than barwood and sanders, but much 
less freely than Brazil wood. No true, perma- 
nent extract of camwood can be said to exist, 
since boiling water charged with its coloring 
principle, redeposits the same on cooling, and 
retains merely a trace. 

Wood, Bone Surface on. — Levigated 
oxide of tin, prepared putty powder, 1 oz.; 
powdered oxalic acid, X A oz.; powdered gum, 20 
grn.; make into a stiff paste with water, and 
evenly and thinly spread it over the strap. If 
it does not stick, use glue. 

Wood, to Bronze. See Bronzing. 

Wood, Cement for. See Cements. 

Wood, Cracks in. — Melt equal parts of 
pitch and gutta percha in an iron pot; thor- 
oughly mix by stirring. Make up in sticks and 
melt into the cracks with a warm iron. 

Wood, Enamel for. See Enameling. 

Wood, Cheap Finish for.— A cheap pol- 
ish to brighten hard oil finished work after 
being rubbed. 

Gumshellac 1 oz. 

Gum arabic J4 oz. 

Gum copal ^4 oz. 

Powder and sift through a piece of muslin; 
put them in a closely corked bottle with 1 pt. 
alcohol, in a warm place, shaking every day 
till the gums are dissolved, then strain and 
bottle. 

Wood, to Fireproof. See Fireproof- 
ing. 

Wood, Glue for. See Glues. 

Wood, to Harden.— Wood steeped in a 
solution of iron sulphate or copperas becomes 
very hard and almnst indestructible. 



Wood. 

Wood, to Petrify.— Wood may be petrified 
by placing it in the following- mixture after the 
ebullition has ceased : Equal parts chalk Pee- 
bles powder, white vinegar, gem salt, and rock 
alum. Mix well. 

Wood, to Polish. See Polishing. 

Wood* to Protect. — Paraffineand creosote 
are good preservatives for fence posts and shin- 
gles, but too expensive for general use. Coal 
tar is much used, and is no doubt cheaper. 
Crude paraffine can be had at from 7 to 8 cents a 
pound. Crude creosote about the same. 

Wood, Oiling o/.— Wagon makers or repairers 
can save their stock from worms by oiling with 
linseed oil. Single trees, double trees, neck 
yokes, spokes, and cross bars that are of white 
hickory, and are kept in stock for a year or 
more, will be eaten by worms if not kept in a 
dark place or otherwise protected. Coal and 
kerosene oil are good also, and the expense of 
applying is but little. Linseed oil is prefer- 
able, as it acts to some extent as a wood filler, 
filling the pores and thus aiding the painting-, 
which follows in its proper place. Some manu- 
facturers oil all their white hickory stock before 
shipping. — Lumber World 

Wood, Preservation of. — 1. The im- 
proved I rench method of preserving wood by 
the application of lime is found to work well. 
The plan is to pile the planks in a tank, and to 
put over all a layer of quicklime, which is 
gradually slaked with water. Timber for mines 
requires about a week to be thoroughly impreg- 
nated, and other wood more or less time, ac- 
cording to its thickness. The material acquires 
remarkable consistence and hardness, it is 
stated, on being subjected to this simple pro- 
cess, and the assertion is made that it will never 
rot. Beechwood prepared in this way for 
hammers and other tools for iron work is found 
to acquire the hardness of oak, without parting 
with any of its well known elasticity or tough- 
ness, and it also lasts longer.— Amer. Building 
News. 

2. Dry Rot, to Preserve from. — The best 
way to preserve a timber exposed to the action 
of the weather is to force into the pores of well 
seasoned wood as much carbolic acid, or creo- 
sote, as possible. This soon resinifies, and most 
effectually prevents the timber from dry rot 
and decay. On a large scale, as for railway 
sleepers, expensive appliances are needed ; but 
for barns or outbuilding, it may be applied to 
considerable advantage by the use of a paint 
brush. 

3. Burnettizing.— A solution of 1 lb. chloride 
of zinc to 4 gal. water for timber, and 1 lb. 
chloride of zinc to 5 gal. water for canvas, cor- 
dage, etc., in a wooden tank. These were the 
proportions originally specified; 1 lb. of the 
salt to 9 or 10 gal. water, are now more fre- 
quently used. Timber requires to be immersed 
for about two days for each in. in thickness, 
and afterward taken out and left to dry for 
about fourteen to ninety days. Canvas, ropes, 
etc., require to be immersed in the solution for 
about forty-eight hours, then taken out and 
dried. The process on wood may be more ex- 
peditiously performed by forcing the solution 
into the pores with a pressure of 150 lb. to the 
sq. in. The advantage of this process is that it 
renders the material to which it is applied 
incombustible. 

4. Kyanizing.— The timber is immersed in a sat- 
urated solution of corrosive sublimate (bichlo- 
ride of mercury) in a wooden tank, put together 
so that no metal of any kind can come in con- 
tact with the solution. One lb. corrosive sub- 
limate to 10 gal. water is used when a maxi- 
mum strength is required, and 1 lb. to 15 gal. 
water when a minimum, according to the por- 
osity of the timber; with the latter proportion, 
V/% lb. will be sufficient for a load of timber of 
50 cub. ft. Corrosive sublimate dissolves best 
in tepid water. The time required to saturate 
the timber depends on its thickness; twenty- 



624 Wood. 



four hours are usually allowed for each in. in 
thickness for boards and small timber; large 
timber requires two to three weeks. 

5. Payne's. —Impregnating the wood, while 
in a vacuum, with a strong solution of sul- 
phate of iron, and afterward forcing into the 
timber a solution of sulphate of lime, or any of 
the alkaline carbonates, such as carbonate of 
soda, by which means the oxide of iron be- 
comes insoluble. The wood is also rendered in- 
combustible by this process. 

6. To Preserve Woodworks that are Exposed 
to Damp.— For those of an extensive nature, 
such as bridges, etc. The Hollanders use for 
the preservation of their sluices and flood- 
gates, drawbridges and other huge beams of 
timber exposed to the sun and constant changes 
of the atmosphere, a certain mixture of pitch 
and tar, upon which they strew small pieces of 
shell broken finely— almost to a powder— and 
mixed with sea sand, and the scales of iron, 
small and sifted, which incrusts and preserves 
it effectually. 

7. A paint composed of sub-sulphate of iron 
(the refuse of the copperas pans), ground up 
with any common oil and thinned with coal 
tar oil, having a little pitch dissolved in it, is 
flexible, and impervious to moisture. 

8. Linseed oil and tar, in equal parts, well 
boiled together, and used while boiling, rubbed 
plentifully over the work while hot, after be- 
ing scorched all over by wood burnt under it, 
strikes ^ in. or more into the wood, closes the 
pores, and makes it hard and durable either 
under or out of water. 

9. For fences and similar works, a coating of 
coal tar, sanded over ; or boil together 1 gal- 
coal tar and 2,% lb. white copperas, and lay it 
on hot. 

10. To prevent rot. Thoroughly season the 
wood before fixing, and when fixed, have a 
proper ventilation all round it. 

11. Charring, after seasoning, will fortify 
timber against infection ; so will a coating of 
coal tar. 

1;}. To Cure Incipient Dry Rot— If very much 
infected, remove the timber, and replace with 
new. 

13. A pure solution of corrosive sublimate in 
water, in the proportion of 1 oz, to 1 gal., used 
hot, is considered a very effectual wash. 

14. A solution of sulphate of copper, y% lb. 
per gal. of water, laid on hot. 

15. A strong solution of sulphate of iron ; 
this is not so good as sulphate of copper. 

16. A strong- solution of sulphates of iron 
and copper in equal parts, % lb. of the sul- 
phates to \% gal. water. 

17. Paraffin oil, the commonest and cheapest 
naphtha and oil, or a little resinous matter dis- 
solved and mixed with oil, will stay the wet 
rot. 

18. Remove the parts affected, and wash with 
dilute sulphuric acid the remaining wood- 
work. 

19. Dissolve 1 lb. sulphate of copper in 1 gal. 
boiling water, then add V/i lb. sulphuric acid in 
6 gal. water, and apply hot. 

20. To Prevent Worms in Timber.— Anointing 
with an oil produced by the immersion of sul- 
phur in aquafortis (nitric acid) distilled to dry- 
ness, and exposed to dissolve in the air. 

21. Soaking in an infusion of quassia renders 
the wood bitter. 

22. Creosoting timber if the smell is not ob- 
jectionable. , 

23. Anointing the timber with oil of spike, ju- 
niper or turpentine, is efficacious in some 
degree. 

24. For small articles, cover freely with copal 
varnish, in linseed oil. 

25. To Prevent Worms in Marine Building.— 
A mixture of lime, sulphur, and colocynth 
with pitch. 

26. Saturating the pores with coal tar, either 
alone or after a solution of corrosive sublim- 
ate has been soaked and dried into the wood. 




Wood. 



625 



Wood. 



27. Sheathing" with thin copper over tarred 
felt is esteemed the best protection for the 
bottoms of ships for all marine animals ; the 
joints should be stopped with tarred oakum. 

28. Studding- the parts under water with 
short broad-headed nails. 

29. To Destroy Worms in Carvings.— Fumigate 
the wood with benzine. 

30. Saturate the wood with a strong solution 
of corrosive sublimate ; if used for carvings, 
the color should be restored by ammonia, and 
then by a weak solution of hydrochloric acid ; 
the holes may be stopped up with gum and 
gelatine, and a varnish of resin dissolved in 
90$ alcohol should afterward be applied to 
the surface. 

31. Whale oil and poisonous ointments have 
been found of service. The wood should be 
carefully brushed before being operated upon. 

32. To Destroy Ants and Insects in Wood.— 
Corrosive sublimate is an effectual poison to 
them. 

33. Oils, especially essential oils, are good 
preventives. 

34. Cajeput oil has been proved effectual for 
destroying the red ant. 

35. Payne's, Bethell's, and Burnett's processes 
are said to be proof against the white ant of 
India. 

36. Dust the parts with pounded quicklime, 
and then water them with the ammoniacal 
liquor of gas works, when the ammonia will be 
instantly disengaged by the quicklime, and 
this is destructive to insect life. 

37. For the black ant, use powdered borax ; 
or smear the parts frequented by them with 
petroleum oil ; or syringe their nests with fluo- 
ric acid or spirits of tar, to be done with a 
leaden syringe ; or pour down the holes boiling- 
water to destroy their nests, and then stop up 
the holes with cement. Ants dislike arsenic, 
camphor and creosote. — Britton. 

38. Nicholson, noting that railway sleepers 
lying on ground which had formerly been the 
bed of a salt lake, in Nebraska, retained their 
power to resist decay for an unusually long 
period, and showed an excess of alkaline salts 
in their ash, suggests that here is a cheap and 
effective preservative. 

39. Lostal, a French railway contractor, 
recommends the use of quicklime for preserv- 
ing timber. He puts the planks in tanks and 
covers them with quicklime, which is gradually 
slaked with water. Timber, such as is used in 
mines, takes about a week to become thorough- 
ly impregnated. The wood acquires a remark- 
able hardness and toughness, and, it is said, 
will never rot. Beechwood has been prepared 
in this way for hammers and other tools in 
several ironworks, and is reported to have been 
as hard as oak, without losing its peculiar 
elasticity. 

40. Wood will be effectually preserved from 
the action of the air if it is covered by a paint 
brush with -a solution of persulphate of iron, 
marking 2° to 2J^° B. The blue tint which is 
developed by drying changes to brown when 
a coat of linseed oil is laid on— Revue Indust. 

41. Lay timber up, when perfectly dry, in an 
airy place, that it may not be exposed to the 
sun or wind, and taking care that it does not 
stand upright, but let it be laid along, one 
piece upon another, interposing here and there 
some short blocks, to prevent that mouldiness 
which is usually contracted when planks sweat. 
Lay planks in a stream of running water for a 
fortnight, and then set them up in the sun and 
wind, so that the air may freely pass between 
them, and turn them frequently. Boards thus 
seasoned will floor much better than those 
which have been kept in a dry place for many 
years. Elm, felled ever so green, if kept for 
four or five days, obtains a good seasoning and 
is rendered fit for immediate use. This water 
seasoning is not only a remedy against the 
worm, but also prevents distortions and warp- 
ing. Where huge massy columns are to be used, 



it is a good plan to bore them through from 
end to end, as it prevents their splitting. Tim- 
bers occasionally laid in mortar, or any part 
contiguous to lime, have sometimes been cap- 
ped with melted pitch as a preserver from the 
destructive powers of lime; but it has been 
found to be rather hurtful than otherwise. 

42. For the purpose of preserving timber for 
mines, Koug packs the timber, cut in proper 
lengths, in a vertical position in an iron reser- 
voir, provided with a tight fitting cover. The 
vessel is then filled to about three-fourths of 
its capacity with a solution of the cai-bolate of 
soda. Into this he leads live steam, which 
speedily brings the liquid to the boiling point. 
The access of the steam is continued until, by 
its gradual condensation, it has filled the vessel 
to its full capacity. The wood is then allowed 
to remain in the hot liquid some hours; this is 
drawn off, and the wood washed off with a dry 
steam jet. 

43. Hock dissolves paraffin in ligroin, so- 
called petroleum ether, kerosene or other con- 
venient substances, and immerses the wood to 
be preserved in the solution, care being taken 
that the wood is as dry as possible. After im- 
pregnation, the saturated wood is heated in a 
large retort provided with a condensing ar- 
rangement, whereby the volatile solvent is 
expelled and condensed for use over again, 
while the paraffin is left in the pores of the 
timber. Crude paraffin (containing much li- 
quid hydrocarbons) may be employed. 

44. At Bellagio, on the lake of Como, where 
oliye wood is used in large quantities for the 
formation of various articles of turnery, the 
plan adopted for seasoning the wood is to boil 
it for about ten minutes, and then let it dry 
gradually for months before using it. 

45. The best preservative against dry rot, 
according to the Ameriean Journal of Phar- 
macy, is the following : 

Oil of cassia 1 part. 

Wood tar 1 part. 

Train oil 1 part. 

Apply 3 coats on the reverse sides and on the 
ends of planks, floors, etc. In all probability 
oil of cassia plays the chief role as preserva- 
tive. 

46. During the excavation of a canal in Ber- 
lin, the workmen struck upon 12 perfectly pre- 
served coffins, which lay apparently in 4 
graves, each containing 3 superimposed coffins. 
The site of the discovery corresponds with the 
cemetery that existed even as late as 1620 in 
connection with the poor house and pestilent 
hospital. The corpses must in consequence 
have been in the earth for at least 260 years. 
Notwithstanding this long period, the coffins, 
as well as their contained bones, are in a per- 
fect state of preservation; articles of clothing 
have even been found still clinging to some of 
the bones. Prof. Virchow found upon inves- 
tigation that the coffins were coated on both 
sides with a thick layer of tar, the wood itself 
appearing to be young oak, 1 inch in thickness. 
A silicious crust was likewise found on the 
inner side of the coffins. The wood is so hard 
that axes and saws were broken in the attempt 
to cut it. 

47. Jacques first impregnates the timber thor- 
oughly with a simple solution of soap mixed 
with an acid— preferably phenic acid. This 
causes the formation in a few days, within the 
wood, of a fatty acid, which is insoluble in 
water, and impregnates the remotest fibers. 
The reaction of the acid on the soap does not 
take place until a portion of the water has 
evaporated. It is claimed that more perfect 
impregnation can be had in this way than with 
creosote, and there is no danger of the wash- 
ing out of the preservative from the exposed 
surfaces, as when sulphate of copper is used. 
The government commission on technical rail- 
road operation in France is said to favor this 
process. 



Wood. 



626 



Wood. 



48. Card impregnates the wood with a solu- 
tion of zinc chloride or other antiseptic soluble ■ 
mineral salt, then dries the outer layers of the 
wood by heated air currents, and finally satu- 
rates with hot creosote oil. The creosote oil is 
to prevent the soluble antiseptic from being- 
washed out. 

49. Richard uses common salt, in a chemically 
pure crystallized form, as the most efficacious 
preservative of timber. In combination with 
alum, absolute incombustibility, it is said, can 
be insured by its use.— Revue Indust. 

50. The well known methods of preserving- 
posts and wood which are partly embedded in 
the earth, by charring and coating with tar are 
only effective when both are applied. Should 
the poles only be charred without the subse- 
quent treatment with tar, the charcoal forma- 
tion on the surface would act as an absorber of 
the moisture, and, if anything, only hasten the 
decay. By applying a coating of tar without 
previously charring, the tar would only form a 
casing about the wood, nor would it penetrate 
to the depth which the absorbing properties of 
the charcoaled surface wound insure. "Wood 
that is exposed to the action of water or let in- 
to the ground should first be charred, and then 
before it has entirely cooled be treated with tar 
till the wood is thoroughly impregnated. The 
acetic acid and oils contained in the tar are 
evaporated by the heat, and only the resin is 
left behind, which penetrates the pores of the 
wood and forms an airtight and waterproof 
envelope. It is important to impregnate the 
poles a little above the line of exposure, for 
here it is that the action of decay affects the 
wood first, and where the break always occurs 
when removed from the earth or strained in 
testing.— (Ind. Blatt.) 

51. Muller employs for the preservation of 
wood the phosphate of baryta formed within 
the fiber. The wood is first steeped in a solu- 
tion of the phosphate of soda containing 7% of 
the salt. When dry, the wood is again treated 
with a solution of chloride of barium contain- 
ing 13%. 

52. Leech takes 1 lb. arsenious acid and dis- 
solves it in 4 gal. water; to this he adds lib. 
carbonate of soda, stirring the mixture till it is 
thoroughly dissolved. In a separate vessel he 
makes a solution of 16 lb. sulphate of copper in 
16 gal. water, mixes the solutions together, and 
places them in a wooden or lead lined vat. The 
timber is placed in this bath, and the solution 
heated by means of steam to the boiling point. 
A few hours' soaking is said to be sufficient, 
but when heat is not applied the wood must re- 
main for at least two or three days. These solu- 
tions are applicable to wood that is already in 
permanent position, as telegraph poles, fences, 
and gEftes. In these and similar cases one solu- 
tion should be painted on and allowed to dry 
before the other is applied. When possible, 
they should be laid on hot. 

53. Mewburn's process, so far as oak is con- 
cerned, consists simply in boiling the wood in a 
solution of gallo-tannic acid, the proportions 
of the respective ingredients being apparently 
immaterial. The result is the formation of an in- 
soluble substance in the pores of the wood. One 
solution only is necessary for oak, on account 
of the tannin naturally present in that wood, 
the endurance of which in moist situations is 
proverbial. A consideration of this fact led 
Hatzfeld to try the effect of impregnating 
timber with tannin, and afterward with ace- 
tate of iron, a process which is both cheap and 
useful, and which is at present being tested by 
a telegraph company in France. 

54. Posts and pier piles can be rendered near- 
ly indestructible by boring one or more holes, 
larger or smaller, in the center of the butt, the 
whole length if desirable ; then fill with boiling 
coal tar and close the aperture with a long 
taper wedge, well driven home, which will give 
pressure to force the antiseptic into the inner 
heart pores of the mould. Were posts thus pre- 



served, and the exterior surface dressed with 
resin varnish, they would last for centuries. 
Wood exposed to the air should not be dressed 
with coal tar, but Stockholm tar or resinous 
varnish ; the former will rot the fibers when ex- 
posed to sun and air. Mark the posts at 6 or & 
in. above the depth they are to be placed in the 
earth, and bore the hole up to the mark. Then 
fill in with boiling coal tar, plug up the hole, 
and the base of the post will outlast the upper 
part. The writer has also had occasion to stand 
posts under floor joists, as a support, when, by 
making a clay puddled hole, and pouring into it 
a gallon of boiling coal tar as a bed for the post 
to stand in, it would never decay.— English Me- 
chanic. 

55. Wood is rendered extremely durable and 
weatherproof by covering it with hot linseed 
oil varnish, several coats being applied, each 
one after the preceding one is dry; finally oil 
colors are applied as required. The drying re- 
quires a longer time than the ordinary process 
of painting.— Dinglev^s Polytech. Jl. 

56. The following recipe is said to be a cure 
for dry rot : Melt 12 oz. rosin in an iron pot, 
add 3 gal. train oil and 3 or 4 rolls brimstone: 
when it is thin add Spanish brown or red and 
yellow ocher, or what color preferred; put on 
the wood hot and thin with a brush; give two 
coats. 

57. Villain & Co., of Berlin, manufacture,, 
under the name of mycothanation, a product 
which has the property of destroying dry rot 
in houses and other buildings and preventing 
its appearance in new ones. It may also be 
employed with advantage in seasoning railway 
sleepers, telegraph posts, beams, etc., which it 
effectually preserves from decay. Tt is a clear 
liquid, containing no poisonous or disagree- 
ably smelling substance. Its presence in the 
atmosphere is good for the health, as it de- 
stroys miasma and ferment. Lastly, wood 
impregnated with it does not easily catch fire, 
which has been repeatedly proved. It requires 
boiling in a cast iron boiler, and in this state is 
to be spread over the surfaces covered with 
dry rot by means of a large brush. During the 
boiling the boiler must be kept carefully closed. 
Wood which is to be impregnated with it must 
be first cleaned. The efflorescence of masonry 
may be prevented by smearing the walls with 
this liquid. In old buildings the efflorescence 
should be first scraped, and after a layer of the 
liquid has been put on, the walls can be re- 
stored. — Pract. Mag. 

58. Melsens impregnated blocks of wood with 
tar by alternate heatings and coolings; they 
were then kept two years in a corner of a gar- 
den in earth saturated with the products of a 
urinal, and were unaltered; on breaking across 
it was found that lines were noticeable where 
the tar had not penetrated completely; the one 
set of split halves were kept some years in 
ordinary earth, the others carefully preserved; 
they were then steamed at 212° F. (100° C), for 
twelve hours, quickly cooled in water, frozen, 
and left out in the open air all winter, at the 
end of which time they were unaltered. They 
were then placed in a wet situation in a garden, 
then on an isolated building, and then in sandy 
soil under a rain water tub. Finally, after 
twenty years 1 exposure to varied deteriorating 
agencies, no change whatever was produced in 
them. By utilizing the mechanical force of 
condensing steam, or of the atmosphere, wood 
may be whoUy or partially injected with tar, 
or other preservative agents; when not pre- 
served, the natural course of decay is along 
the direction of growth, and not across it; the 
direction in which the preservative body is 
forced into the wood is the same. When the 
wood is only superficially injected it is desir- 
able that it should be shaped into the required 
form before applying the preservative process. 
— Moniteur QuesneviUe. 

59. The value of creosote as a wood preserver 
is generally recognized, but the direct injection 



Wood. 



627 



AV ringers. 



requires great quantities of heavy oil and a 
desiccation of the injected pores. The high 
boiling point of creosote does not permit its 
employment in vapor. Blythe formed the idea 
of saturating a jet of steam with creosote in 
minute division, forming, so to speak, a gase- 
ous emulsion. The apparatus comprises a 
high pressure steam boiler; another boiler con- 
taining creosote, in which the steam is satu- 
rated ; a vat, filled with creosote, to be pumped 
into the boiler; sheet iron cylinders, for the 
pieces which are to be injected ; and a system 
of tubing connecting the several parts. In 
this way Blythe completely fills the heart of 
oak, pine, or red beech ; he uses 4 to 6 lb. of 
creosote for a cross tie, and 4 lb. of brown 
phenic acid per cubic yard of saturated wood 
or cross ties. The apparatus can prepare 500 
ties per day. The wood comes out softened, so 
that it can readily be bent or shaped, but it 
rapidly hardens. At first it shrinks, but after a 
few weeks it becomes seasoned, and resists the 
influences of moisture. Finally, the fibers are 
greatly strengthened. 

60. Krug employs the following simple prepar- 
ation for preserving wood used in mines by a 
combination of creosote and soda : An iron 
basin, % in. thick, about 6)4 ft. deep, and 4 ft. 
in diameter, is sunk in the ground rather more 
than half its depth. By the side, and with its 
rim below the bottom of the first basin, is a 
second, not quite half its size. A third basin, 
about midway between the other two in size, 
stands with its lower edge rather higher than 
the upper rim of the first basin. This first one 
is provided with a cover, half of which is 
screwed on ; the other half may be opened or 
shut close. Above the bottom it has a sieve bot- 
tom of wire gauze, and at the bottom a dis- 
charge cock. Moreover, a pipe goes to the 
bottom, through which steam can be directly 
conveyed. From beneath the upper edge a 
pipe passes over the edge into the second basin. 
In the second basin is a hand forcing pump for 
pumping the impregnating fluid into the third 
basin, which is furnished with a discharge cock. 
The operation is as follows : The pieces of 
wood to be impregnated are cut to the suitable 
lengths required for door posts, lintels, piles, 
etc., and placed pex-pendicularly, as closely as 
possible together, in the first basin, the cover 
of which is then closed. It is not necessary 
that the cover should be air tight. Meanwhile 
the third basin has been filled with creosote 
soda lye, either directly or out of the second 
basin, by means of the hand pump. The lye is 
then admitted into the first basin till it is about 
M full, and then steam is conveyed directly 
through the pipe mentioned before to the lye. 
The fluid gradually begins to boil, while it is in- 
creased by the condensation water of the steam 
which pours in, and at last begins to flow away 
through the pipe which passes over the edge 
of the second basin. The steam is then turned 
off, and the wood may be left to boil for some 
time in the lye. When at last the lye has been 
discharged, and the wood been acted upon by 
direct steam, the cover of the basin is opened, 
and the impregnated wood removed. Although 
wood treated in this way is penetrated 
with the impregnating fluid only to the depth 
of 14 in. to M in., it has been found perfectly 
unimpaired after five years in districts where 
wood not so treated rots and becomes unfit for 
use after nine or twelve months. Above 
ground and in places where there is no danger 
of fire, it is sufficient to pour creosote oil over 
the wood. In a few days the wood will be suffi- 
ciently penetrated to withstand the action of 
the weather.— Stummer' l s Ingenieur. 

61. The following method of preserving gar- 
den labels is recommended in a German paper : 

Thoroughly soak them in a strong solution 

of copperas (sulphate of iron), then, after 

being dried, lay them in lime water. This 

causes the formation in the wood of calcium 

■ sulphate, a very insoluble salt. The rapid 



destruction of labels by exposure to the 
weather is thus, it is said, prevented. Bast,. 
mats, twine, and other substances used in tying 
up or covering trees and piants, when treated 
in the same manner, are similarly preserved. 
At a recent meeting of a horticultural society 
in Berlin, wooden labels treated thus were ex- 
hibited, and although they had been continually 
exposed for two years, they were apparently 
in no way affected. 

62. Paulet compares the relative advantages 
of copper sulphate and creosote. As regards 
the former preservative, this salt is poisonous 
to the vegetable and animal parasites which 
appear at the beginning of all organic decom- 
position. The quantity of salts of copper 
should be excessive when the wood is intended 
to be immersed in water or buried in a moist 
soil, because the water dissolves this salt slowly; 
and since sea water enters into combination 
with it still more rapidly, it should be excluded 
from use for wood used in the sea. There is, 
in wood inpregnated with the salts of copper, 
a portion of the sulphate closely united with 
the ligneous tissue, and another portion in ex- 
cess remaining free. The latter portion dis- 
solves first, and, carried off by the exterior 
fluids, only retards the loss of the metallic salt 
combined with the wood; but this combination 
itself, although more stable, does not escape 
removal, being accelerated or retarded accord- 
ing to the rapidity and ease with which the 
dissolving liquid is renewed. On the contrary,, 
the quantity of metallic salts should be dimin- 
ished in wood intended for constructions in 
the open air, in order to prevent the mechani- 
cal effect of intra- vascular crystallizations. As 
regards creosote oil, it is beyond doubt that 
the petroleum products, containing phenic 
acid, are preferable to the metallic salts for 
wood exposed to sea water, because naphtha- 
lene, and especially phenic acid, exert ah anti- 
septic action, coagulate the albumen, and thus 
obstruct the circulation of the sap or blood of 
parasites. The volatility and the solubility of 
these preservative agents would render their 
antiseptic action temporary only, if the more 
fixed and thicker oils which accompany them 
did not inclose and retain the preceding sub- 
stances, at the same time obstructing all the 
pores of the wood, and rendering difficult the 
access of dissolving liquids and destructive 
gases. On the other hand, grave objections 
have been raised, from a practical point of 
view, either because of the restricted produc- 
tion of these oils, which is not sufficient for a 
general use of them, or because the wood thus 
impregnated offers great danger from fire, 
this wood, once on fire, being unextinguish- 
able; on the other hand, sulphate of copper, 
like all the metallic salts, renders wood unin- 
flammable.— Pract. Mag. 

Wood, to Stain. See Staining. 

Wool, to Dye. See Dyeing. 

Wringers, to Fasten Rolls on.— 1. Clean 
shaft thoroughly between the shoulders or 
washers, where the rubber goes on. 

2. Give shaft a coat of copal varnish, between 
the shoulders, and let it dry. 

3. Give shaft coat of varnish and wind shaft 
tightly as possible with 5 ply jute twine at once, 
while varnish is green, and let it dry for about 
six hours. 

4. Give shaft over the twine a coat of rubber 
cement, and let it dry for about six hours. 

5. Give shaft over the twine a second coat of 
rubber cement, and let it dry for about six 
hours. 

6 Remove washer on the short end of shaft, 
also the cogwheel if the shaft has cogs on both 
ends. 

7. See that the rubber rolls are always longer 
than the space between the washers where the 
rubber goes on, as they shrink or take up a 
little in putting on the shaft. 



Wrinkles. 



628 



Yeast, 



8. Clean out the hole or inside of roll with 
benzine, using- a small brush or swab. 

9. Put the thimblo or pointer on the end of 
shaft that the washer has been removed from, 
and give shaft over the twine and thimble an- 
other coat of cement, and stand same upright 
in a vise. 

10. Give the inside or hole of roll a coat of 
cement with a small rod or stick. 

11. Pull or force the roll on the shaft as quick- 
ly as possible with a jerk, then rivet the washer 
on with a cold chisel. 

12. Let roll stand and get dry for two or three 
days before using same. Cement for use should 
be so thick that it will run freely; if it gets too 
thick, thin it with benzine or naphtha. 

"Wrinkles.— Wrinkles caused by facial con- 
tractions cannot be removed while their cause 
continues in operation. Withering and puck- 
ering of skin, the result of years, may be reme- 
died by 

Alum 1 drm. 

Glycerine 1 oz. 

Water 1 pt. 

To be used three times daily as a wash; or— 

Glycerine . 2 drm. 

Tannin 1 drm. 

Rectified spirit 1 drm. 

Water 4 oz. 

To be used as a wash three times daily. These 
washes are astringent, and they do no harm, 
whereas, some of the much vaunted lotions 
sold by the perfumers are most * injurious if 
used for any length of time. 

The skin should be frequently bathed in cold 
water, and rubbed vigorously with the towel 
afterward. 

Writing. — To Restore Burned.— Separate 
the charred leaves carefully, go with them 
in a room where no daylight can enter, 
light your gas, lamp or candle, and place each 
leaf in a solution of 40 grn. of nitrate of silver 
to each oz. of water, watch it, and you will 
soon see the writing legible. If satisfactory, 
take out the leaf and wash the excess of silver 
solution out by means of rain water; then fix 
the leaf with a dilute solution of hyposulphite 
of soda, as if it were a photograph, and you 
will be able to read every word on the page 
which is not so far destroyed that it will not 
hang together. 

1. Writing (see also Manuscripts) effaced 
by chlorine can be restored by exposing it to 
the vapor of ammonium sulphide. 

2. Dip into a solution of the sulphide. 

3. Immerse the paper in a solution of ferro- 
cyanide of potassium, 5 pt.; water, 85 parts. 
Slightly acidulate with sulphuric acid. 

Writing Falsified. — Gobert has found that, 
if writing is ever so carefully scratched out, 
there are still left sufficient traces of the oxide 
of iron in the ink to become visible in a photo- 
graphic copy. Light reflected from paper that 
has not been written on acts in a different way 
on the photographic materials from that reflect- 
ed from places which have been once covered 
with ink. By this means the genuineness or 
otherwise of a document can always be ascer- 
tained.— Stummer^ Ingenieur. 

Writing Fluid. See Inks. 

Writing on Glass. See Glass. 

Writing, to Restore on Parchment.— Moisten 
the ink with a strong aqueous solution of tan- 
nic acid. 

Process for Copying Very Old Writings.— St. 
Victor.— Wet ordinary copying paper with a 
thin solution of glucose or honey, instead of 
water. Put in a copying press, and when 
taken out, expose to the fumes of strong am- 
monia. This brings out clearly lines otherwise 
almost illegible. 

To Make New Writing Look Old.— Infuse 14 
drm. saffron in J4 Pt- ink. Warm over a moder- 
ate fire. It will cause whatever is written with 



it to turn yellow, and appear as if of many 
years 1 standing. 

To Revive Old Writing.— 1. Brush the writing 
over with potassium sulpho-cyanide and water 
(T20). While tame expose to fumes of hot hy- 
drochloric acid. 

2. Wash with very weak hydrochloric acid, 
then apply infusion of galls. 

3. If writing has been exposed to sea water, 
wash well and soak in gallic acid solution, 3 
grn., to 1 oz. water. 

4. If No. 3 does not make writing legible 
enough, soak in a solution of protosulphate of 
iron, 10 grn., to 1 oz. water. 

Writing, to Transfer, See Transferring > 
Tfeast, without Ferment.— Boll % peck 
malt in 3 qt. water ; pour off 2 qt., keep in a 
warm place 30 hours; add 4 qt. of a similar de- 
coction, and stir well; again ferment, repeat 
the addition of 4 qt. until sufficient yeast is 
obtained. 

Yeast, Brewer's.— Brewer's yeast is pre- 
pared as follows : 72 lb. unkilned malt and a 
handful of hops are gradually stirred in a clean 
tub containing 7 gal. of water of 170° F.; and to 
this 5)4 gal. water of 200° are added. The tub 
is then covered tightly and left quiet. After 
some time it is cooled rapidly. This is accom- 
plished by setting in cans filled with cold water. 
When the temperature of the mash has reached 
70°, the tub is covered again and allowed to 
stand for some twelve hours longer, when lj^j 
gal. fresh beer yeast are to be stirred in. After 
another twelve hours have elapsed, pierce a 
hole in the layer formed by the husks of the 
malt and dip 3>£ gal. of the liquor beneath, then 
stir the whole up and dip 1% gal. from it (husks 
and liquor). This is the mother leaven, from 
which yeast can be generated all the year round 
by using it in the way described instead of the 
ordinary beer leaven. To the remainder in the 
tub add 5 gal. wort of 90°, and make use of it 
within two hours. The mother yeast also must 
be used the same day for fermenting another 
portion. 

Yeast, to Preserver The thick portion of 
the yeast is filled into a champagne bottle, and 
on top of it is poured about % in. of olive oil. 
The bottle is then closed by tying a bladder 
over its top, and in order to protect it from 
explosion a pin is put through the bladder. 
So the yeast will keep well for a long time if 
stored in a cold place. 

2. Yeast, if mixed with about % pure glycer- 
ine, also keeps well for some time if in a cool 
place.— Chem. Rev. 

3. The raw yeast is carefully washed with 
cold water, afterward the greater part of the 
water is removed by pressure ; a further pro- 
portion is got rid of by means of a centrifugal 
apparatus. But as the yeast cannot be got 
perfectly dry in this way, it is afterward 
placed for that purpose in an apparatus in 
which a vacuum, or rarefaction of the air 
nearly approaching a vacuum, can be obtained. 
In this chamber, the moisture, still combined 
with the yeast, evaporates at a very low degree 
of heat, and the vapor formed is immediately 
absorbed by hygroscopic substances introduced 
for the purpose— as, for example, chloride of 
lime. The yeast is finally exposed to a current 
of air in its ordinary state or dried, or of car- 
bonic acid gas, according to the prevailing tem- 
perature and other circumstances. Through 
these manipulations a perfectly dry powder is 
finally obtained, which, being hermetically 
sealed in glass or tin cases, will keep perfectly 
well for several months. When required to be 
used, the powder is mixed with water to the 
consistency of a thin paste, which acts in the 
same way as fresh yeast.— J ever sen and Boldt. 

Yeast (Vienna.)— Indian corn, barley and 
rye (all sprouting) are powdered and mixed, 
and then macerated in water at a temperature 
of from 149° to 167° Fah. Saccharification 
takes place in a few hours, when the liquor is 



Zapon, 



629 



Zincs. 



racked off and allowed to clear, and fermenta- 
tion is set up by the help of a minute quantity 
of any ordinary yeast. Carbonic acid is disen- 
gaged during the process with so much rapidity 
that the globules of yeast are thrown up by 
the gas, and remain floating on the surface, 
where they form a thick scum The latter is 
carefully removed, and constitutes the best 
and purest yeast, which, when drained and com- 
pressed in a hydraulic press, can be kept from 
eight to fifteen days, according to the season. 

Zapon. See Lacquers. 

Zinc, Amalgam, See Amalgams. 

Zinc, Amalgamation of. See Zincs 

below. 



Zinc, 
Metals. 
Zinc, 
Zinc, 
Zinc, 
Zinc, 



to Blacken. See Blacking. 



to Clean. See Cleansing. 
Etching on. See Etching. 
Fluxes for. See Fluxes. 

w to Tin.— Make, a bath of distilled 
water, 1' gal.; pyrophosphate of soda, 334 oz.; 
fused protochloride of tin, y% oz. A thin coat of 
tin can be obtained by simply dipping the zinc 
in the bath, and one of any thickness by the 
aid of the battery. 

Zinc, Writing on.— Mix verdigris, 1 part; 
sal ammoniac, 1 ; chimney black, or any mineral 
color, }/% ; water, 10 ; stir well or shake the bot- 
tle before employing, and use a quill, not a 
steel pen, for writing. This ink is a poison. 

2. Get a lemon, squeeze the juice out of it 
into a pot, and put into it an old copper half- 
penny or farthing, not the present bronze 
coin. Let it stand for a day or two. Write with 
a quill pen. 

3. Dissolve 100 grs. of chloride of platinum 
in a pint of water. A little mucilage and lamp- 
black may be added. 

Zinc, to Color.— Puscher employs acetate 
of lead for this purpose. On applying this sub- 
stance, mixed with a minium preparation, a 



reddish brown tinge is obtained. The cupola of 
the synagogue at Nuremberg was thus color- 
ed, as an experiment, a long time ago, and to 
all appearance is yet unaffected by the 
weather. By adding other bases, lighter or 
darker tints of gray and yellow may be ob- 
tained, giving the zinc work the appearance of 
carved stone. "With a solution of chlorate of 
copper the preparation turns the sheets of 
zinc— Iron. 

Zincographic Etching. See Etching. 

Zincs, Amalgamation of.— This is ac- 
complished in several ways.— 

1. By dipping the zinc in dilute sulphuric 
acid and then dipping the end of it into a small 
quantity of mercury, after rubbing the sur- 
face with a brush. 

2. Dissolve 1 lb. of mercury in 5 lb. of nitro- 
muriatic acid (nitric acid 1 part, muriatic acid 
3 parts), heat the solution gently to hasten the 
action. When a complete solution of the mer- 
cury is effected, add 5 lb. more of nitro-muri- 
atic acid. The solution should be applied with 
a brush, as immersing the zinc in it is wasteful. 

3. To the bichromate solution commonly 
used in batteries, add to every pint of solution 
1 drm. of bisulphate of mercury or a similar 
amount of nitrate of mercury (mercury dis- 
solved in nitric acid). By employing this 
method, the amalgamation of the zincs is main- 
tained continuously after the first amalgama- 
tion, which must be accomplished by method 
1 or 2. 

1. In the Bunsen, Grove, or Fuller battery the 
amalgamation may be accomplished by placing 
a small quantity of mercury in the cells con- 
taining the zincs. 

5. Place a little mercury in a saucer with 
some dilute sulphuric acid. Dip the zincs into 
dilute acid. Then with a little strip of zinc or 
galvanized iron touch the mercury under the 
acid and rub it on the zinc. This will transfer a 
little to the surface, and a few minutes 1 rub- 
bing will make the zincs as bright as silver. A 
very small globule of mercury is enough for a 
single plate. 



APPENDIX. 



Part I. — Additional Receipts. 

Part II. — Tables of Weights and Measures, 

Part III. — Chemical Synonyms. 



APPENDIX 



PART I 



Additional Receipts. 



Alcoliol, Secondary. — A description of \ 
alcohol, chiefly characterized by yielding- on 
oxidation, firstly, a ketone, and finally, one or 
more acids of the acetic series, each containing 
a less number of carbon atoms than the original 
alcohol. 

Alcoholate.— A crystalline substance con- 
taining alcohol in the place of water of crys- 
tallization. 

Alkali.— A term generally applied to such 
bases as potash, soda, and ammonia. 

Aluminum. — A cubic inch of pure 
aluminum weighs approximately one tenth of 
a pound avoirdupois, being about one fourth 
the weight of an equal bulk of pure silver. 

Pure aluminum can be rolled, drawn, spun, 
stamped, engraved, burnished, polished, and 
soldered, to the same extent and by the same 
processes as used on brass, with the following- 
exceptions: 

Amiealing.—A very low and even tempera- 
ture should be maintained in the muffle. 
Aluminum melts at about 1,300 degrees Fah- 
renheit— a very dark red. The inexperienced 
therefore cannot judge the proper annealing- 
temperature by the eye alone, without danger 
of fusing the metal. When the metal has been 
heated enough to char the end of a pine stick, 
thus leaving- a black mark in the wake of the 
stick, as it is drawn across the metal, it is 
sufficiently annealed. The metal should then 
be withdrawn from the furnace and allowed 
to cool slowly in the air. For some work, such 
as stamping and drawing, it is sometimes better 
not to heat the metal so hot as to leave a dead 
black mark with the stick, but just enough to 
show a dark brown mark instead. Very thin 
sheets or wire can be annealed sufficiently for 
some purposes in boiling water. 

Dipping and Pickling.— Remove the grease 
and dirt by dipping in benzine, to whiten 
aluminum, leaving on the surface a beautiful 
white mat; dip first in a strong hot solution of 
potash, then rinse in water and dip in undiluted 
nitric acid, 43 degrees. Then wash in water and 
dry as usual in hot sawdust. 

Polishing.— Use fine white polishing composi- 
tion or rouge, and a rag buff. 

Burnishing.— Use a bloodstone or steel burn- 
isher. For hand burnishing use either kerosene 
oil or a solution composed of two table- 
spoonfuls of ground borax dissolved in about a 
quart of hot water, with a few drops of ammo- 
nia added. 

For lathe work the burnisher should wear 
upon the finger of his left hand a piece of Can- 
ton flannel, keeping it soaked with kerosene, 
and bringing it in contact with the metal, sup- 
plying a constant lubricant. 

Very fine effects can be produced by first 
burnishing or polishing the metal, and then 
stamping.it in polished dies, showing unpolished 
figures in relief. 

Scratch- Brushing.— Polish or burnish the sur- 
face, and then use a fine steel scratch-brush. 

Soldering. — A special solder is necessary, 
for which see Soldering, page 527. Cleanse the 
metal from grease and dirt. Use for soldering 
fluid, Venetian turpentine. Place the solder 



upon the metal, with the Venetian turpentine, 
and heat gently in a blowpipe until the solder 
is melted. It will then be found to have fixed 
itself firmly to the aluminum. 

Sand Castings.— Use open, but very fine sand, 
and bake the mould. Large feeding gates 
should be provided, and the mould should be 
well vented. Pour the metal quickly, at a 
temperature but little above the melting point. 
Use either Taylor's or Dixon's plumbago cru- 
cibles. 

Milling, Plaiting and Turning.— Use plenty of 
oil to prevent the clogging of the tool and to 
make it cut smooth. 

Plating witho See Electro-metallurgy, 
below. 

Asphalt, Artificial. — By heating resin 
with sulphur to about 250° C, a reaction takes 
place, attended by the evolution of sulphureted 
hydrogen, and leading to the formation of an 
almost black pitchy substance containing sul- 
phur and resembling Syrian asphalt in many of 
its properties. Thus it is insoluble in alcohol, 
but dissolves readily in chloroform and ben- 
zine and is sensitive to light in the same way as 
Syrian asphalt, for which it can be substituted 
for photographic purposes. 

Atom.— The smallest part of an elementary 
body which can enter into, or be expelled from, 
a chemical compound. 

Atomicity.— A term applied to elements 
and compound radicals to signify their atom 
replacing power, taking hydrogen as the unit. 

Artiad. — An element whose atomicity is 
equal to an even number of hydrogen atoms. 

Aromatic Group -A class of hydrocar- 
bons, chiefly characterized by containing a 
group of six carbon atoms in which, out of the 
twenty-four units of atomicity, eighteen are 
supposed to be saturated by union of carbon 
with carbon, leaving only six open to external 
saturation. 

Balenite.— A substitute for whalebone. It 
is composed of — 

Caoutchouc 5 parts. 

Burnt magnesia 1 part. 

Ruby shellac 1 part. 

Arsenic trisulphide 1 part. 

Sulphur 1 part. 

Base.— A compound body which is capable 
of partly or wholly neutralizing an acid to 
form a salt. 

Basicity.— A term used to express the sat- 
urating power of acids. See also Monobasic, 
Diabasic, etc. 

Battery Cells, to Remove Salts from. 
—By filling the cells with water and inverting- 
them in a vessel of water, the salts in the bot- 
tom of the cells will be readily dissolved out. 

Bells.— The following valuable information 
on bells is given, as it answers many questions, 
and was furnished by a large firm of bell found- 
ers, in response to the following query: 

What size and what weight should a bell be 
to be heard at three miles distance, or say in 
radius, counting on the wind? The height at 
which the bell will be situated will be about. 






Belting. 



634 



Belting. 



forty-five feet from the ground. The city has 
a radius of three miles from the tower where 
the bell will be located. Also taking in consid- 
eration that the mean temperature is from 84° 
to 92° F. Ans. It is impossible for us to give 
any information on this subject that would be 
reliable. In fully half of the cases it depends 
upon the formation of the land surrounding 
the building in which the bell is to be placed. 
In a hilly locality, a bell will not be heard half 
as far as if the land were level, or nearly so. 
A bell will be heard a great deal further length- 
ways of a valley than over the hills at the 
sides. It is frequently the case that bell rooms 
are lower than the surrounding buildings and 
trees, and these obstructions break the sound 
and prevent its free passage to a distance. It 
is frequently the case, too, that towers have 
small windows or openings, with the louver 
boards so close together as to almost box up 
the sound. In cities, the noise of steam 
and horse cars, manufacturing establish- 
ments, carriages and carts rattling over the 
pavements, etc., is so great, that bells are 
not expected to be heard at any consider- 
able distance, and this is the reason why, 
in all cities, several bells are used for fire 
alarm purposes, it being impossible for one bell, 
no matter how large it may be, to be heard 
above the thousand and one noises incident to 
every large place. The largest bell ever made 
in this country weighed 22,000 lb., and, before 
it was fractured, hung on thei City Hall in New 
York. On one or two occasions this bell was 
heard up the Hudson river thirteen miles, in 
the night, when the city was comparatively 
quiet. Water is a good conductor of sound, 
and aided materially in making the bell heard 
as above mentioned. It is a great mistake to 
suppose that bells can be heard in proportion 
to their weight; that is, that a bell of 2,000 lb. 
will be heard twice as far as one of 1,000 lb. 
This is not so, for the reason that the larger 
bell does not possess anything like twice tue 
resonant surface of the smaller one. What is 
gained and admired in the larger bell is its deep, 
majestic, dignified tone, which it is impossible 
to secure in the smaller one, the weight of a 
bell invariably governing its tone. A bell of 
100 or 200 lb., in an open belfry, on a school 
house or factory in the country, is frequently 
heard at a long distance, out of all proportion, 
apparently, to one of 1,000 lb. in a church tower 
near by; and instances of this kind frequently 
cause no little comment in the way of compari- 
son. The reason for this is, that the small bell 
has a sharp, shrill, penetrating sound, that 
must, of necessity, be heard a great deal far- 
ther "in proportion to its weight, than the low, 
mellow, church going sound of the church bell. 
The same principle applies to the whistle of a lo- 
comotive, and it is heard a long distance sim- 
ply because its tone is shrill and penetrating. 
When hung stationary and struck or tolled, 
bells will not be heard, as a rule, half as far as 
when swung. The swinging motion throws 
the mouth of the bell up, and not only carries 
the sound off, but imparts to it a richness that 
is always absent when the bell is at rest and 
struck. A great deal is to be gained by ringing 
a bell properly, throwing the mouth well up, 
and not lazily jingling it. It is not physical 
strength that is required in ringing a bell so 
much as getting the knack of catching the rope 
just right, particularly on the second down 
pull. The windows in the tower should be as 
open as possible, and the tower should be ceiled 
just above the windows. 

Belting.— Directions for Calculating the 
Width of Belts Required for Transmitting Differ- 
ent Numbers of Horse Power.— Multiply 33,000 
by the number of horse power to be trans- 
mitted ; divide the amount by the number of 
feet the belt is to run per minute ; divide the 
quotient by the number of feet or parts of a 
foot in length of belt contact with smaller 
drum or pulley ; divide this last quotient by 



six, and the result is the required width of a 
single tanned leather belt in inches. 

Explanations.— The figures 33,000 represent 
the number of lb. a horse is reckoned to be 
able to raise one foot high in a minute. To 
obtain the number of feet a belt runs per 
minute, find the number of revolutions per 
minute of the driving shaft, and multiply by 
the circumference of the drum, which is al- 
ways 3'1416 its diameter. The final division 
by six is because half a pound raised one foot 
high per minute is allowed to each square inch 
of belting in contact with the pulley ; a pound 
must therefore be allowed to 2 sq. in., or 6 lb. to 
a strip one foot long and one inch broad. 

Example.— Required the width of a single 
belt, the velocity of which is to be 1,500 ft. per 
minute ; it has to transmit 10 horse power, the 
diameter of smaller drum being four feet, 
with 5 feet of its circumference in contact with 
belt: 

33,000 X 10 = 330,000 -*- 1,500 = 220 -*- 5 = 44 -*- 6 
= 73^ in., the required width of belt. 

Directions for Calculating the Number of 
Horse Power which a Belt ivill Transmit. 

Divide the number of square inches of belt 
in contact with the pulley by two ; multiply 
this quotient by the velocity of the belt in feet 
per minute; again divide the total by 33,000, 
and the quotient is the number of horse 
power. 

Explanations.— The early division by two is 
to obtain the number of lb. raised one foot 
high per minute, half a lb. being allowed co 
each square inch of belting in contact with 
the pulley. 

Example.- A six inch single belt is being moved 
with a velocity of 1,200 feet per minute, with 
four feet of its length in contact with a three 
foot drum. Required the horse power. 

6 X 48 = 288 -*- 2 = 144 X 1,200 = 172,800-^-33,000 
= say 5J4 horse power. 

It is safe to reckon that a double belt will do 
half as much work again as a single one. Belt- 
ing made from Helvetia leather is much 
stronger and will bear a heavier strain than 
that made from ordinary tanned leather. 

Hints to Users of Belting.— 1. Horizontal, in- 
clined and long belts give much better effect 
than vertical and short belts. 

2. Short belts require to be tighter than long 
ones. A long belt working horizontally in- 
creases the grip by its own weight. 

3. If there is too great a distance between 
the pulleys, the weight of the belt will pro- 
duce a heavy sag, drawing so hard on the shaft 
as to cause great friction at the bearings; 
while at the same time the belt will have an 
unsteady, flapping motion, iajurious to itself 
and to the machinery. 

4. Care should be taken to let belts run free 
and easy, so as to prevent the tearing out of 
lace holes at the lap ; it also prevents the rapid 
wear of the metal bearings. 

5. It is asserted that the grain side of a belt 
put next to the pulley will drive 30$ more than 
the flesh side. Experience can alone verify 
this ; but when belts are required to be worked 
this way, the fact should be stated in the order, 
so that the riveting may be arranged accord- 
ingly. 

6. To obtain a greater amount of power from 
belts, the pulleys may be covered with leather; 
this will allow the belts to be run very slack, 
and give 25$ more durability. 

7. Leather belts should be well protected 
against water, and even loose steam or other 
moisture. 

8. Belts working in very wet places should 
be ordered to be waterproofed. 

9. A careful workman will see that his belts 
are re-dressed about every four months, by 
sponging the dirt from them with warm soap 
and water; then drying with a cloth, and, while 
still damp, rubbing in castor oil or currier's 
grease, which will be readily absorbed, the 
leather being moist from washing. Castor oil 



Blacking. 



635 



Blacking. 



has the additional advantage of preventing 
rats attacking the leather. 

10. In putting on a belt, be sure that the 
joints run with the pulleys, and not against 
them. 

11. In purchasing a belt for lacing, it is desir- 
able to use an oval punch; the larger diameter 
of the punch being parallel with the belt, so as 
to cut out as little of the effective section of 
the leather as possible. 

12. Begin to lace in the center of the belt, and 
take care to keep the ends exactly in line and 
to lace both sides with equal tightness. The 
lacing should not be crossed on the side of the 
belt that runs next the pulley. Thin but strong 
laces only should be used. ' 

13. It is desirable to locate the shafting and 
machinery so that belts shall run off from each 
other in opposite directions, as this arrange- 
ment will relieve the bearings from the friction 
that would result where the belts all pull one 
way on the shaft. 

14. If possible, the machinery should be so 
planned that the direction of the belt motion 
shall be from the top of the driving to the top 
of the driven pulley. 

15. Never overload a belt. 

16. A careful attendant will make a belt last 
many years, which through neglect might not 
last one. • 

Blacking for Boots and Shoes.— There 
is a variety of so-called leather varnishes which 
will not stand any damp whatever. They are 
consequently never used like blacking, but em- 
ployed only to impart to boots and shoes an 
increased polish, and are laid on much thinner 
than blacking. 

Dr. Winterfield gives for a varnish, which is 
reported to be equal -to the well known Paris 
polish, tbe following recipe : Take 200 grm. of 
ground gallnuts and 100 grm. of ground log- 
wood and boil with 5 liters of wine (water will 
do as well) for half an hour; filter and add to 
the liquid 100 grm. of sulphate of iron and 25 
grm. of blue vitriol, leaving the whole after- 
ward standing for a night. Next day the clear 
is poured off from the sediment and 900 grm. of 
powdered gum arabic (better and cheaper, 
Senegal gum) are solved in the liquid, which 
must be slightly warmed. To this solution 600 
grm. of sirup and 1^ liters of 90$ alcohol are 
added. The varnish, now ready, is preserved 
in air-tight bottles. When wanted, it is laid on 
with a brush; when dry, polish. 

Another recipe prescribes that 200 grm. of 
soap, 100 grm. of starch, 100 grm. of sulphate of 
iron and 100 grm. of powdered gallnuts should 
be boiled with 2 liters of water, filtered and 
mixed with 300 grm. of fine animal charcoal 
and 600 grm. of syrup. This preparation is said 
to give a high luster, and is, at any rate, not 
injurious to the leather. 

In like manner, 500 grm. of stearine acid (stear- 
ine candle) may be dissolved into 700 grm. of 
oil of turpentine, heating very gently, and then 
300 grm. of lampblack mixed with it. Of this 
mixture a little is put on a rag, the boot is 
rubbed with it, and then polished with a bit of 
linen rag. A brush with short hair may also 
be used for the purpose. 

A liquid known in the trade as Delphineum, 
in small bottles, is for preserving boots and 
shoes, and renders them waterproof. One 
bottle is said to be sufficient for 180 pairs of 
boots. Inusingit a few drops are put on with 
a sponge which produces a beautiful deep black 
luster Avhich will stand water. The liquid is a 
solution of 10 grm. of dark shellac in 50 grm. of 
alcohol, to which ^ grm. of lampblack and 60 
drops of fish oil have been added. 

Nicolet's shoe blacking, which brightens the 
leather and at the same time greases it, is pre- 
pared by dissolving 150 parts of wax and 15 
parts tallow in a boiling mixture of 200 parts 
linseed oil, 20 parts litharge, and 100 parts mo- 
lasses, heating to 110° or 120°, adding 103 parts 



black, diluting after the mass is cooled with 
280 parts oil of turpentine and mixing with a 
solution of 5 parts gum lac and 2 parts aniline 
violet in 35 parts alcohol. 

A leather varnish is prepared in Berlin by 
mixing a filtered solution of 80 parts of shellac 
in 15 parts of alcohol, with 3 parts of wax, 2 
parts of castor oil, and a sufficient quantity of 
pigment. The mixture is evaporated in a vacu- 
um to a syrup. The varnish is applied to the 
leather with a brush moistened with alcohol or 
with a colorless alcoholic varnish. Nicolet, of 
Lyons, prepares boot blacking by dissolving 
150 parts of wax and 15 parts of tallow in a mix- 
ture of 200 parts of linseed oil, 20 parts of lith- 
arge, and 100 parts of molasses, at a tempera- 
ture of 230° or 250° F. After this, 103 parts of 
lampblack are added, and when cold, it is di- 
luted with 280 parts of spirits of turpentine, 
and finally is mixed with a solution of 5 parts 
of gum lac and 2 parts aniline violet in 5 parts 
of alcohol. 

Another kind of shoe blacking is made by 
melting 20 parts of beeswax, or cerasine, 30 parts 
of spermaceti, and 350 parts of spirits of turpen- 
tine, with 20 parts of asphalt varnish, and add 
10 parts of borax, 10 parts of lampblack, 10 
parts of Prussian blue, and 5 parts of nitro- 
benzol. 

Brunner uses 10 parts of boneblack, 10 parts 
of glucose syrup, 5 parts of sulphuric acid, 20 
parts of train oil, 4 parts of water and 2 parts 
of carbonate of soda. The boneblack and glu- 
cose are stirred with the acid in a porcelain ves- 
sel until the whole mass is homogeneous, and 
has a shining black surface when at rest. The 
soda is dissolved in a little water, and boiled 
with the oil under constant stirring, until it 
forms a thick liquid, and then the other mixture 
is stirred into it. By varying the proportions of 
these two mixtures, the blacking is made thin- 
ner and softer or harder and firmer. The sub- 
stances sold as French polish are mostly com- 
posed of these ingredients. In this and all 
other kinds of shoe biacking made with bone- 
black and sulphuric acid, the precaution must 
be observed of stirring rapidly and evenly after 
the acid is added, otherwise lumps will be 
formed that are difficult to crush, and the 
blacking will have a granular condition that 
does not belong to it. Good shoe blacking 
must always remain soft and show a smooth 
uniform surface when applied to the leather. 

A German journal gives the following lea- 
ther polish : Mix 200 parts of shellac with 1,000 
of spirit (95$) in a well-stoppered bottle. Keep 
in a warm place for two or three days, shaking 
frequently. Separately dissolve 25 parts of 
Marseilles soap in 375 parts of warmed spirit 
(25$), and to the solution add 40 parts of glycer- 
ine. Shake well and mix with the shellac solu- 
tion. To the mixture add 5 parts of nigrosin 
dissolved in 125 parts of spirit. Close well the 
vessel and shake energetically, and then leave 
the mixture in a warm place for a fortnight. 

The following composition for boot blacking 
forms the object of a German patent : 

Parts by weight. 

Beeswax or ceresine earth wax. 90 

Spermaceti 30 

Turpentine oil 350 

Black japan — 20 

Borax, finely powdered 10 

Soot or raven black 20 

Berlin blue (dark) 10 

Nitrobenzol 5 

After the wax has been gradually melted the 
borax is added. Then in succession the sper- 
maceti, turpentine oil, and black japan are 
added. The soot and Berlin blue are then well 
mixed with the substance, and the whole is well 
stirred. Finally the nitrobenzol is added in 
order to remove the unpleasant odor of the 
turpentine oil. 

Blacking Itletals.— To Color IronandSteel 
a Dead Black.— A new blacking fluid has been 



Bubbles. 



636 



Calendar. 



invented by M. Mazure. According to Cosmos, 
this liquid has the following formula : 

Bismuth chloride 1 part. 

Mercury bichloride 2 parts. 

Copper chloride 1 part. 

Hydrochloric acid 6 parts. 

Alcohol 5 parts. 

Water 50 parts. 

Mix. To use this fluid successfully, the article 
to be blacked or bronzed must be clean and 
free from grease. It may be applied with a 
brush or swab, or better still, the object may 
be dipped into it. Let the liquid dry on the 
metal, and then place the latter into boil- 
ing water, and maintain the temperature 
for half an hour. If the color is then not 
as dark as desired, repeat the operation. 
The editor of the National Druggist finds 
it to work beautifully. After getting the de- 
sired color, the latter is fixed and much im- 
proved by placing for a few minutes in a bath 
of boiling oil, or by coating the surface with 
oil and heating the object until the oil is 
driven off. 

Bubbles. — Film Mixtures from Various 
Sources.— 1. For soap bubble solution the best 
material is pure oleate of soda. Oleic acid as 
sold in the s bops is far from reliable, contain- 
ing one or more other fatty acids, such as 
stearic acid. To make the pure acid, 2 oz. of 
pure soap (almond oil is the best, but .Castile 
will answer) are dissolved in 20 oz. of boiling 
water. One oz. of sulphuric acid, previously 
diluted with 2 oz. water and allowed to cool, is 
added. The fatty acids rise to the surface in 
an oily layer. The water is siphoned off, and 
they are washed three times with boiling wa- 
ter. The mass is allowed to cool, and is remov- 
ed from the surface of the water, where it 
floats. It is weighed, mixed with }/%, its weight 
of litharge, and heated (2l2°-22o° F.) until com- 
plete combination is effected. This may be 
known by the cessation of any evolution of 
bubbles from the mass. The resulting lead 
plaster is allowed to stand mixed with 10 to 15 
times its weight of ether in a tightly corked 
bottle until completely disintegrated. Then it 
is filtered, and to the filtrate hydrochloric acid 
is added as long as any lead is precipitated. 
The ethereal solution is poured off, and the 
ether recovered by distillation, leaving pure 
oleic acid. Two fi. drm. of the acid is added to 
somewhat less than 1 pt. of boiling water, and 
solution of caustic soda very carefully added, 
drop by drop, until complete solution of the 
acid is effected, very carefully avoiding an ex- 
cess of soda, and after cooling, water is added 
to make it measure just 1 pt. A standard soap 
solution is thus obtained. To this add % its 
bulk of the best glycerine (Scheering & Glatz's, 
or Price's). Shake long and well, and the mix- 
ture is ready for use. 

2. Take of Castile soap 75 grn., dissolve in 4 
drm. of distilled water, and filter. To every 3 
parts by measure add 2 parts of glycerine ; 
shake and allow to stand before using. 

3. Plateau's Mixture.— The preparation must 
be executed in a warm room, not colder than 
68° F., in the daytime, at least. One part (by 
weight) of recently made Marseilles soap is dis- 
solved in 40 parts of distilled water at a moder- 
ate heat. When the solution has sunk nearly 
to the temperature of the room, it is filtered. 
Three volumes of this solution are mixed with 
2 of Price's glycerine (15 parts to 11 parts is 
sometimes given), poured into a flask, and vig- 
orously shaken, and for a long time. The mix- 
ture is allowed to stand for seven days. On the 
eighth day it is cooled in ice water to about 
37° F., and kept at this temperature for six 
hours. It is then filtered through very porous 
paper. With ordinary paper it can hardly be 
made to pass by any amount of waiting. The 
contents of the filter must be kept cold by do- 
ing the work in the ice chamber of a refriger- 
ator orbv keeping a stoppered tube full of ice 



in the funnel. The bottom of the flask into 
which the liquid drops is surrounded by ice. 
The first portions are turbid ; they are poured 
back, and eventually a perfectly clear solution 
is obtained. After all the work, if the soap and 
glycerine are not good, the bubbles from the 
mixture will often last only a few minutes. 
They should last eighteen hours in the open 
air, supported on a horizontal ring previously 
moistened with the same solution. The above 
mixture must be filtered through very porous 
paper. 

4. Dissolve 2 oz. of palm oil or castile soap in 
1 pt. of rain water, previously cutting the soap 
into small pieces. Shake until all is dissolved 
that the water will take up. Let it stand from 
twenty-four to thirty-six hours. If settled, 
carefully pour off the clear solution through 
flannel. If it does not settle, pour off some of 
the cloudy solution and add more water. Then 
it will hardly fail to settle. To 1 volume of the 
clear solution add ]4 a volume of pure gly- 
cerine. 

5. Dissolve a piece of glycerine soap finely 
sliced in rain water at 110° F. (Not reliable.) 

6. Collodion Film Mixture.— 

Ether (by weight) ' " " 89 parts. 

Absolute alcohol b\£ parts. 

Photographic gun cotton 5% parts. 

Dissolve and decant. To 100 parts of the clear 
solution add 70 to 100 parts pure castor oil. 
This makes permanent films, but not as satis- 
factory ones as those given by the rosin mix- 
ture. 

7. Rosin Film Mixture.— Rosin, 46 parts (by 
weight); Canada balsam, 53 parts; melt to- 
gether and add a few drops of turpentine. In 
using, heat a little over the boiling point of 
water. The higher the heat, the thinner and 
better the films; but with too hot a mixture 
they are not permanent. 

Note.— Almond oil soap is probably the best 
of the commercial soaps, or as good as any. 
The writer has never tried it. Holbrook's 
Gallipoli soap, (of Washington street, N. Y.,) 
treated by Plateau's method, makes an excel- 
lent mixture. It is the only soap with which 
we could ever produce a rainbow or even a 
lasting bubble. Scheering & Glatz's glycerine is 
perfectly satisfactory. Glycerine is frequently 
adulterated with glucose. Such is useless. 
Marseilles soap, such as can be bought in this 
city, or Holbrook's brown oil silk soaps, make a 
fair mixture. Plateau's process is the proper 
one to follow. Oleate of soda is generally con- 
sidered to make the best. Sometimes sugar so- 
lution is recommended instead of glycerine, 
but this recommendation should not be fol- 
lowed.— T. O'Conor Sloane in Supplement, 65k. 

Calendar.— Te Find the Dan of the Week for 
Any Given Date.— Take the given date in 4 por- 
tions, viz., the number of centuries, the number 
of years over, the month, and the day of the 
month. 

Compute the following 4 items, adding each, 
when found, to the total of the previous items. 
When an item or total exceeds 7, divide by 7, 
and keep the remainder only. 

The Century Item.— For old style (which 
ended September 2, 1752), subtract from 18. For 
new style (which began September 14) divide 
by 4, take overplus from 3, multiply remainder 
by 2. 

The Year Item.— Add together the number of 
dozens, the overplus, and>the number of 4's in 
the overplus. 

The Month Item.— If it begins or ends with a 
vowel, subtract the number denoting its place 
in the year from 10. This, plus its number of 
days, gives the item for the following month. 
The item for January is 0; for February or 
March (the 3d month), 3; for December (the 12th 
month), 12. 

The Day Item is the day of the month. 

The total thus reached must be corrected by 
deducting 1 (first adding 7, if the total be 0), if 



^ 



Cements. 



637 



Chemical. 



the date be January or February in a leap year; 
remembering- that every year dn T isible by 4 is a 
leap year, excepting- only the century years, in 
new style, when the number of centuries is not 
so divisible (e. g., 1800). 

The final result gives the day of the week, 
meaning Sunday, 1 Monday, and so on. 

Examples.— 1783, September 18.— 17 divided by 
4 leaves 1 over; 1 from 3 gives 2; twice 2 is 4. 83 
is 6 dozen and 11, giving 17; plus 2 gives 19, i. e. 
(dividing by 7), 5. Total 9, i. e., 2. The item for 
August is 8 from 10, i. e., 2; so, for September, 
it is 2 plus 3, i. e., 5. Total 7, i. e., 0, which goes 
out. 18 gives 4. Answer, Thursday. 

1676, February 23.-16 from 18 gives 2. 76 is 6 
dozen and 4, giving 10; plus 1 gives 11, i. e., 4. 
Total 6. The item for February is 3. 1 Total 9, 
i. e., 2. 23 gives 2. Total 4. Correction for 
leap year gives 3. Answer, Wednesday. 

Cements,- Celluloid, Cement for.— A good 
cement for celluloid is made from 1 part^hellac 
dissolved in 1 part of spirits of camphor, and 3 
to 4 parts of 90$ alcohol. The cement should be 
applied warm, and the broken parts securely 
held together until the solvent has entirely eva- 
porated. 

Cloth, Cement for.— Use thin sheet gutta per- 
cha which can be purchased of the manufac- 
turers, especially for tailors' use. Place a piece 
of the tissue between the layers of cloth to be 
cemented and press with a hot iron. This 
causes the cloth to firmly adhere on account of 
the melting of the gutta percha. 

Chemical Manipulation.— The follow- 
ing hints on chemical manipulation will prove 
of use to the amateur: 

To Bend Glass Tube.— Heat the tube in the 
broad flame of an ordinary fish tail or bat's 
wing burner until it begins to bend by its own 
weight. Then it may easily be bent to the re- 
quired shape without creasing if removed from 
the flame. In bending wind tubes (say 5 in. 
diameter), it is better either to heat a consid- 
erable length of them to redness in a charcoal 
or combustion furnace, and then make the re- 
quired bend, or to heat successive portions in 
the large blowpipe flame, and bend each por- 
tion, and so make the bend by degrees. 

To Draw a Piece of Tube Out to a Jet.— Heat 
the glass in the blowpipe flame, at the point 
where the jet is required, while slowly turning- 
it round, until it thickens. AVhen it is heated 
equally all round, withdraw it from the flame 
and draw it out to the required jet. Next cut 
off at the middle of the narrow part, and heat 
the end in the flame for a moment to fuse the 
sharp edges. 

To Mend a Test Tube.— Test tubes frequently 
break at the bottom, and may then be mended 
as follows : Fasten a piece of scrap tube on to 
the broken end by making both soft in the 
flame, and immediately draw off the test tube 
as near as possible to the broken end. The fine 
point of the blowpipe flame must then be 
directed upon the narrowed portion, so as to 
produce an extremely narrowed neck, as shown, 
and the two portions must then be severed by 
drawing off at the narrowed point. This leaves 
a small lump of glass; to remove this, heat the 
lump in the flame until it is soft, and blow it 
out to a small bubble at the end of the tube. 
Now heat the whole end in a large blowpipe 
flame, or in the flame of a good Bunsen burner, 
keeping it turning all the time until it shrinks 
in regularly to a flattened hemisphere. Then 
blow gently into the tube, when the end ex- 
pands into a uniformly thin hemispherical 
bottom. The small tubes of hard glass for use 
in. blow pipe anaylsis are made in the same 
way. 

To Cut Glass Tube.— To cut off ordinary quill 
tubing, nick the tube with the edge of a sharp 
three-cornered file (if the file is sharp, one 
stroke across the glass is sufficient), and then 
placing the thumbs one on each side of the 
nick, give the hands a quick movement as if to 



bend the tube, which then easilv snaos off. 
Thick, wide tubing is cut by filing a deeper 
nick into it some distance round, and wrapping 
it in a towel before attempting to break it. 
The end of a combustion tube is trimmed by 
the pincers. The tube is held in the left hand, 
and the pincers in the right ; one of the hau- 
dles being between the thumb and forefinger, 
and the other between the last two fingers 
By moving the latter handle and at the same 
time smartly turning the wrist, a nibbling mo- 
tion is given to the points of the pincers, 
easily enabling the operator to level the end of 
the tube, which must afterward be fused for 
a moment in the blowpipe flame. 

Thin tubes cannot be cut by the file; it is bet- 
ter to lead a crack round them by a hot glass 
rod. Broken flasks and bottles may often be 
put to valuable use by cutting them in the 
same way. A crack is started by the pincers, 
or by pressing a hot rod upon them, and then 
touching the heated part with the wet finger; 
this is then led round the vessel in anv direc- 
tion by keeping the end of the hot rod a little 
in advance of the crack. 

To Grind Glass.— The ends of thick tubes may 
be ground level upon a stone with turpentine, 
the addition of sand, or, still better, emery 
powder increases the action. 

To Fuse a Platinum Wire into a Tube.— Draw 
out the tube to a narrow jet and insert the 
clean end of the wire, then heat the end in the 
flame until the glass shrinks and clasps the 
wire. Cool slowly. 

To Make a T Piece.— The glass for this pur- 
pose must be soft ; lead glass, however, is not 
the best. Cut two pieces of the same tube into 
convenient lengths, and close the end of one. 
Then heat the closed piece at one point near 
the middle by the point of the flame. When 
the spot is well heated, blow out a bubble, 
and break this by a tap upon the table. This 
should leave a hole about as large as the dia- 
meter of the tube. Now heat the projecting 
edges of this hole and the end of the second 
piece of tube in the same flame, keeping the 
unclosed end of the first tube stopped by the 
finger. When the glass is hot, bring the end of 
the second tube and the sides of the hole to- 
gether, withdraw the glass from the flame and 
blow gently in the tube. This gives an imper- 
fectly made joint. Now direct the point of a 
hot flame upon the joint until the two portions 
forming the juncture fuse together and shrink 
in. While the tube is hot, blow in gently to 
expand the shrunken part; go round the junc- 
ture in this way until the line of division dis- 
appears. Cool slowly. In the same way two 
pieces of tube are joined in a straight line, by 
heating the two ends, bringing; them together, 
and then going round the joint till it disap- 
pears. 

To Clean Vessels.— A mop made by fixing a bit 
of sponge to the end of a thick wire is very use- 
ful in cleaning test tubes. Care must be taken 
that no projecting portion of the wire is left to 
break the bottom of the tube. According to 
the solubility of the substance defiling the ves- 
sel to be cleaned, a little common acid or alkali 
may be used; but in very many cases water 
alone suffices. Vessels contaminated with sub- 
stances of the nature of pitch, tar, etc., are 
cleaned by heating a little strong sulphuric acid 
in them. To clean evaporating basins, beakers, 
etc., a little sea sand (which has no sharp edges) 
or furnace ashes niay be used to scour them. 
Platinum crucibles are cleansed by gently 
scouring with sea sand and the finger. Some- 
times a little acid sulphate of potassium fused 
in them will remove obstinate impurities. 
Aqua regia should never be used to clean pla- 
tinum, and all vessels must finally be rinsed 
with distilled water. 

To Remove Stoppers that have Become Fixed 
—Heat the neck of the bottle by pouring hot 
water round it, or by rotating it once quiekly 
in a flame; this expands the neck and allows 



Cleansing. 



638 



Cleansing;. 



the stopper to be withdrawn; or tap the stop- 
per gently with some wooden object until it is 
loose. Sometimes aatopper may be extracted 
by holding- the bottle in the hand; inserting the 
flat part of the stopper into a crevice of a door, 
etc., and turning the bottle. Stoppers may 
often be removed by soaking in hot water or 
by placing a little oil around them, which after 
a time sinks in and loosens them. 

To Cleanse Mercury.— Leave the mercury in 
a flat dish with dilute nitric acid, containing 
nitrate of mercury, and stir occasionally for 
some hours. 

Sulphuric acid diluted with twice its weight 
of water may also be used. 

For gas analysis, mercury is cleansed and 
dried by placing it in a funnel tube, stoppered 
at top and bottom, together with strong sul- 
phuric acid. The mercury is introduced at the 
top and drawn off at the bottom. It is often 
advisable to filter. mercury through a filter 
made by bending a piece of writing paper in 
the usual way and making a small pin hoZe at 
the bottom. Faraday recommends that before 
being filtered, the mercury should be shaken in 
a bottle with a little powdered lump sugar, pre- 
viously slightly damped by breathing several 
times into the bottle containing it. This re- 
moves scum. 

Cleansing.- Chamois Skin, to Clean. — 1. Soak 
in a weak solution of washing soda, then in 
soap suds for two hours; then rinse thoroughly 
in water, and finally, in a solution of soap and 
soda, and dry. 

2. Wet the chamois leather in water just off 
cold— not at all hot— squeeze it between the two 
hands, then lay it flat on a board or table, and 
rub soap over both its sides ; do not treat it as 
if it were a coarse cloth, but keep squeezing 
and opening and opening and squeezing it in 
the hands to get the soap well through it. 
Next rinse it in several waters till the dirt is 
out— cold water always. Examine if more soap 
is wanted ; if so, again lay the piece flat and 
rub the soap over evey inch of it. Then press 
and squeeze and rinse as before until it becomes 
clean. Hang it up to half dry, then rub it in 
the hands to soften and stretch it, and continue 
this until it dries; finally, roll it in a mangle. 

Engravings, Cleaning of.— Staining not only 
occurs in old engravings, but in modern ones 
we very often see parts of a picture stained 
sometimes through a knot in the back board or 
the wood of the same being full of turpentine. 
All these markings can be removed. My plan 
is to get a dish or china tray a little larger than 
the engraving to be operated upon; if smaller 
there is a great risk of tearing and damaging 
the engraving. The bleaching agent is no other 
than Holmes' ozone bleach. The strength I 
prefer to any other is 1 part ozone bleach to 10 
parts water, well shaken up before pouring 
into the dish. A much stronger solution can 
be used — in fact, I have used it as strong as 1 
part to 5 parts water; but the reason I use the 
weaker one is that I am of the opinion that the 
less of the agent we use the less we have to 
soak out of the paper afterward. 

I immerse the engraving in the solution, face 
upward, avoiding bubbles. The only caution 
to be observed is that when the engraving is 
sodden with water it is somewhat rotten; so the 
less it is handled the better, though I have not 
the slightest fear in manipulating engravings 
of the largest size. Sometimes, if the engrav- 
ing be only slightly stained, half an hour is quite 
sufficient, but when quite brown I have left 
them in for as long as four hours. "With a strong- 
er solution the time required is much less. 

After all the stains are removed, and the 
paper has regained its pure whiteness, pour the 
solution out of the dish into a bottle (as this 
can be used over and over again— that is, seve- 
ral times until it becomes discolored, when it 
must be discarded), then fill up the dish with 
water, changing frequently for about two 
hours: or, better still, place it in running water. 



When sufficiently washed, it can be taken out 
and blotted off and then hung up to dry, and, 
when perfectly dry, I find it advisable to iron 
it on the back with a warm flat iron; but care 
must be taken not to have it too hot. When 
finished it will be as white as the first day it 
came from the press.— W. B., British Journal of 
Photography. 

Cleaning Old Engravings.— A correspondent 
of the Chemist and Druggist says upon this sub- 
ject : 

No one who values an engraving will try a 
chemical receipt until plain remedies have been 
essayed. I have cleaned a set of 760 manu- 
scripts, more or less illegible, in the following 
manner : 

A large German sitz bath is made perfectly 
clean ; half filled with water filtered through a 
carbon filter. The manuscript is floated on the 
water, face downward, for twenty-four hours, 
the color obtained being sufficient evidence as 
to what has taken place. The manuscript is 
lifted out of the water by a large, perfectly 
clean sheet of window glass being passed under- 
neath ; after being drained it is transferred to 
a sheet of white blotting paper, never being 
touched by the hand. When thus the first 
dampness has been removed, it is transferred to 
fresh blotting paper, dried and ironed in the 
usual way. 

This plan will serve in the case of nine engra- 
vings out of ten— excepting always that, before 
ironing, the engraving is finished off with 
bread crumbs applied by a circular motion of 
the hands, as practiced in the art schools. 

This plan, with regard to ancient stains, mil- 
dew, and grease spots, is ineffective, and re- 
course must be had to other means. 

Removing Mildew Stains.— The most success- 
ful method is to immerse each mildewed sheet 
separately in a solution made in the proportions 
of yh lb. chloride of lime to 1 pt. of water. Let 
it stand, with frequent stirring, for twenty- 
four hours, and then strain through muslin, 
and finally add 1 qt. of water. Mildew and 
other stains will be found to disappear very 
quickly, and the sheets must then be passed se- 
parately through clear water, or the chloride 
of lime, if left in the paper, will cause it to rot. 
Old prints, engravings, and every description 
of printed matter may be successfully treated 
in the same manner. 

The objection to this method is that an unna- 
tural whiteness is effected, which in printed 
matter is of no consequence, but seriously in- 
terferes with the beauty of a line engraving. 
The formula which I still want includes 2 solu- 
tions— 1 of eau de Javelle, and the other proba- 
bly of hyposulphite of soda. It was copied from 
a periodical about four months ago, but it was 
burnt just as it was being used. 

Place them, 1 or 2 at a time, in a shallow dish, 
and pour water over them until they are com- 
pletely soaked or saturated with it. Then care- 
fully pour off the water, and pour on to the 
prints a solution of chloride of lime (1 part 
liq. calcis chlorate. B. P., to 39 parts of wa- 
ter). As a general rule, the stains disappear 
as if by magic, but occasionally they are obsti- 
nate. When that is the case pour on the spot 
pure liquid calcium chlorate, and if that does 
not succeed, add a little acid nitro-hydrochlo- 
ric, dilute. As soon as they are clean, they 
must be carefully washed with successive por- 
tions of water, until the whole of the chlorine 
is got rid of. They should, then be placed in a 
very weak solution of isinglass or glue, and 
many collectors color this solution with coffee 
grounds, etc., to give a yellow tint to the 
print. They should be dried between folds of 
blotting paper, either in a press or under a heavy 
book, and finally ironed with an ordinary flat- 
iron to restore the gloss, etc. (place clean paper 
between the iron and the print). 

Fruit Stains, to Remove.— Boiling water will 
take out the stains of nearly all fruits, but on 
the juice of some, such as peaches, nectarines- 



Diamine, 



639 



Electro-Metallurgy. 



and blackberries, it seems to have but little 
effect. 

Others yield readily to bleaching powder, 
especially if after being put on it is moistened 
with a drop of some acid, as vinegar or lemon; 
but do not under any circumstances use acids 
on colored goods. 

Grease Spots, Mixture for Cleaning. — Equal 
parts of strong ammonia water, ether and 
alcohol form a valuable cleaning compound. 
Pass a piece of blotting paper under the grease 
spot, moisten a sponge, first with water to ren- 
der it greedy, then with the mixture, and rub 
the spot with it. In a moment it is dissolved, 
saponified, and absorbed by the sponge and 
blotter. \ 

Leather, to Clean Light Colored.— For fawn or 
yellow colored leather, take 1 qt. skimmed 
milk, pour into it 1 oz. sulphuric acid, and 
when cold, add to it 4 oz. hydrochloric acid, 
shaking the bottle gently until it ceases to emit 
white vapors; separate the coagulated from 
the liquid part, by straining through a sieve, 
and store it away till required, In applying it, 
clean the leather by a weak solution of oxalic 
acid, washing it off immediately, and apply tne 
composition when dry, with a sponge. 

Mildew, to Remove. — Mildew is the hardest of 
all stains to remove, and cannot be taken out 
of linen unless the effort is made soon after it 
appears. A very fresh, light stain may be 
treated successfully by covering it with table 
salt wet with lemon juice, and placing it on the 
grass in the sun. But the best remedy is the 
following : Mix soft soap with powdered starch, 
half as much table salt, and the juice of a 
lemon. Spread this mixture -thickly on both 
sides of the mildewed linen, and then lay the 
fabric on the grass in the sun. Repeat the 
operation two or three times a day, leaving the 
cloth out overnight as is done in bleaching. If 
this will not remove the stain, nothing will do 
it. 

Combining Weight.— This expression is 
now generally used in connection with the ele- 
ments as synonymous with atomic weight, and 
in connection with compounds, as synonymous 
with molecular weight. 

Diamine.— An amine formulated on the 
type of two molecules of ammonia. 

Diatomic.— Equivalent in combining power 
to that of two atoms of hydrogen. 

Dibasic. — A term applied to acids which 
contain two atoms of hydrogen, replacable by 
metals to form salts. 

Diffusion (of gases). — The property pos- 
sessed by gases of different densities of spon- 
taneously mixing when placed in communica- 
tion with each other. 

Dimorphous. — Possessing two distinct 
forms, crystalline or otherwise. 

Dyad.— An element or compound radical 
capable of replacing two atoms of hydrogen in 
combination. 

Driers. — The following points should be ob- 
served in using driers : 

1. Not to use them unnecessarily with pig- 
ments which dry well in oil color. 

2. Not to employ them in excess, which would 
only retard the drying. 

3. Not to add them to the color until about 
to be used. 

4. Not to use more than one drier to the 
same color. 

5. To avoid the use of patent driers, unless 
known to be of good quality. 

6. To avoid the use of driers in the finishing 
coat of light colors, as they are liable to injure 
the color. 

Effusion (of gases).— A term used to sig- 
nify the passage of gases through minute 
orifices. 



Elect ro-Metall u rgy. —Coppering Bath for 
Zinc— This bath is composed as follows : 

Crystallized acetate of copper... .200 grm. 

Carbonate of soda 200 grm. 

Crystallized bisulphide of soda.. .200 grm. 

Potassic cyanide 300 grm. 

Distilled water 10 liters. 

This solution should be energetically boiled 
before being used. 

Electro-plating with Aluminum. — In the 
Jewelers' Journal the following recipe for 
electro-plating with aluminum is given by 
Herman Rein bold : 

Fifty parts of alum, A1K(S0 4 ) 2 + 12H 2 0, are 
dissolved in 300 parts of water, and to this 10 
parts of chloride of alumina (A1 2 C1 6 ) are added, 
heated to 200° and cooled, whereupon 39 parts 
of cyanide of potassium are added. The 
object to be plated has to be cleaned, and to be 
absolutely free from grease in any f orm,where- 
upon it is suspended in the bath over the 
electro-positive electrode, the plate of metallic 
aluminum to be suspended on the negative 
pole. The electric current ought to be weak. 
The plating when polished will be found to be 
equal to the best silver plating, having the ad- 
vantage of not being oxidized or getting black 
when brought into contact with sulphurous 
vapors, which would make it especially valuable 
for plating spoons and tableware. 

Metallo-chromes. — A remarkably beautiful 
effect of electro-chemical decomposition is pro- 
duced under the following conditions: A con- 
centrated solution of acetate of lead (sugar of 
lead) is first made, and after being filtered, is 
poured into a shallow porcelain dish. A plate 
of polished steel is now immersed in the solu- 
tion, and allowed to rest on the bottom of the 
dish. A small disk of sheet copper is then to 
be connected to the wire proceeding from the 
zinc element of a constant battery of two or 
three cells, and the wire connected to the cop- 
per element is to be placed in contact with the 
steel plate. If now the copper disk be brought 
as close to the steel plate as possible, without 
touching it, in a few moments a series of beau- 
tiful prismatic colorations will appear upon the 
steel surface, when the plate should be removed, 
and rinsed in clean water. These colorations- 
are films of lead in the state of peroxide, and 
the varied hues are due to the difference in 
thickness of the precipitated peroxide of lead, 
the light being reflected through them from 
the polished metallic surface beneath. By re- 
flected light, every prismatic color is visible, 
and by transmitted light a series of prismatic 
colors complementary to the first series will 
appear, occupying the place of the former se- 
ries. The colors are seen to the greatest per- 
fection by placing the plate before a window 
with its back to the light, and holding a piece 
of white paper at such an angle as to be re- 
flected upon its surface. The colorations are- 
not of a fugitive character, but will bear a con- 
siderable amount of friction without being re- 
moved. In proof of the lead oxide being depos- 
ited in films or layers, if the deposit be allowed to 
proceed a few seconds beyond the time when 
its greatest beauties are exhibited, the colora- 
tion will be less marked, and become more or 
less red, green, or brown. If well rubbed when 
dry with the finger or fleshy part of the hand, 
a rich blue colored film will be laid bare, by the 
removal of the delicate film above it. 

The discovery of this interesting electrolytic 
phenomenon is due to Nobili, who in the year 
1826 discovered that when a solution of acetate 
of lead was electrolyzed by means of a current 
from four to six Grove cells, a large platinum 
anode and a platinum wire cathode being em- 
ployed, prismatic colors were produced upon 
the" anode surface; and when the platinum 
anode was placed horizontally in the acetate so- 
lution and the negative wire held vertically 
above it, a series of rings in chromatic order 
were produced. These effects subsequently 
took the name of Nobili's rings, and the inter- 



Electro-Metallurgy. 



640 



Etching. 



esting- discovery induced Becquerel, Gassiot, 
and others to experiment in the same direction 
by varying- the strength of the current and 
employing other solutions than the acetate of 
lead. 

Becquerel's Solution.— The following formu- 
la was suggested by Becquerel: Dissolve 200 
grm. caustic potash in 2 qt. distilled water, add 
150 grm. litharge, boil the mixture for half an 
hour, and allow it to settle. Then pour off the 
clear liquor, and dilute it with its own bulk of 
water. 

The plan recommended by Mr. Gassiot to ob- 
tain the metallo-chromes is to place over the 
steel plate a piece of card, cut into some regu- 
lar device, and over this a rim of wood, the 
copper disk being placed above this. We have 
found that very beautiful effects are obtained 
when a piece of fine copper wire is turned up 
in the form of a ring, star, cross, or other pat- 
tern, and connected to the positive electrode 
as before; indeed, this is one of the simplest 
and readiest methods of obtaining the colora- 
tions upon the polished metal. Metallo-chromy, 
as it is termed, is extensively employed in Nu- 
remberg to ornament metallic toys, the solution 
used being that suggested by Becquerel, namely, 
a solution of the oxide of lead in caustic soda 
or potash. Metallo-chromy has also been 
adopted in France for coloring bells, and in 
Switzerland for coloring the hands and dials of 
watches. In using the lead solution to pro- 
duce metallo-chromes it must be remembered 
that metallic lead becomes deposited upon the 
cathode; consequently the solutions in time 
become exhausted, and must therefore be re- 
newed by tne addition of the lead salt. 

Metallo-chromes on Nickel-plated Surfaces. — 
It will be obvious that if metallo-chromy were 
only applicable to platinum or steel surfaces, 




ENGRAVING GLASS. 

which has generally been the case heretofore, 
the usefulness of the process as a means of 
ornamentation for industrial purposes would 
be greatly restricted. While the production of 
these colorations upon platinum foil would 
only be effected for experimental purposes, 
the application of the process to steel surfaces 
would necessarily be of a limited character, 
owing to the unsuitableness of this metal as 



compared with brass, German silver, and cop- 
per, for the manufacture of many articles of 
utility or ornament. 

Empirical Formulae.— Formulae which 
show only the components of a compound, 
without reference to their molecular arrange- 
ment. 

Engraving Glass.— Well dried sand, con- 
tained in the cylindrical vessel, A, is allowed to 
flow in a continuous manner through the tube, 
C, whose length and inclination can be altered 
at will, so as to regulate the fall of the sand. 
The tubes conveying the current of air or 
steam terminates just above this spout, in a 
nozzle containing a series of fine holes. The 
sand, urged on by the jet, is thrown violently 
against the glass plate, E, or other body placed 
within its range, and thus exerts an abrading- 
action. By varying the quantity of the sand, the 
volume and velocity of the current, as well as 
the diameter of the jet, more or less rapid 
effects are produced. Holes may be drilled in 
glass and in substances much harder than glass 
by means of this apparatus. In engraving on 
glass very little pressure is needed, the current 
from the bellows of an enameler's lamp being 
quite sufficient. In this way the divisions on 
graduated tubes, the labels on bottles, etc., can 
easily be engraved in laboratories with but 
little trouble. The portions of the glass which 
are to remain clear are covered with paper, or 
with an elastic varnish, these substances being 
sufficient protection against the abrading action 
of the sand. 

Equivalent Weight.— A number repre- 
senting the smallest proportion of an element 
which is equal in combining power to one atom 
of hydrogen. 

Etching Glass.— In the opaque etching of 
glass it has hitherto been thought necessary to 
use certain expensive fluorine saits in the 
preparation of the etching solutions. It has 
quite recently been discovered by A. Lainer 
that comparatively cheap etching can be pre- 
pared. In Dingler's Polytechnisches Journal 
Lainer gives two recipes which obviate the use 
of the more expensive fluorine salts. 

1. Two solutions are first prepared : (a) Consist- 
ing of 10 grm. of soda in 20 grm. of warm water; 
(b) consisting of 10 grm. potassium carbonate 
in 20 grm. of warm water. Solutions a and b 
are now mixed, and to the mixture is added 20 
grm. of concentrated hydrofluoric acid, and 
afterward a solution (c) consisting of 10 grm. of 
potassium sulphate in 10 grm. of water is 
added. 

2. This recipe contains the following ingre- 
dients : Four c. c. of water, V/% grm. of potas- 
sium carbonate, 0*5 c. c. of dilute hydrofluoric 
acid, - 5 c. c. of hydrochloric acid and 0*5 c. c. 
of potassium sulphate. This mixture is treated 
with hydrofluoric acid and carbonate of potas- 
sium until it produces the required degree of 
opacity on being tried upon a piece of glass. 

Lainer considers that the addition of a small 
quantity of hydrofluoric acid to solution 1 
brings about a fine granulated appearance on 
the surface that is treated with it. But it 
appears that there is a still simpler prpcess 
than either of these ; it was invented by Herr 
Kampmann, of Vienna. In preparing an 
opaque etching fluid Kampmann uses a wooden 
vessel, the iron fittings of which are protected 
from the corrosive action of the acid fumes by 
a layer of asphaltous material. This vessel is 
filled to about one-fifth of its contents with 
strong hydrofluoric acid,whichisthen partially 
neutralized by cautiously and gradually adding 
some crystals of soda ; more soda is added, and 
the mixture is stirred with a small wooden rod. 
The point at which the neutralization of the 
acid should cease is indicated by the mixture 
frothing and becoming sufficiently viscid to 
adhere to the stirring rod. It is, perhaps, hardly 
necessary to say that the acid fumes are highly 
injurious and that this process should be car- 



Food. 



641 



Gilding. 



ried on in the open air, in order to allow the 
vapor to pass rapidly away. The most hygienic 
and satisfactory process of all would be to 
carry on the operation in a draught cup- 
board. 

The contents of this wooden vessel now con- 
sist of sodium fluoride and the unneutralized 
hydrofluoric acid. This mixture is now trans- 
ferred to a wooden tub and diluted with from 
five to ten times its volume of water, according 
to the degree of dilution that is desired. It is 
objectionable to use this mixture in a too 
highly concentrated condition, for then the 
etched surface of the glass is irregular, coarse 
grained, and apparently strewn with tiny crys- 
tals; if, on the other hand, the dilution be too 
extreme, the etched surfaces will be transparent 
instead of opaque. Either of these two con- 
ditions of the etching fluid can easily be 
remedied; for if it be too strong water must be 
added, and if too weak a small quantity of 
hydrofluoric acid partially neutralized with 
soda must be mixed in 

A good recipe for preparing a small quantity 
of this etching fluid is the following: 240 c. c. 
commercial hydrofluoric acid, 600 grm. powder- 
ed crystallized soda, 100 c. c. water. 

These etching fluids are best used by taking 
the following precautions: The glass is first 
thoroughly cleansed from all impurities, and is 
then provided with a rim of wax composed of 
the following ingredients : Beeswax, tallow, 
colophony and powdered asphalt kneaded to- 
gether. The rim prevents the acid from spread- 
ing over those parts of the surface which it is 
not desired to etch. The glass is now etched 
for a few minutes with an ordinary etching 
solution (H.F.— 1:10), which is then poured off, 
the surface being afterward washed with water 
and wiped as dry as possible with a piece of 
sponge. 

The surface is now ready for the opaque 
etching fluid, which is poured on till it forms a 
thick layer. The operation is allowed to pro- 
gress for one hour, when the liquid is poured 
away and. the surface washed with water. 
Water is further allowed to stand on the glass 
until a thin film of silicate is observed to form; 
this film is then brushed off and the surface 
finally cleansed with water and the wax re- 
moved. 

By varying the action of this opaque etching 
fluid or paste various degrees of opacity may 
be produced, and if the opacity be greater than 
that which is desired, the surface can be cleared 
to any extent by using the etching solution of 
hydrofluoric acid. 

Food. — The varieties of food may be classi- 
fied as follows : 

f As eggs, muscle of 

Nitrogen- I brutes,fish,f ruits, 

ous. I vegetables, milk, 

(. etc. 

Non-nitro- j Oils, fats, starch, 

genous... j sugar, etc. 

I a. Mineral or saline matters, as 
■£. Inorganic. ■< chloride of sodium, etc. 

( b. Water. 

To understand what to eat, when to eat and 
how to eat, we must first look at some of the 
^lementary teachings of physiology. 

The body of man consists of the following 
elements, in the proportions given. The table 
is by Marshall : 

Oxygen 72*0 

Carbon 13*5 

Hydrogen 9"1 

Nitrogen 25 

Calcium 13 

Phosphorus 1*15 

Sulphur 0*1476 

Sodium 0*1 

Chlorine 0'85 

Fluorine 0*08 



/. Organic. " 



Potassium - 026 

Iron o-01 

Magnesium - 0012 

Silicon 0.0002 

These exist for the most part in various com- 
binations. Only three elements— oxygen, ni- 
trogen and hydrogen— are found in the body 
in the free state, and these in very minute 
amount. 

Percentage Composition of Various Articles 
of Food.— Letherby. 





- 

37 
15 

14 
13 
18 

To 

m 

91 

5 

23 
86 
66 
36 
72 
51 
72 
63 
39 
74 
78 
75 

i l 

IS 
52 
15 
91 


© 

< 

8-1 
12-6 
11-1 

6-3 

*2 : i 
13 

1.2 

4 : 1 

2-7 
28-4 
19-3 
14' 8 
18-3 
16 5 

9-8 
21-0 
18"1 

9-9 
161 

*n-4 


V 
Sh 

ss 

47-4 
58'4 
64'7 
791 
82-0 
18-8 
8-4 
5-1 


- 

p 
w 

36 
54 

0'4 
0-4 

32 

6-1 
21 

95-0 

77-0 

52 

28 


OS 

16 




Indian corn meal 

Rice 


5'6'30 
8-11-7 
0'70'5 


Arrowroot 


6-2 <V7 


Carrots 

Sugar 

Milk 

Cream 

Cheddar cheese 

Lean beef 


0-2 

39 
26-7 
31 1 

36 


io 

0-6 

0-8 
10 
4-5 
51 


Fat beef 






29-8 44 


Lean mutton 






49 

158 

48'9 

3-8 

29 

13-8 

55 

30-7 
83'0 


4-8 


Veal 

Fat pork 

Poultry 




. 


4-7 
2-3 


White fish 






1 


Eels 






1'3 


Salmon 


ri 


White of egg ... 


1 6 


Yelk of egg 


16*0 

6 : i 






13 


Butter and fats 




. . . . 


9,-Q 


Beer and porter 


8 7 




0-2 



Of the six constituents mentioned in the 
above table the most valuable are albumen 
and salts. Water is useless as food, since it 
may be taken equally well as common drink. 
Starch is converted in the body into sugar, 
and part of it is then converted into fat, and 
the other part undergoes combustion, serving 
to maintain the body's heat. Fat enters into 
the composition of fatty tissue and fluids, and 
this in the system, by undergoing combustion, 
also serves to maintain the temperature. 

Gilding. — Gilding Metal Surfaces.— A Mon- 
sieur P. A. Dode, of Rheims, has patented in 
France methods of gilding (both brilliant and 
dull or matte) wrought and cast iron and other 
metal surfaces by means of sulphide of gold, 
applied either by brush or bath. His process 
consists in covering the metal under treatment 
with a thin yet solid coating of gold, present- 
ing a very rich metallic appearance, and pro- 
duced without having recourse to burnishing 
or polishing. 

First Operation. Product No. 1.— I dissolve 
a kilogramme of pure alum in a sufficient but 
the smallest necessary quantity of water. When 
it is completely dissolved, I pour on to it a liter 
ojc ammonia (alkali). The alum precipitates it- 
self into the form of a very thick jelly, and I 
pour this precipitate on to a filter, in order to 
draw off as much liquid as possible. The alum 
is next put into a porcelain capsule, and I add 
500 grm. of nitric acid, which has the property 
of redissolving the alum. 

Then I put, for dissolving, in another cap- 
sule 150 grm. of carbonate of cobalt, with 20J 
grm. of nitric acid, and I assist the dissolving 
by the moderate heat of a sand bath. The dis- 
solution being effected, I pour it upon the dis- 
solved alum, and both being well mixed to- 
gether, I assist the complete evaporat iou of the 



Gilding-. 



642 



Gilding. 



acids by placing- the capsule upon a strongly 
heated sand hath. I collect and pound the 
produce and calcine it in a crucible by a strong- 
heat before using it in the following composi- 
tion : 

Product No. 2.— I melt in a crucible exposed 
to a brisk fire the subjoined composition, thor- 
oughly mixed : 

Kilos. Grammes. 

Product No. 1 600 

Orange oxide of lead 3 200 

Boric acid 800 

Finely powdered white 

glass 200 

4 800 

The melting being effected, I pour it into cold 
water, and afterward dry and grind the pro- 
duct by the means employed for grinding 
enamels. Spirits of turpentine are used in the 
operation of grinding, which must be con- 
tinued until a considerable degree of fineness 
is obtained, in order to facilitate the working. 
If the product be too thick, the quantity of 
turpentine necessary to reduce it may be 
added. 

Product No. 3. — I dissolve in a porcelain cap- 
sule: 

Pure gold 100 grm. 

Muriatic acid 200 grm. 

Nitric acid 100 grm. 

I effect the dissolving of this by a moder- 
ately heated sand bath, and then add 2 grm. of 
pure tin and 2 grm. of arsenious acid. I evap- 
orate about % of the acids, leave the mixture 
to cool, and then add 150 grm. of distilled water. 
This solution is placed aside, and I then pro- 
ceed to the following' operation : 

Product No. 4.— I put into a glass retort : 150 
grm. of turpentined balsam of sulphur, con- 
taining 20$ of sulphur (as is usually prepared 
by pharmaceutical chemists), 40 grm. of Venice 
turpentine, 200 grm. ol essential oil of lavender. 
1 heat this mixture in a sand bath until the 
liquid attains a deep red color, at which point I 
remove it and allow it to cool. When cooled, I 
pour the mixture into a porcelain capsule, and 
then slowly pour the Product No. 3, taking 
care to stir thoroughly and constantly the 
Product No. 4 with a glass spatula. Owing to 
the difficulty of slowly pouring- with one hand 
and stirring strongly with the other, I employ 
assistance in this operation. When the Pro- 
duct No. 3 is poured out there becomes formed 
in the No. 4 capsule a very stiff substance of a 
rich bright brown color. If the desired color 
be n"bt at once obtained, I slowly warm the 
mixture, stirring it all the while, and I remove 
it from the bath direct^' after I observe that 
the desired change is effected. When the 
above indicated condition is reached I let 
the product cool, as the gold has then 
separated from the acids. After becom- 
ing cool, I extract, as far as possible, the 
acids, and place the mixture aside until the 
next day. I again extract what little acid may 
have become separated, and then, without 
troubling myself about the small amount 
of acid left in the product, I pour upon it, drop 
by drop, taking care to stir strongly as long as 
I notice a reaction, 50 grm. ox ammonia (alkali), 
but this quantity is not always necessary. 

The mixture is effected very easily. I allow 
it to remain two hours, and then I pour upon 
this product 300 grm. of essential oil of laven- 
der. I then heat slightly, for the purpose of 
mixing thoroughly, and leave to cool. Then I 
filter the product by means of a paper filter, 
which I take care to steep in the oil of lavender 
in order to render it impermeable to water. 

The golden liquid passes throug-h, while the 
ammoniacal water remains on the filter, and 
the product thus obtained is ready for use on 
leaving the filter. 



Many other methods for obtaining gold in 
this state have been described and applied to 
porcelain, pottery and glass, but are imperfect 
for application to metals, and, after having 
tried them, I have been obliged to return to 
my own formula. It is not, however, this for- 
mula that 1 have the intention to patent, but 
the application of brilliant or dull gilding to 
metal, without burnishing or polishing, by 
means of baths, or applied by the brush with 
pure or alloyed gold, in suspension or dis- 
solution, in fatty substances or essential oils, 
according to the requirements of the desired 
applications. 

To obtain brilliant gilding upon wrought or 
cast iron, copper, and other metals, it is neces- 
sary to proceed as follows : The objects to be 
operated upon should be very clean, free from 
oxidation or any foreign substances; the ob- 
jects being in such condition are slightly 
warmed to remove all humility; then a brush 
is dipped into the Product No. 2, and the ob- 
jects are coated, taking care to cover the same 
thoroughly of an even thickness, that is to say, 
the thickness technically known in oil painting 
as a round coating of color. The objects thus 
covered are next placed in a closet to preserve 
them from dust, and there left for some hours 
to dry; afterward they are placed for heating 
in an oven similar to those used by enainelers. 
and of a size appropriate to the objects treated, 

On their withdrawal from the oven the ob- 
jects will have assumed a very brilliant blue- 
black aspect. After cooling they are ready for 
receiving the gilding, which is obtained by 
dipping a brush into the golden liquid (Pro- 
duct No. 4), and evenly covering the objects 
with a very thin coating. They are then allow- 
ed to dry for some hours, protected from the 
dust, and then they are again heated in the 
oven as previously described, care being taken 
to heat the objects gradually, in order to pre- 
vent the blistering of the gold. The trans- 
formation is seen to take place by the objects 
changing their blue-black tint and becoming 
yellow and brilliant. It is at this point they 
should be drawn from the oven, when will be- 
come apparent the beauty and solidity of the 
gilding, which is more solid and more brilliant 
than any gilding, either by mercury or by the 
battery. 

In order to obtain dull or matte gilding, it 
suffices to put on a very thin coating of the 
Product No. 2, so that it may remain matte, for 
the brilliancy is solely due to the degree of 
thickness of this coating. The objects remain- 
ing dull, the gilding will be dull. 

Should it be desired to avoid the use of the 
Product No. 2, and nevertheless obtain a bril- 
liant gilding, this may be accomplished by first 
polishing the objects by the ordinary means of 
the tool or lathe. 

The coating of gold when applied to polished 
metals becomes brilliant, but it is neces- 
sary to apply a thicker- coating upon cast 
iron, which is more porous, and matte or dull 
gilding is in like manner obtained upon rough 
metal; still it is always advantageous to make 
use of the Product No. 2, because it will econo- 
mize three-fourths of the gold used upon plain 
metal. As must be observed, this application 
is one of facility and simplicity, and at the 
same time not costly. 

Letters, to Gild. — When the sign is pre- 
pared as smooth as possible, go over it with a 
sizing made by white of an egg dissolved in 
about four times its weight of cold water, add- 
ing a small quantity of fuller's earth; this to 
prevent the gold sticking to any part but let- 
ters. When dry, set out the letters and com- 
mence writing, laying on the size as thinly as 
possible, with a sable pencil. Let it stand un- 
til you can hardly feel a slight stickiness; then 
go to work with your gold leaf knife and cush- 
ion, and gild the letters. Take a leaf upon the 
point of your knife, after giving it a slight puff 
into the back part of your cushion, and spread 



Glyptic. 



643 



Monaiuinc. 



it on the front part of it as straight as possible; 
give it another slight puff with your mouth to 
flatten it out. Now cut it to the proper size, 
cutting with the heel of your knife forward. 
Now rub the tip of the knife lightly on your 
hair; take up the gold on the point, and place 
it neatly on the letters; when they are all cov- 
ered, get some very fine cotton wool, and 
gently rub the fold until it is smooth and 
bright. Then wash the sign with clean water 
to take off the egg size. 

Glyptic Formulae.— A system of formulae 
mainly used for lecture demonstration, and 
consisting of colored balls representing atoms, 
and pegs representing the theoretical bonds of 
attachment by which the balls may be con- 
nected together, and a representation of the 
i'ormation of compounds shown. 

Gravity, Specific. -^The following was re- 
ceived too late to be put in under Gravity, Spe- 
cific, which see for additional information. 
Specific Gravity. Determination of Specific 
Gravity. 

Solids.— 1. Solids heavier than, and insoluble 
in, water.— 

a. By weighing in air and water.— 
(weight in air) 
Sp. gr.= 



(loss of weight in water) 

b. By Nicholson's hydrometer. Letit'jbethe 
■weight required to sink the instrument to the 
mark on the stem, the weight of the instru- 
ment being W ; to take the specific gravity of 
any solid substance, place a portion of it 
weighing less than wj, in the upper pan, with 
such additional weight, say w 3 , as will cause 
the instrument to sink to the zero mark. The 
weight of the substance is then w^ — w 3 . Next 
f-ransfer the substance to the lower pan, and 
.again adjust with weight w t to the zero mark. 

W] — iv 3 
Sp. gr. = 



Sp. gr. = 



(sp. gr. of liquid) 
(weight of substance in air) 



iv 4 —w 3 
c. By the specific gravity bottle (applicable to 
powders). Weigh the flask filled to the mark 
with water, then place the substance, of known 
weight, in the flask, fill to the mark with water, 
and weigh again. 

(weight of substance in air) + (weight 
of flask and water) — (weight of flask 
and water and substance) 

•Sp. gr. = 

(weight of substance in air) 

2. Solids lighter than, and insoluble in, 
water. The solid is weighted by a piece of 
lead of known specific gravity and weighed in 
water. 

(weight of substance in air) 

Sp. gr. = — — 

(weight of lead in water) — (weight 

of lead and substance in water) + 

(weight of substance in air) 

3. Solids heavier than, and soluble in, 
water. Proceed as in 1 a, using instead of 
water some liquid without action on the 
solid. 

(weight of bulk of liquid equal to substance) = 
(weight of substance in air)— (weight of sub- 
stance in liquid). 

(weight of bulk of 
liquid equal to sub- 
stance) x (sp. gr. of 
(weight of bulk of water water) 

equal to substance) = 



(weight of bulk of water equal to sub- 
stance) 

Liquids.— 1. By the hydrometer. 

2. By the specific gravity bottle. 

Weisrh the bottle filled to the mark with 



water, and again when filled to the mark with 
liquid. 

(weight of liquid and bottle) — (weight 
of bottle) 

Sp. gr. = 

(weight of water and bottle) — (weight 
of bottle) 

Homologous.— An expression used in or- 
ganic chemistry in connection with certain 
series of compounds, each member of which 
differs from the preceding member by an addi- 
tion of CH 2 . 

Hydracid.— A term generally applied to 
such acids as HCI, HBr, HI, andHF, consisting 
of hydrogen united to a haloid element, and 
having no oxygen in their composition. 

Ketone.— An organic compound derived 
from the oxidation of a secondary alcohol, in 
the same way that an aldehyde is produced 
from the oxidation of a primary alcohol. 

Leather.— English Oak Stain for Bottoms of 
Boots and Shoes- The process used by the best 
English shoe manufacturers to stain our hem- 
lock and union sole, so that it shall resemble 
English oak, is simply as follows: Take equal 
quantities, say 1 oz., of borax and oxalic acid, 
and put in 1 qt. of water. Be sure the acid 
does not predominate, and in some cases a 
very little more of the borax will be better. 
Then, when the shoe goes to the finishers, after 
sandpapering the bottom, when dry, dampen 
down or wet the grain with this solution, and, 
when nearly dry, apply French chalk or pipe 
clay in the usual way. This brings out a white 
bottom, finely tinted with a shade of pink. If 
more yellow, and not so much red, is wanted, 
put in a little turmeric root or chrome yel- 
low. Care must be taken that the sole is not 
afterward wet while in stock, or the hemlock 
color will come out again. 

White Bottom Finish on Shoes.— Preparations 
can be purchased in findings stores to do this. 
Couple of formulas are as follows: French 
chalk, 2J4 lb.; 3 oz. yellow ocher; hot water to 
make a paste, which should be well mixed, then 
reduced with 4 qt. water, made sky blue with 
laundry blue; 1 tablespoonf ul strong dissolved 
oxalic acid; 2 qt. thin dissolved gum traga- 
canth; first coat should be allowed to dry be- 
fore the application of the second. Or the fol- 
lowing: French chalk, 1 lb.; y% lb. common 
chalk, y% lb. alcohol, 6 pt. sky blue water, a tea- 
spoonful of dissolved oxalic acid, dissolved 
gum tragacanth to suit. 

Metameric. —A term applied to those or- 
ganic compounds Avhich possess the same per- 
centage composition and the same vapor den- 
sity, but which differ in physical properties 
and behave dissimilarly under the action of re- 
agents. 

Molecular Formulae. — Formulae which 
show molecules as taking part in chemical re- 
action, in contradistinction to formulas in 
which atoms only are shown. 

Molecular Weight. — The weight of a 
molecule of an element or compound. The 
molecular weights of the elements are twice 
their atomic weights, with the exception of 
phosphorus and arsenic, whose molecules con- 
tain four atoms, and of mercury and a few 
other volatile metals whose molecules contain 
only one atom. The molecular weight of a 
compound is the aggregate weight of its con- 
stituent atoms. 

Molecule.— The smallest part of an ele- 
ment, or compound, which is capable of exist- 
ence in the free state. 

Molymeric— A term used in organic chem- 
istry to denote the fact of certain compounds 
possessing the same percentage composition, 
but having different vapor densities. 

Monamine.— An amine regarded as de- 
rived from one molecule of ammonia by the re- 



monobasic. 



644 



Photography. 



placement of a hydrocarbon group, or hydro- 
carbon groups, for a corresponding number of 
hydrogen atoms. 

Monobasic— A term used to define acids 
containing one atom of hydrogen, replacable 
by a base to form a salt. 

Monad.— An element or compound radical, 
whose combining power is equal to that of one 
atom of hydrogen. 

Monatomic- Having an equal combining 
power to that possessed by one atom of hydro- 
gen. 

Oleomargarine. See Oils (Butterine) in 
the body of the Cyclopedia. 

Oxidized or Antique Silver. — The 
color known as oxidized silver is obtained as 
follows: 

1. The silver-plated object is brushed with 
a earners hair brush and a solution of platinum 
chloride in sulphuric ether, alcohol or cold 
water. 

2. The following solution is then applied on 
it in the same manner: 

Sulphate of copper 2 parts in weight. 

Potassic nitrate 1 ) dissolve in 

Amnionic hydrochlorate. 2 f acetic acid. 

3. The ammonic hydrosulphate, concentrated 
or dilute, gives a more or less deep shade. 

4. Sulphurous vapors give a steel-blue shade. 
The parts which must not be touched should be 
protected by a coating. 

5. Nitric acid alone produces the superficial 
oxidiatzion of silver. 

Paint.— To Reduce Oil Paints with Water. — 
Take 4 lb. pure unslaked lime; add 6 qt. water; 
after stirring it, allow it to settle, after which, 
it should be turned off and bottled and kept 
corked till used. This is mixable with oil and 
will preserve paint in proportion of half. 

Luminous Paints in all Colors.— A German 
contemporary gives the following series of re- 
ceipts for these paints, which may prove use- 
ful. Aid of these paints can be used in the 
manufacture of colored papers, etc., if the 
varnish is altogether omitted, and the dry mix- 
tures are ground to a paste with water. The 
luminous paints can also be used as wax colors 
for painting on glass and similar objects, by 
adding, instead of the varnish, 10$ more of 
Japanese wax and \ the quantity of the latter 
of olive oil. The wax colors prepared in this 
way may also be used for painting upon porce- 
lain, and are then carefully burned without ac- 
cess of air. Paintings of this kind can also be 
treated with water glass. 

For orange luminous paint, 46 parts varnish 
are mixed with 17 '5 parts prepared barium sul- 
phate, 1 part prepared Indian yellow, 1"5 parts 
prepared madder lake, and 38 parts luminous 
calcium sulphide. 

For yellow luminous paint, 48 parts varnish 
are mixed with 10 parts barium sulphate, 8 
parts barium chromate, and 34 parts luminous 
calcium sulphide. 

For green luminous paint, 48 parts varnish 
are mixed with 10 parts prepared barium sul- 
phate, 8 parts chromium oxide green, and 34 
parts luminous calcium sulphide. 

A blue luminous paint is prepared from 42 
parts varnish, 10'2 parts prepared barium sul- 
phate, 6*4 parts ultramarine blue, 5*4 parts co- 
balt blue, and 46 parts luminous calcium sul- 
phide. 

A violet luminous paint is made from 42 
parts varnish, 10,*2 parts prepared barium sul- 
phate, 2"8 parts ultramarine violet, 9 parts co- 
baltous arsenate, and 36 parts luminous calcium 
sulphide. 

Por gray luminous paint, 45 parts of the var- 
nish are mixed with 6 parts prepared barium 
sulphate, 6 parts prepai'ed calcium carbonate, 
0"5 part ultramarine blue, 6*5 parts gray zinc 
sulphide. 

A yellowish brown luminous paint is obtained 
from 48 parts varnish, 10 parts precipitated 



barium sulphate, 8 parts auripigment, and 34 
parts luminous calcium sulphide. 

Luminous colors for artists 1 use are prepared 
by using pure East India poppy oil, in the 
same quantity, instead of the varnish, and 
taking particular pains to grind the materials 
as iine as possible. 

For luminous oil color paints, equal quanti- 
ties of pure linseed oil are used in place of the 
varnish. The linseed oil must be cold pressed 
and thickened by heat. 

Photograph y . —Copying Daguerreotypes. 
— First remove the plate carefully from the 
mount and pass a camel's hair brush over the 
surface and clean it as directed in Cleaning. 
After it is cleaned it may be copied in the fol- 
lowing manner: It must be placed in a good 
light. If a top light, the plate must be placed 
sideways, so that the vertical light may fall in 
the direction of what are called the buff marks 
across the plate. If a side light, then of course 
the plate must be fixed upright. Placed in the 
sun at a proper angle gives the best of all illu- 
mination, if convenient to be had. The picture 
having been arranged, place the camera as for 
copying a photograph, using a rapid rectilinear 
lens and medium stop, and to avoid reflections 
in front, a piece of cardboard about a foot 
square, covered with black velvet, having an 
opening just showing the glass of the lens. 
This will very effectually prevent all reflection 
on the polished surface. Use a slow landscape 
plate, not a rapid one, for in all cases the slower 
the better are the results obtained. Great care 
should be taken in remounting the daguerreo- 
type; it must be bound round with gummed 
paper to prevent air getting in between the 
the plate and the glass. If it does, it will soon 
show signs of tarnishing. When well done, a 
new lease of existence will be secured. 

Negatives.— This may be done either by con- 
tract or by aid of the camera. Of course the 
resultant picture is a positive. With the 
camera, an enlarging camera can be used or 
an ordinary one. With the latter the best way 
is to block out a window, leaving space enough 
only to insert the negative, placing a piece of 
fine and uniformly ground glass about 1 in- 
from it on the outside. 

Silver Prints.— Place the photograph to be 
copied in an upright position by pinning to a 
drawing board, and stand this on a table. If 
you do not wish to use pins, an ordinary print- 
ing frame with a alass bed answers very well* 
care being taken that there are no scratches, 
etc., on the glass. Contrary to theory of the 
necessity of a front light, use an oblique 
side light, and the resultant negatives are 
practically free from grain. The camera 
should focus from the back, in order to 
obtain an accurate focus. The lens needed 
is a rapid rectilinear, of sufficient size to cover 
well the size of the plate to be used, and use 
slow plates. If rapid plates are used, it is es- 
sential that the emulsion should be rich in sil- 
ver and plenty of it on the plate. 

Oil Paintings.— Require more care, and they 
always should be lighted from the same side as 
in the picture— not the reverse. The very best 
effects are obtained by using orthochromatic 
plates of medium rapidity. The yellow screen 
must also be used with ordinary plates to ob- 
tain any results that will prove satisfactory. 
But if possible, use the orthochromatic. In re- 
gard to the length of time required for the ex- 
posure, experience must alone determine this, 
for the exposure must vary very much, the 
colors of the subject, the actinic power of the 
light, and the rapidity of the plate being the 
factors that decide the question. Anyhow, 
give enough. 

By Gas Light, Oil, Magnesium.— Copying can 
also be done by the aid of gas light, oil lamps 
and magnesium, the latter being very effective. 
In all cases, except when made by contact, at- 
tention should be had to the proper adjust- 
ments of reflectors and screens. Counterfeit 



Photograph y . 



645 



Photography. 



and raised checks, etc., have been detected by 
copying- and enlarging- the same, showing very 
plainly the original figures and names under 
the false. 

Dark Room. — The room— too Often a closet- 
in which all the operations requiring the actual 
handling of the sensitive plate must be con- 
ducted. It should be of sufficient size to enable 
the operator to move about in comfortably, 
and to give orderly place for all the various 
articles necessary in the different manipulations 
that may be required in sensitizing and develop- 
ment, or whenever any work is to be done re- 
quiring a non-actinic light. A room smaller 
than 8x10 1 believe to be objectionable in very 
many, if not in all respects, both to the operator 
and the operations therein conducted. It can- 
not be kept in a state of cleanliness, which is 
absolutely indispensable for first-class work. It 
cannot be properly ventilated, and at an 
equable temperature at all times, to say nothing 
of the bottles and the various other articles 
necessary in the proper development and care 
of the plates. The dark room should always be 
kept warm, never, if possible, below 60 degrees 
F., and this, in cold weather, can always be 
done by one of the many coal oil stoves made 
expressly for heating purposes. The opening 
to the dark room should be through two doors 
nearly opposite each other, and opening differ- 
ently, with a partial partition between them, 
thus cutting off all chance of light entering the 
room while at work, and yet allowing a 
thorough cleaning of the room when necessary. 
Have the shelves arranged around the room 
and of a sufficient number to enable one to 
have a place for everything, and thereby every- 
thing in its place. The top shelves for stock 
solutions, and a careful watch kept en them 
that there is enough and to spare at all times. 
The middle shelves to be occupied with con- 
venient size bottles of various dilute solutions 
for every day use, and are to be kept filled from 
the stock solutions on the upper shelves, but 
keep the different solutions separate. It is con- 
venient to have the lower shelf at least three 
feet from the floor and somewhat broader than 
the other shelves. A small shelf or a rack, about 
the level of the eye, on either side of the 
sink, should hold the graduate measures and 
stirring rods. Upon the table itself should be 
arranged only the dishes, trays, etc., in actual 
use at the time. Trays, large and small, to be 
kept in racks beneath the table, according to 
their uses, and should be properly labeled. 
The sink should be at right angles to the table, 
at least 36x22 inches, and supplied with a good 
drain pipe. If possible, it should be of iron, 
porcelain lined, but a good one can be made 
of sufficiently thick wood lined with heavy 
sheet copper or zinc. The plugs to the drain 
pipe should fit tightly. On either side of the 
sink, a shelf slightly inclined should be fasten- 
ed to hold trays, etc., and let the shelf on the 
further side from the table be always devoted 
to the clearing (fixing) bath, and for no other 
purpose, thus keeping the danger of contami- 
nation by hypo, at the minimum. Under the 
sinks racks are to be placed to dry trays, etc. 
If there be no regular supply of water by 
the ordinary pipe, a small keg will have to be 
placed a sufficient height, but not too high, to 
give a good force to the flow of water, which 
may be directed to any spot desired by attach- 
ing a rubber tube to the spigot in the keg, and 
the flow regulated by a spring clip. 

For Illumination. —Daylight, gas, lamp, elec- 
trical (incandescent) light can be used, provid- 
ed it is properly protected by a shade or cover- 
ing of some non-actinic material (glass, medium, 
or paper). The day of the ruby has in a great 
measure passed, since it has been found that a 
safe and decidedly more pleasant light can be 
obtained with other equally if not better non- 
actinic colors. Some combine with the ruby, 
canary or sunflower tint, others green, etc. 
But it will be wise to test the screens from 



time to time as to their safety. The dark room 
should be dark only to the actinic blue and 
violet rays of light, but illuminated enough by 
the non-actinic yellow and red rays to be en- 
abled to see everything that is to be seen with- 
out strain to the eyes, and, in fact, pleasant to 
the operator. Should the room have one or 
more windows, block out all but one or two 
panes with some black material of sufficient 
thickness to exclude all light. The uncovered 
pane can be covered by three or more thick- 
nesses of tissue paper of sunflower tint, held 
in its place with an additional pane of glass 
fastened to the frame. This will be found to 
give a safe enough light, and plenty of it, if it 
is desirable to work by daylight. 

Ventilation.— It is extremely important that 
the dark room should be thoroughly ventilated 
at all times ; and to assist in this, many are in 
the habit of using the heat generated by the 
lantern, extending the chimney of the same in 
the shape of a long pipe, and thus creating a 
current of air out of the dark room. 

Developers. — Guaiacol (methyl catechol),when 
mixed with sodium carbonate or caustic soda, 
acts as a developer, and gives harmonious 
negatives, which have a yellowish brown tint, 
and print fairly well. The developer is slow in 
its action ; it has a strong but not unpleasant 
smell.— J. Waterhouse, Phot. J., xiv., 161. 

The Para-Amidophenol Developer.— We first 
mixed up a developer, according to the form- 
ula advised by Lumiere, of Paris, in the follow- 
ing proportions: • 

Water 7M oz. 

Sodium sulphite % oz - 

Carbonate of potash 160 grn. 

Para-amidophenol 15 grn. 

The water was about 65° F.; it required a long 
time to dissolve the salt, which appeared to be 
the only drawback. 

We tried printing a transparency on a mod- 
erately rapid plate in contact from a negative, 
first giving a fraction of a second's exposure 
to weak daylight; second, by five seconds' ex- 
posure, three feet away from a flat gas light; 
third, by a second's exposure, four feet away 
from the same light ; and fourth, by a second's 
exposure, six feet away. 

In the first and second trials the moment the 
plate touched the developer it darkened over 
at once completely, the whole of the image be- 
ing covered with fog. In the third case a fairly 
good overexposed positive was obtained, while 
the fourth was a trifle undertimed and weak, 
though remarkably clear in the high lights. 
The same effect was observed in the develop- 
ment of bromide paper. A fifth and latter 
experiment with another solution, containing: 
no alkali, on a slow Eastman plate, produced a 
much better positive. 

The conclusion arrived at was that the devel- 
oper contained too much alkali for time ex- 
posures, but might be adapted for those that 
are instantaneous. At another time we tried 
dissolving 10 grn. of the Para salt in 5 oz. of 
water, at a temperature of 60° F. After sev- 
eral minutes of rapid stirring with a glass rod 
only about one quarter seemed to disappear. 
We then heated the solution in a water bath 
until it reached 100° F., and after stirring for 
Ave minutes were successful in dissolving it. 
The solution was now filtered and was as clear 
and limpid as water, having- a very slight pur- 
plish brown cast by reflected light. 

Having been successful in developing plates 
with simple eikonogen, without the addition 
of carbonate potash as an alkali, we tried the 
experiment of exposing behind the same nega- 
tive a slow Eastman transparency plate three 
feet away from a gas burner lor five seconds. 
We poured over it a solution made as fol- 
lows : 

Water 5 oz. 

Sodium sulphite J^OZ. 

Para amido phenol 10 grn. 



Photography . 



646 



Photography. 



In about fifteen seconds the image began to 
appear, and in one and one-halt minute devel- 
opment was complete. On examining- the 
transparency by daylight we found that it 
could have gained a little more needed density 
by remaining a few minutes longer in the de- 
veloper. We recommend the above formula 
for slide making. It yields clear glass, where 
needed, in the high lights of slides: also gives a 
pleasing purplish tone, and is suitable for over- 
exposed plates. 

To further test its developing qualities we 
made two exposures on two of Cramer's 40 
plates (4x5), in the camera on a rainy day with 
a small stop f-128, one of a second, and another 
of half a second. 

On this the above developer, without alkali, 
acted quite slow, it being very nearly three 
minutes before the sky portion began to make 
its appearance. We accordingly commenced 
adding in small quantities a solution of carbon- 
ate of potash, as small as we thought was suffi- 
cient to accelerate the developing action, and 
obtained 2 negatives of good quality, having 
ample density in the sky, with an abundance 
of detail in the darker portions, and shadows 
of remarkable clearness. It took about ten 
minutes for each plate. The solution thus 
compounded for rapid exposures stood when 
we finished about as follows : 

Warm water 1 oz. 

Sodium sulphite (cryst.) 48 grn. 

Para amidophenol 2 grn. 

Carbonate of potash 6 grn. 

For extreme short exposures the potash may 
be increased up to 20 or 24 grn. to the oz. 

For developing slow plates for time work, Dr. 
Charles Ehrmann recommends the following : 

Distilled hot water, 150° F 10 oz. 

Sodium sulphite (cryst.) 1^ oz. 

Para amidophenol 48 grn. 

Carbonate of potash J^ oz. 

If kept at 65° Fah., none of the Para will 
crystallize out. It will be noticed that high 
temperature makes a solution more than 
twice as powerful in the Para salt than the 
one at which it was 100° Fah. The developer 
can be made to produce opaque blacks in the 
negative and leave the shadows crisp and clear 
and free from fog of any kind. Ten ounces 
will develop nearly two dozen ay 2 x8}4 plates; 
any slowing up of the developer can be com- 
pensated for by the additon of the potash solu- 
tions. It retains its clearness perfectly, even if 
exposed for some time in an open graduate, 
and after use in development changes to a 
light lemon yellow color. 

Another merit is that it does not stain the 
fingers, and is therefore the par excellence of 
development for ladies and others. It is a 
quick acting developer, becomes less easily 
exhausted than any other, and will not chemi- 
cally stain the film. It is remarkable, even 
by long developers, how perfectly clean and 
white the unexposed portions of the negatives 
keep. It is advisable to filter in developer 
occasionally. We commend the developer to 
all amateurs wishing to obtain, easily, good 
results, and regard it as an advance in the 
right direction.— F. C. Beach in American 
Amateur Photographer. 

Orthochromatic Collodion Emulsion.— Dr. A. 
Jonas has just published one of the most strik- 
ing and important papers relating to ortho- 
chromatic work which has appeared for many 
years. For some time a special color sensitive 
collodion, manufactured by Dr. E. Albert, of 
Munich, has held the front rank for the repro- 
duction of colored objects, paintings, etc. Its 
chief characteristics are extraordinarily high, 
general and color sensitiveness, and the fact 
that no yellow screen is necessary for use with 
the same, the emulsion being so little sensitive 
comparatively to blue. Dr. Jonas has now 
published a process which has the same char- 



acteristics, and the following is the method of 
making the emulsion, which might well be 
undertaken by chemists, and could be supplied 
to amateurs and professionals, and also to those 
houses who make a specialty of copying pic- 
tures. In Germany it is sold at $3.00 the half 
liter, or $5.50 per liter, with the special dye sol- 
utions $0.25 per c. c. extra, and the developer at 
$0.65 per liter. The raw or plain collodion is 
made as follows : 

Solution 1.— 

Ammonium bromide 64 grm. 

Distilled water 80 c. c. 

Absolute alcohol 800 c. c. 

Thick collodion, 4$ 1,500 c. c. 

Acetic acid 65 c. c. 

Dissolve the bromide in the water by the aid 
of heat; then add the alcohol, collodion, and 
acetic acid, and shake well. 

Solution 2.— 

Silver nitrate, crystal 80 grm. 

Distilled water 50 c. c. 

Dissolve by heat, and add, drop by drop,, 
liquid ammonia 0'91, till the brown precipitate 
first formed is again redissolved (about 72-75 
c. e. are required). Then add 800 c. c. of absolute 
alcohol, heated to 45° C. 

Now, in the dark room, add solution 2 to sol- 
ution 1 very gradually, shaking between each, 
addition ; keep solution 2 at a temperature of 
40-50° C. during the mixing, by placing the 
bottle in hot water. With the above quantity 
the mixing should take from ten to fifteen 
minutes. When mixed, a drop of the emulsion 
is placed on a glass plate, a drop or two of water 
added, and tested by litmus paper. It should 
give an acid reaction, and, if alkaline, more 
acetic acid added to the emulsion, which should 
be well shaken for fifteen minutes, allowed to 
stand for an hour, and then poured in a thin 
stream into five or six times the volume of 
water. The bromide of silver collodion is, of 
course, precipitated, and should be collected 
on a clean linen cloth, the ends of which are 
tied together so as to form a bag, and this 
placed in running water for one or two hours 
to wash. The emulsion is then pressed gently 
to remove the excess of watar, placed on a 
thick pad of pure filter paper to dry, which 
takes one or two days. When absolutely dry, 
which may be known by breaking one or two- 
of the larger pieces of emulsion up, it may be 
preserved indefinitely in a bottle in an absolute- 
ly dark place, or may be used to form the raw 
collodion as follows : 

Dry bromide silver collodion. ... 6 grm. 

Absolute alcohol 40 c. c. 

Ether 63 c. c. 

Dissolve by frequent shaking. 

To make this collodion color sensitive, dye 
solutions are added just before using. The 
solutions are made as follows : 

1. Eosin Silver Solution.— 

Eosin, crystal 4 grm. 

Distilled water 50 c. c. 

Alcohol, 9556 450 c. c. 

2. Silver Solution.— 

Silver • nitrate " 3'4 grm. 

Distilled water , 50 c. c. 

Dissolve and add solution of ammonia till the 
precipitate first formed is redissolved, and 
add— 

Alcohol, 96$S, to make 200 c. c. 

3. Ammonium Picrate Solution.— 

Picric acid 3 grm. 

Distilled water 10 grm. 

Ammonia solution, q. s. to ex- 
actly neutralize alcohol, 96#, 
to ...300 c. c. 



Photography. 



647 



Photography. 











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Photography. 



648 



Phylloxera. 



For use mix — 

Solution 1 75 c. c. 

Solution 2 30 c. c. 

Solution 3 30 c. c. 

Pure glycerine 20 c. c. 

Alcohol, W° 45 c. c. 

This eosin silver solution should be allowed 
to settle lor one or two days, then filtered, and 
20 c. c, of the same should be mixed with 100 c. 
c. of raw emulsion. 

Erythrosin Silver Solution.— 

Erythrosin, pure 4 grm. 

Distilled water 50 c. c. 

Alcohol, 96jf 450 c. c. 

Dissolve. 

The above mentioned solutions of silver and 
picrate of ammonia are also used for making 
the following stock solution : 

Solution 1 75 c. c. 

Solution 2 2W-. 30 c. c. 

Solution 3 W. 30 c. c. 

Pure glycerine 25 c. c. 

Alcohol, m% 120 c. c. 

Distilled water 20 c. c. 

The cloudy solution thus obtained is allowed 
to stand for a quarter of an hour, and then liq. 
ammonia added, drop by drop, till it becomes 
quite clear; the solution is then kept in a 
corked bottle for one or two days to settle, then 
filtered, and 20 c. c. added to every 100 c. c. of 
emulsion immediately before use. 

Eosin and erythrosin sensitize bromide of sil- 
ver for yellow and yellowish green, the maxi- 
mum effect being visible at DJ^ E, or midway be- 
tween the yellow and green. Eosin gives soft 
harmonious negatives, erythrosin somewhat 
harder or more contrasted negatives. To 
sensitive for red and orange it is 
necessary to use cyanin, preferably the chloro- 
cyanin, as follows : 0"3 grm. of chloi-o-cyanin 
should be dissolved in 50 c. c. of water and 10 
c. c. of this solution added to 100 c. c. of raw 
emulsion and 1 c. c. of pure glycerine. The 
cyanin emulsion should then be mixed with an 
equal quantity of erythrosin emulsion, and one 
thus obtains a sensitiveness ranging from A in 
the red to H in the violet. 

The dyed emulsions will not keep more than 
two days; and should be twice Altered through 
a clean pad of cotton wool before coating the 
plates. 

Eosin silver emulsion, "with 51 mg. of free sil- 
ver nitrate added to every 100 c. c. of emulsion, 
showed 21 degrees Warnerke; without excess of 
silver, 17° W.; erythrosin silver, giving respect- 
ively 21° W. and 15° W.; the cyanin erythrosin 
silver emulsion giving 13° W.; therefore the sen- 
sitiveness of these plates is equal to that of the 
ordinany and rapid gelatine dry plate. 

The eosin and erythrosin silver solutions are 
sensitive to light, and must therefore be made 
and kept in the dark. 

As with all collodion emulsions, the plates 
should receive a substratum, preferably of 
gelatine solution 1% with 1%% of acetic acid, 
and 2% of alcohol. The plates are coated ex- 
actly in the same way as with the old wet plate 
$ collodion, and, as soon as the collodion has set 
1 the plate is exposed, but it will keep damp for 
thirty or forty minutes without any fear of ill 
results. After exposure the plate is well 
washed under a stream of running water until 
the greasy marks no longer show, then propped 
up for a minute to drain, and then flooded with 
the developer, which is made up as follows : 

Stock Solution A.— 

Distilled water 500 grm. 

Sodium sulphite 200 grm. 

Carbonate of potash from the 
tartrate 200 grm. 

Stock Solution B.— 

Hydroquinone 25 grm. 

Alcohol, W° . 100 c. c. 



Stock Solution C— 

Ammonium bromide 25 grm. 

Distiiled water." 100 c. c. 

The concentrated developer is made up of — 

Solution A 100 c. c. 

Solution B 5 c. c. 

Solution C 7 c. c. 

The actual developer of — 

Concentrated developer , , 150 c. c. 

Distilled water 1,000 c. c. 

The character of the negative may, of course, 
be altered by increasing or decreasing the 
quantity of concentrated developer or the 
proportions of the several ingredients— the hy- 
droquinone giving density, the bromide clear- 
ness, and the potash accelerating. 

When the image has sufficiently developed, 
it can either be intensified with the usual acid 
pyrogallol and silver intensifier, after washing, 
or it may be fixed in hypo., washed, and then 
intensified with the above intensifier, or the 
mercury and sulphite, as used for gelatine 
plates. 

A One Solution Reducer.— 

The following formula for a good all around 
reducer of density is given by Herr Belitski, of 
Nordhausen: 

Potassio-f erric oxalate 15 parts. 

Neutral sodium sulphite 15 parts. 

Distilled water 300 parts. 

The solution is of a blood red color, due to 
the ferric sulphite formed . 
Add- 
Oxalic acid, crystals 5 parts. 

and shake till the solution becomes green; 
then decant from the undissolved acid, and 
add— 

Hyposulphite of soda crystals . . 75 parts. 

Shake till dissolved, and filter. Keep in well 
closed bottles, protected from light. 

The negative which it is desired to reduce 
should be well rinsed when it comes from the 
fixing bath, and laid in the reducer; when the 
action has proceeded far enough, wash quickly, 
and dry. The solution may be used over and over 
again until it becomes yellow, when its reduc- 
ing powers are exhausted.— Chemist andDruggist. 

Poisons. 

Poisoning, Remedy for Ivy.— Dr. James J. 
Levick, of Philadelphia, writes to the Medical 
News : "In a case of poisoning of the hands 
from Rhus toxicodendron— poison oak— recent- 
ly under my care, which had reached the 
vesicular stage and was attended with much 
swelling and burning, the happiest results 
promptly followed the free dusting of the pow- 
der of aristol on the affected parts. The change 
was almost magicaJ, so sudden and so prompt 
was the relief afforded. Might not this powder, 
applied in the early stage of the disease, do 
much toward preventing the ulceration and 
pitting of variola ?" 

Phylloxera,Remedy for.— The introduc- 
tion of American plants to replace those de- 
stroyed by parasites in French vineyards has not 
arrested the use of insecticides for tne protec- 
tion of French vines still attacked by phylloxera, 
and for this purpose carbon bisulphide (either 
pure or dissolved in water), sulpho-carbonates, 
and submersion continue to be employed with 
more or lesa success. The cai'bon bisulphide is by 
far the more efficient, but is too volatile and 
does not diffuse with sufficient rapidity. When, 
however, it is mixed with vaseline, its volatil- 
ity is reduced and its diffusibility is increased, 
the former proving advantageous in light and 
calcareous soils, the latter in heavy soils, in ac- 
cordance with theoratical considerations. The 
vaselined sulphide is applied in the same way 
as the ordinary sulphide, depositing some at 
the foot of the vine stock and spreading the 
rest over the surface ; this treatment is found 



Razor. 



649 



AVater. 



"to be effectual ; with it phylloxera is no longer 
seen in the roots, vegetation is luxuriant, and 
numerous new rootlets indicate a decisive in- 
crease in vitality ; the manuring- on a test tract 
of land had not been altered for six years, 
therefore the improvement was solely due to 
"the insecticide. — P, Cazeneuve. 

Razor Strop, to Renovate. — 1. Rub a 
little clean tallow over the surface, and then 
put on it the light top part of the snuff of a 
candle; rub it smooth. 

2. Hub the strop well with a piece of soft pew- 
ter or lead. 

Rock and Rye.— Rye whisky, 3 gal.; syrup, 
1 gal. . 

Salt Radical.— A substance which forms 
an acid when combined with hydrogen. The 
term salt radical is synonymous with Halogen. 

Soaps.— The following table shows the oily 
and fatty matters which may be used for mak- 
ing the soft curd, and the strength and quantity 
of the soda lyes deemed most suitable for speed- 
ily affecting their saponification. The weight of 
lye required to saponify each 100 lb. of fatty 
matter may be found by dividing the number 
of degrees by the strength of the lyes applica- 
ble to each kind of fat. 



Fat to be used. 



100 lb. tallow require 

100 lb. palm oil require . . . 
100 lb. tallow olein require . 
100 lb. rosin require 



°C3 

A 



3.800° 
-3,200° 
;,800° 
2,700° 



£ CD 
OCA 



14°-15° 
16°-18° 
16°-18° 
l6°-22° 



The fats that may be used for making the 
hydrated soap, and the quantity and strength 
of the lyes required for saponification, are the 
following : 



Fat to be used. 



100 lb. 
1001b. 
10 J lb. 
1001b. 
100 lb. 
1001b. 
100 lb. 
1001b. 



tallow require 

cocoa nut oil require. 

palm oil require 

lard require 

tallow olein require... 

olive oil require 

rape seed oil require ., 
linseed oil require. . . . 




3,800° 
4,100° 
3,200° 
3,400° 
2,800° 
3,000° 
2,400° 
2,400° 



11° 
16°-20° 
18°-22° 

13° 
18°-22° 

16° 
24° -28° 
<54°-28° 



Antiseptic Sobp. — An antiseptic soap for phy- 
sicians and nurses, which has been found to 
possess the property of closing scratches and 
healing sores and cracks, has been introduced 
by M. Vigier. and is having considerable sale in 
Paris. It is made of 12 parts dried sulphate of 
copper incorporated with 88 parts of any good 
soap material. The product has a pleasing 
green tint and is devoid of any irritating 
action. 

Staining. — Yellow Stain for Marble.— Tinc- 
ture of gamboge, turmeric or saffron. Heat 
the marble, and apply. 

Syrups.— Asparagus Syrup.— Gat 3 lb. of the 

green and tender part of some asparagus and 
boil it in 2 qt. water until the water is reduced 
to 1 qt. Pour the whole through a filtering 
bag and add 4 lb. loaf sugar, broken in pieces. 



to the asparagus water. Boil the syrup in a 
covered vessel au bain-marie— that is, by plac- 
ing the vessel containing the syrup in a stew- 
pan half filled with boiling water — until it 
registers 32- 1 on the saccharometer. When cold 
bottle the syrup and keep it in a cool place. 

Almond Syrup.— Blanch and peel 1 lb. Jordan 
almonds and 34 oz. of bitter almonds, and steep 
them in cold water for four hours. Pound the 
almonds to a smooth paste in a mortar, adding 
l A lb. pounded sugar and moistening by degrees 
with 1 qt. water. Press the almonds through a 
wet broth napkin, straining the almond milk 
into a basin. Boil 2 lb sugar to the ball; take it 
off the fire, and when it is nearly cold, add to 
it the almond oil and a tablespoonful of 
orange flower water; shake the sugar boiler, to 
mix the whole together, cover it up and put it 
by until the sugar is quite melted. Pour the 
syrup into bottles, cork them carefully and 
keep them in a cool place. As almonds can be 
obtained all the year round, it will be better to 
pi'epare only small quantities of the syrup at a 
time. v 

Tanning. See Leather above. 

Tetratoinic. — Equivalent in combining 
power to four atoms of hydrogen. 

Tetrad.— An element, or compound radical, 
whose combining power is equivalent to that 
of four atoms of hydrogen. 

Triad.— An element, or compound radical, 
whose combining power is equal to that of three 
atoms of hydrogen. 

Triamine.— An amine formulated on the 
type of three molecules of ammonia. 

Vapors for Inhalation.— The following 
are selected by the Monthly Magazine of Phar- 
macy from the formulae used at the Hospital 
for Diseases of the Throat in London : 

Vapor Caryophylli.— 

Oil of cloves 30 min. 

Light carbonate of magnesia.... 15 grn. 
Water 3 oz. 

Vapor Cassice.— 

Oil of cassia 20 min. 

Light carbonate of magnesia . . 10 grn. 

Water 3 oz. 

Vapor Cinnamomi.— 

Oil of cinnamon 20 min. 

Light carbonate of magnesia 10 grn. 

Water 3 oz. 

Vapor Creosoti.— 

Beechwood creosote 3 drm. 

Glycerine 3 drm. 

Water 3 oz. 

Vapor Cubebce.— 

Oil of cubebs 2 drm. 

Light carbonate of magnesia 60 grn. 

Water 3 oz. 

Useful in laryngorrhoea. 

Vapor Cubeboe c. Limone. — 

Oil of cubebs l\& drm. 

Oil of lemon }4 drm. 

Light carbonate of magnesia... 60 grn. 

Water 3 oz. 

The oil of lemon is added to mask the dis- 
agreeable odor of the cubebs. 

A teaspoonf ul to be added to a pint of water 
at the desired temperature, 150° F.. and an addi- 
tional teaspoonf ul to be added every five min- 
utes during- the time that the inhalation is used. 
Not more than three teaspoonf uls to be used 
on any single occasion. 

Water.— Detection of Copper in Distilled 
Water.— Distilled water, the purity of which 
has been ascertained by the ordinary methods, 
becomes colored yellow on dissolving in it 
potassium iodide. A closer examination admits 
of the detection of infinitesimal quantities of 
copper, which neither ammonia nor potassium 



Waterproofing. 



650 



Waterproofing. 



ferrocyanide had revealed. The presence of 
this impurity occasions the yellow coloration 
of the solution of potassium iodide in the 
water. The reagent gives a feeble yellow color- 
ation with 1 part in 200,000 parts of water. The 
liquid must not contain any other substance 
capable of decomposing the iodide and liber- 
ating iodine.— Herman Thorns, in Phar. Central- 
halle. 

Waterproofing. —Preparing Waterproof 
Cloth.— These methods may be divided into two 
groups. In some, a precipitate of salts of the 
fatty acids is produced upon the tissue itself; 
in others, the cloth is saturated with melted or 
dissolved substances, which, when they are 
once solidified on the fiber, have the property 
of repelling water. If any of the former class 
methods is selected, the cloth is passed into a 
specia machine, in which it is saturated with 
aluminum acetate; it is dried and passed into a 
soap beck. It is necessary in this operation to 
produce a basic compound. For this purpose, 
there are employed equal weights of salts ol 
aluminum and lead. Care must be taken not 



to introduce too large quantities of tree acid 
with the aluminum sulphate, since the latter 
contains always a certain quantity of sulphuric 
acid, which, during desiccation, displaces the 
acetic acid. To avoid this inconvenience, there 
are added per liter from 10 to 80 grm. soda. The 
most favorable temperature is 50°. Heating by 
direct steam must be avoided. For preparing 
the soap bath the author utilizes the fact that 
an aqueous solution of soap forms true solu- 
tions with mixtures of fat and wax, resins, 
mineral oils, and even caoutchouc. To this end 
take a 10^ solution of gum Paraguay in oil of 
turpentine. The proportions to be employed 
for a square meter of cloth are 30 grm. tallow 
soap, 25 grm. Japan wax, 1*5 grm. gum Para- 
guay, 1 grm. good varnish. The wax is first mel- 
ted, the gum and the varnish are added, and then 
for eaeh kilo, of the solid gum there are added 
0*5 grm. of a solution, saturated in heat of 
potassium sulphide (liver of sulphur). The 
mixture is stirred and boiled, when sulphureted 
hydrogen is liberated. A boiling solution of 
soap is added, when the bath is fit for use.— Em, 
Doring, in Romeri's Journal. 



The additional receipts ^vill be found on pages 677 to 708. 



APPENDIX, 

PART II. 



Tables of Weights and Measures. 

The following tables give the principal standards of weights and measures, 
arranged and numbered as follows. Abreviations are given thus (lb.). 



The tables are 



1. Measure of Length (Lineal Measure). 

2. Geographical and Nautical Measure. 

3. Land Measure (Lineal). 

4. Land Measure (Square). 

5. Dry Measure (English). 

6. Dry Measure (U. S.). 

7. Table of Decimal Equivalent. 

8. Cubic Measure. 

9. Old Wine and Spirit Measure. 

10. Liquid Measure (U. S.). 

11. Apothecaries 1 Liquid Measure. 



13-13. Avoirdupois Weight. 

14. Apothecaries' Weight. 

15. Troy Weight. 

16. Relative Proportions of Weight. 
S 17. Diamond Weight. 

18-31. Metric Weights and Measures. 

32-34. Household and Miscellaneous Tables. 

35. Tables of Electrical Horse Power. 

36-39. Tables Relating to Wire. 

40-41. Comparison of Specific Gravity and 
Baume's Hydrometer. 



1. Measures of Length.— Lineal Measure,— 

3 barleycorns, or "1 

12 lines, or. I -i ,-^,,-t, rt „ v 

72 points, or flinch (m.) 

1,000 mils (mi.) J 

3 inches 1 palm. 

4 inches 1 hand. 

inches 1 span. 

12 inches 1 foot (ft.) 

18 inches 1 cubit. 

3 feet 1 yard (yd.) 

2% feet .1 military pace 

5fiet 1 geometrical 

pace. 

2 yards 1 fathom. 

53^ yards lrod, pole or 

perch. 

£j&"\-::::*:::::::::h* B ^< te J 

8 furlongs, or ) 

1,760 yards, or >-l mile. 

5,280 feet ) 

3 miles 1 league. 

2,240 yards, or U j ih n 

1-272 miles f L iriSQ miie ' 

The inch is also divided into halves, quar- 
ters, eighths, and sixteenths; sometimes into 
tenths. The hand is used to measure horses' 
height. The military pace is the length of the 
ordinary step of a man. Geometrical pace is 
the length of two steps. 1,000 of such paces were 
reckoned to a mile. The fathom is used in sound- 
ings to ascertain depth and for measuring 
cordage and chains. ; 

2. Geographical and Nautical Measure.— 
6086-44 feet, or 1 

1000 fathoms, or 1=1 nautical mile 
10 cables, or [ or knot. 

11528 statute miles J 
60 nautical mi., or I _ -j j po ..,p P 
67168 statute miles f ~ x ue ° 
360 degrees = 1 circumference 

[of the earth at the equator. 
Estimating a mile at 6139^ ft., and using a 30 
second glass. If a 28 second glass is used, and 
8 divisions, then 

1 knot =47 ft. 5 + in. 
1 fathom = 5 ft. 11%+ in. 
The line should be about 150 fathoms long, 
having 10 fathoms between the chip and first 
knot for stray line. „--»-*. -i 

Note.— Bowditch gives 6,120 ft. in a sea mile 



which, if taken as the length, will make the 
divisions 51 ft. and 5 T V ft. 

1 league = 3 nautical miles. 

1 cable's length = 1*0 fathoms. 

3. Land Measure {Lineal). 

7'92 inches 1 link. 

100 links, or 1 

i^s.?or::::::.:::::;-.:-.:f lcha -( ca -> 

4 poles J 

10 chains 1 furlong(fur.> 

80 chains, or . I -i .^i- 

8 furlongs J l mue * 

4. Land Measure (Square). 

144 sq. in 1 square foot 

(sq. ft.) 

9 sq. ft 1 squai-e yard 

(sq. yd.) 

30J4 sq. yds 1 sq. pole, rod 

or perch. 

16 sq. poles 1 square chain 

(sq. ch.) 

40 sq. poles, or U g d 

1,210 sq. yds fAsq.rooa. 

4 roods, or | 

10 sq. chains, or I 

160 sq. poles, or }-l acre.* 

4,840 sq. yds., or I 

43,560sq. ft J 

Qno4na aCreS ^° r h sq. mile. 

3,097,600 sq. yds j ^ 

30 acres 1 yd. of land. 

100 acres 1 hide of land. 

40 hides 1 barony. 

* The side of a square having an area of an 

acre is equal to 69'57 lineal yards. 

5. Dry Measure (English). Cu. in. 

2 pints 1 quart (qt.) 67*20 

4 quarts 1 gallon (gal.) 268'80 

2 gallons lpeck(pk.) 537*60 

4 pecks or j. x D ushel (bu.) 2150*42 

8 gallons J v 

2 bushels 1 strike, 4300'84 

4 bushels 1 coomb, 8601*68 

5 bushels 1 sack, 10752-10 

8 bushels 1 quarter (qr.) 17203-36 

4 quarters (41*077 

cubic feet) — 1 chaldron. 

5 quarters 1 wey or load. 

2 loads . Hast. 



652 



The standard bushel is 18J^ inches in diameter 
inside and 8J4 inches deep; it holds 80 pounds of 
distilled water at 60° F„ It is 19)^ inches in di- 
' ameter outside. This measure is applied to dry 
goods, as corn, seeds, roots, etc., which are 
struck with a straight bar. The old dry meas- 
ures had the same denominations and propor- 
tions, and were 96*95^ of the imperial dry meas- 
ures above given. The heaped imperial bushel 
must be an upright cylinder of which the diam- 
eter is not less than twice its depth, and the 
height of the conical heap must be at least % 
of the depth of the bushel, the outside of the 
measure being the boundary of the base of the 
cone. It may be 18*789 inches in diameter inside 
and 8 inches deep, and the capacity, heaped, 
must be 1*6293 cubic feet. Heaped measure is 
used for such goods as cannot be conveniently 
Stricken, as coal, fruit and potatoes. 
A load of hay contains 36 trusses, 

A chaldron=36 bushels or 57*24 cubic feet. 

A perch of stone = 24*75 cubic feet. 

A cord of wood contains 128 cubic feet. 

6. Dry Measure, U. S.— 



Cu. in. 

67*20 

268*80 



537*60 



2 pints 1 quart (qt.) = 

4 quarts 1 gallon (gal.) = 

igSffif.^::: }>■-*«*- 

4 pecks 1. struck bushel = 2150*42 

7. Table of Decimal Equivalents. — Of 8thsi 
I6ths, 32ds, and 64ths of an inch. 






£ = 
P = 

54 



16 4 
5¥ 



•015625 

•03125 

•046875 

•0625 

•078125 

•09375 

•109375 

•125 

•140625 

•15625 

•171875 

•1875 

•203125 

•21875 

•234375 

•25 

•265625 

•28125 

•296875 

•3125 

•328125 



34375 
•359375 
•375 
•390625 
•40625 
•421875 
•4375 
•453125 
•46875 
•484375 
•50 

•515625 
•53125 
•546875 

5625 
•578125 

59375 
•609475 
•625 
•640625 
•65625 



64 



•671875 

•6875 

•703125 

•71875 

•734375 

•75 

•765625 

•78125 

•796875 

•8125 

•828125 

•84375 

•859375 

•875 

•890625 

•90625 

•921875 

•9375 

•953125 

•96875 

•984375 



r 8. CmMc Measure.— 

1,728 cubic inches ... 1 cubic foot. 

27 cubic feet 1 cubic or solid 

yard. 

9. Old Wine and Spirit Measure.— 

Imperial 
Gals. 
4 gills or quaterns . . . . 1 pint. 

2 pints 1 quart. 

4 quarts (231 cu. in.) . . 1 gallon = *8333 

10 gallons 1 anchor = 8*333 

18 gallons lbunlet = 15 

31^1 gallons 1 barrel = 26*25 

42 gallons 1 tierce = 35 

1 KrrSs 8, or : :::::::::. \ 1 h08 ' sh ' d = 52 ' 5 

84 gallons, or I -, ^unch'n = 70 

iy 3 hogsheads. fipuncnn /u 

126 gallons, or — ) -, . p nr , 

2 hogsheads, or V 1 pip ^,?f [ = 105 

m puncheons ) Dutt ' 

JgS&SiV". ::h tUQ - 210 

10. Liquid Measure (U. S.). Cu. in. 

4gills lpint(0.) = 28*875 

2pints 1 quart (qt.) = 57*75 

4 quarts 1 gallon (gal.) = 231' 

63 gallons 1 hogshead (hhd.) 

2 hogsheads 1 pipe or butt. 

^ pipes ....ltun. 



11. Apothecaries' Liquid Measure.— 
Apothecaries' or Wine Measure is the offici- 
nal or standard system in use by the pharma- 
cists of this country. Its denominations are 
gallon, pint, fluid ounce, fluid drachm and 
minim, and the signs used to express them and 
their relative value are as follows : 

Cong. O F. Oz. F. Dr. Minims. 

1 = 8 = 128 = 1,024 = 61,440 

1 = 16 = 128 = 7,680 

1 = 8 = 780 

1 = 60 

1 

The Imperial Standard Measure is the sys- 
tem in use by British pharmacists. Its de- 
nominations and their relative value are : 

Gal. Quarts. Pints. F. Oz. F. D. Minims. 
1 = 4 = 8 = 160 = 1280 = 76 800 
1 = 2 = 40 = 320 = 19,200 
1 = 20 = 160 = 9,600 
1 = 8 = 480 
1 = 60 

The relative value of United States Apothe- 
caries' and British Imperial Measure is as fol- 
lows: 

U. S. , Imperial Measure. % 

Apothecaries' 
Measure. Pts. F. oz. F. dr. Drop. 

1 Gallon = -83311 Gallon, or 6 16 2 22*85 

1 Pint = *83311 Pint, or 16 5 17'86 

1 Fl. Oz. = 1*04139 Fl. Oz., or 1 19*76 

1 Fl. Dr. = 1*04139 Fl. Dr., or 1 248 

1 Minim = 1*04139 Minim, or 1*04 

12. Avoirdupois Weight.— Avoirdupois weight 
is used for weighing all goods except those for 
which troy and apothecaries' weight are em- 
ployed, and for compounding recipes for do- 
mestic purposes and for the arts. Its denomi- 
nations and their relative values are- 
Ton. Cwt. Qrs. Lb. Ozs. Drs. 

1 = 20 = 80 = 2,240 = 35,840 = 573,440 

1 = 4 = 112 = 1,792 = 28,672 

1 = 28 = 448 = 7,168 

1 = 16 = 256 

1 = ft 

13. An additional table of avoirdupois weight 
is given below. 

27*34 grains (gras.) 1 drachm (drms.) 

16 drachms 1 ounce (oz.) 

437}^ grns. 

16 ounces 1 pound (lb.) 

7,000 grns. 
28 pounds 1 quarter. 

4 quarters .1 hundredweight (cwt.) 

20 hundredweight. . . .1 ton of 2240 lb. 

A stone is equal to 14 lb. 
A quintal is equal to 100 lb. 

14. Apothecaries'' Weight. — Apothecaries' 
weight is used by apothecaries in compound- 
ing medicines.and is the officinal standard of the 
United States Pharmacopoeia. In buying and 
selling medicines not ordered by prescriptions 
avoirdupois weight is used. The denominations 
of apothecaries' weight and their relative val- 
ues are— 

Lb. Oz. Dr. Scr. Gr. 

1 12 = 96 = 288 = 5760 

1 = 8 = 24 = 480 

1 = 3 = 60' 

1 = 20 

15. Troy Weight.— Is used by jewelers and at the 
mints, in the exchange of the precious metals. 
Its denominations and their relative values are : 

Lb. Oz. Dwt. Gr. 

1 = 12 = 240 = 5760 

1 20 480 

1 24 

7000 troy grains = 1 lb. avoirdupois. 

175 troy pound = 144 lb. avoirdupois. 

175 troy ounces = 192 oz. avoirdupois. 

437^2 troy grains = 1 oz. avoirdupois. 

1 troy pound = '8228+ lb. avoirdupois. 



653 



The common standard of weight by which the 
relative values of these systems are compared 
is the grain, which for this purpose may be 
regarded as the unit of weight. The pound troy 
and that of apothecaries' weight have each 
five thousand seven hundred and sixty grains ; 
the pound avoirdupois has seven thousand 
grains. 

16. Relative Proportions.— The relative pro- 
portions and values of these several systems 
are as follows : 

Troy. Avoirdupois. 

Oz. Dr. 

1 pound equals 13 2*65 

1 ounce equals 1 1*55 

ldwt. equals — - 877 

Troy. - — Apothecaries'. — , 

Lb. Oz. Dr. Scr. Gr. 

1 pound equals 1 

1 ounce equals. .0 10 

1 dwt. equals 1 4 

1 grain equals 1 

Apothecaries'. Avoirdupois. 

Oz. Dr. 

1 pound equals 13 265 

l'ounce equals 1 1"55 

1 drachm equals 6 2*19 

1 scruple equals 0*73 

Apothecaries'. Troy. > 

Lb. Oz. Dwt. Gr. 

lpound equals 1 

1 ounce equals. 10 

1 drachm equals 2 12 

1 scruple equals ..0 20 

Avoirdupois. , Troy. — > 

Lb. Oz. Dwt. Gr. 

1 ton equals 2,922 2 13 8 

lcwt. equals 146 1 6 16 

1 quarter equals 34 6 16 

1 pound equals 1 2 11 16 

1 ounce equals. 18 5^£ 

1 drachm equals 1 3J£ 

Avoirdupois. ^-Apothecaries.— » 

Lb. Oz. Dr. Scr. Gr. 

lpound equals 1 2 4 2 

1 ounce equals 7 17*^ 

1 drachm equals 1 7§f 

17o Diamond.— 

16 parts = 1 grain = 0*8 troy grain. 
4 grains = 1 carat = 3'2 troy grains. 

18. Decimal System.— Weights aud Measures. 
—The metric system, formed on the meter 
as the unit of length, has four other lead- 
ing units, all connected with and depend- 
ent upon this, viz., the meter, the unit of 
measure of length. The are, the unit of sur- 
face, and is the square of ten meters. The 
liter, the unit of capacity, and is the cube of a 
tenth part of the meter. The stere, the unit of 
solidity, having the capacity of a cubic meter. 
The gramme, the unit of weight, and is the 
weight of that quantity of distilled water at its 
maximum density which fills the cube of a hun- 
dredth part of the meter. Each unit has its deci- 
mal multiple and sub-multiple, that is, weights 



and measures ten times larger or ten times 
smaller than the principal unit. The prefixes 
denoting the multiples are derived from the 
Greek, and are deka, ten; ftecto, hundred; Mo, 
thousand; and miiria, ten thousand. Those 
denoting sub-multiples are taken from the 
Latin, and are deci, ten; centi, hundred; milli, 
thousand. The table given below embraces all 
the weights and measures of the system. 

19. Table for the Conversion of Mils (ruonin.) into 
Centimeters. 





1 CO 




i m 


a 


I GO 






m 


'i'B 


H 'f. 




1 w 


Sfi 


m 




•rH 


© © 


n ■ — 


© © 


I '.^ 


© © 


'.^ 


© © 


§ 


VQ 


1 2 


<->-a 


IS 


^a N 


^3 



1 

2 
3 
4 
5 

6 
7 
8 
9 
10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 
24 
25 



00254 
00508 
00762 
01016 
01270 
01524 
01778 
02032 
02 .'86 
02540 
02793 
03047 
03301 
03555 
03809 
04063 
04317 
04571 
04825 
05079 
05333 
05587 
05841 
06095 
06348 



06602 
06856 
07110 
07364 
07618 
07872 
08126 
08380 
08634 



09142 
09396 
09650 
09904 
1016 
1041 
1067 
•1092 
1118 
1143 
1168 
1194 
1219 
1245 
1270 



51 
52 
53 
54 
55 
56 
57 
58 
59 
60 
61 
62 
63 
64 
65 
66 
67 
68 
69 
70 
71 
72 
73 
74 
75 



0-1295 
0-1321 
0-1346 
1372 
1397 
1422 
0-1448 
0-1473 
1499 
1524 
1549 
0-1575 
1600 
0*1626 
0-1651 
1676 
0-1702 
1727 
0-1752 
0-1778 
0-1803 
0-1829 
0-1854 
1879 
0-1905 



90 
91 
92 

93 
94 
95 
96 

97 
98 
99 
100 



0-1930 
1956 
0-1981 
2006 
0-2032 
0-2057 
2083 
0-2108 
2133 
2159 
2184 
0-2209 
0-2235 
2260 
0-2286 
2311 
2336 
0-2362 
0-2387 
0-2413 
0-2438 
0-2465 
0-2489 
0-2514 
2540 



United States Standard Weights and Measures. 
— The office of Weights and Measures, Wash- 
ington, is the repository of the United States 
standards, comprising those based on the Eng- 
lish system, called customary, as well as those 
representing the metric system of weights and 
measures. It has recently received from Paris 
the national meter and kilogramme prototypes 
— standards of such unrivaled perfection (ex- 
cepting, of course, by their fellows) that a 
brief account of the circumsta nces attending 
their construction will prove of interest. 

The necessity of having a common standard 
of length and weight led the principal govern- 
ments of the world to establish by concurrent 
action an international bureau of weights 
and measures at Paris for the construction 
and preservation of standards. A treaty to this 
effect was signed at Paris in May, 1875. By this 
treaty the administrative direction of the bu- 
reau was put in the hands of eminent scientific 
men, who are delegated by their respective 
governments to supervise its operations. After 
an exhaustive study of the subject, involv- 
ing experiments and delay, the theoretical re- 
quirements were agreed upon, and the bureau 
entered upon their practical execution. This 
(Continued on page 656.) 



Relative Value. 


Length. 


Surface. 


Capacity. 


Solidity. 


Weight. 


10,000 . 

L000 

100 

10 .. 

Unit 


Myriameter 

Kilometer 

Hectometer 

Dekameter 

Meter 

Decimeter 

Centimeter 

Millimeter 


Hectare 

Are 

Deciare 

Centiare 


Kiloliter 

Hectoliter 

Dekaliter 

Liter (1) 

Deciliter 

Centiliter 

Milliliter 


Dekastere 

Stere 

Decistere 


Kilogramme 
Hectogramme 
Dekagramme 
Gramme 


o-i 

001 


Decigramme 
Centigramme 


o-ooi 


Milligramme 



654 

U. S. Standard Weights and Measures. 

The following tables have been issued from the Office of Standard "Weights and Measures, 
United States Coast and Geodetic Survey, T. C. Mendenhall, Superintendent. 

Tables for Converting U. S. Weights and Measures— Customary to Metric. 



20. Linear. 







CO 


CO 


CO 


ft 


ft 


ft 




CD 


CD 




4J 


-p 




o 


CD 


a 


$8 


a 


O 








CO-^ 

JTa 

o 
p3 


-p 


CO 


-p 

CD 
CD 


■R 

ft 

a 


i— i 


ft 


>h 


25-4000 


0-C04801 


0-914402 


50-8001 


0-609601 


1-828804 


76-2001 


0-914402 


2-743205 


101-6002 


1-219202 


3-657607 


127-0002 


1-524003 


4-572009 


152-4003 


1-828804 


5*486411 


177-8003 


2-133604 


6-400813 


203-2004 


2-438105 


7*315215 


228-6004 


2-743205 


8-229616 



21. Square. 



o 

CD R 

r- CD 

O « 

,R CD CO 

CD 3^ 
f* R CD 

S3 era 
3 oq R 
& 
W 



6-452 
12-903 
19355 
25-807 
32-258 
38-710 
45-161 
51-613 
58-065 



o 

4J 



CO 



CD CO CD 

ft CD 

o 1 

CO 



9-290 
18-581 
27-871 
37-161 
46-452 
55-742 
65-032 
74-323 
83-613 



CO 

Fl 

CO CD 
^ -p 
ft CD 

«a 

CD 

5* CO 
CO 



0-836 
1-672 
2-508 
3344 
4-181 
5-017 
5-853 
6-689 
7-525 



22. Cubic. 



C0 4J 

CD R 
XI CD 

o a . 
e co 
.R i* 

£2 CD R 

R 

O 



16-387 

32-774 

49-161 

65-549 

81-9)56 

98-323 

114-710 

131-097 

147-484 



«H CD 

^a 



0-02832 
0-05663 
0-08495 
0-11327 
0-14158 
0-16990 
0-19822 
(J'22654 
0-25485 



"3$ 

£a 

o 

R O 

o 



0-765 
1-529 
2-294 
3-058 
3'823 
4-587 
5-352 
6-116 
6-881 



So 

$3 



1-60935 

3-21869 

4-82804 

6-43739 

8-04674 

9-65608 

11-26543 

12-87478 

14-48412 



< 



0-4047 
0-8094 
1-2141 
1-6187 
2-0234 
2-4281 
2-8328 
3-2375 
3-6422 



CD 



CO 

S CD 

CD-P 

.CRS 
co o 
R+^ 

m 



0-352*12 
C -70485 
1-05727 
1-40969 
T762I1 
2-11454 
2-46696 
2-81938 
3-17181 



23. Capacity. 



1 = 

2 = 

3 = 

4 = 

5 = 

6 = 

7 = 

8 = 

9 = 



1 = 

2 = 

3 = 

4 = 

5 = 

6 = 

7 = 



-Sis 


o 

-P 






Fluid drachms 
milliliters or c 
bic centimetei 


CO 

CD 

R ft 
R <V 
OS 

'3 a 


CO 

■ ft 
CD 
-p 

O 

CO 

ft 

S3 

R 

o- 


CO 

ft 

CD 
+-> 

O 

+3 

CO 

R 
O 

a§ 

O 


3*70 


29 57 


0-94636 


3-78544 


7-39 


59-15 


1-89272 


7-57088 


11-09 


88-72 


2-83908 


11-35632 


14-79 


118-30 


3-78544 


15-14176 


18-48 


147-87 


4-73180 


18 92720 


22-18 


177-44 


5-67816 


22-71264 


25-88 


207-02 


6-62452 


26-49808 


29-57 


236-59 


7-57088 


30-28352 


33-28 


266*16 


8-51724 


34-06896 



24. Weight. 



a 


CO 

CD 

co a 

CD d 
CO CD fl 


s 

kilo- 

mmes. 


o 
+= 

CO 
CD 


a 


•g g S3 

3°, 


upoi 

dsto 

gra 


§■ 

H CD 


§a 


^ O 


"R R 
.R R 


a 

t>,s3 


S3 J- 1 


o 


O O 


o ?■* 


£ bB 


>■ 


> P. 


g&c 


O 


<l 


< 


H 


64-7989 


28-3495 


0-45359 


31-10348 


129-5978 


56-6991 


0*90719 


62-20696 


194-S968 


85.0486 


1-36078 


93*31044 


259-1957 


113-3981 


1-81437 


124-41392 


323-9946 


141-7476 


2-26796 


15551740 


388-7935 


170-0972 


2-72156 


186-62089 


453-5924 


198-4467 


317515 


217*72437 


518-3914 


226 7962 


3-62874 


248-82785 


583-1903 


255-1457 


4-08233 


279-93133 



25. 



1 chain = 

1 square mile = 

1 fathom = 

1 nautical mile = 

1 foot = 0*304801 meter, 

1 avoir, pound = 

15432-35639 grains = 



20-1169 meters. 

259 hectares. 

1*829 meters. 

1853-27 meters. 

9-4840158 log-. 

453*5924277 grm. 

1 kilogramme. 



The only authorized material standard of customary length is the Troughton scale belonging 
to this office, whose length at 59*62° Fahr. conforms to the British standard. , The yard in use in 
the United States is therefore equal to the British yard. 

The only authorized material standard of customary weight is the troy pound of the mint. It 
Is of brass of unknown density, and therefore not suitable for a standard of mass. It was derived 
from the British standard troy pound of 1758 by direct comparison. The British avoidupois 
pound was also derived from the latter, and contains 7,000 grains troy. 

The grain troy is therefore the same as the grain avoirdupois, and the pound avoirdupois in use 
in the United States is equal to the British pound avoirdupois. 

The British gallon = 454346 liters. 

The British bushel = 36'3477 liters. 



655 



Tables for Converting U. S. Weights and Measures— Metric to Customary. 







26. Linear. 








29. 


Capacity. 












o 

03 0> 


o 

is v 

o'-h 


o 


03 

J- • 
Ql 03 

<D.73 

12 


1 = 


111! a 

So5 c o 
- n cog 


03 
0)^ 03* 

-is g © 

COS 
O 


o 

•^ 03 

»£ 

-p a 


£o3 

g a 

+5 O 

^} be 
H+ 3 


03 . 

li 


1 = 


39-3700 


3-28083 


1-093611 


0-62137 


0-27 


0-338 


1-0567 


2-6417 


2-8375 


2 = 


78-7400 


6-56167 


2-187222 


124274 


2 = 


054 


0-676 


2 1134 


5-2834 


5-6750 


3 = 


118-1100 


9-84250 


3-280833 


1-86411 


3 = 


0-81 


1-014 


3-1700 


7-9251 


8-5125 


4 = 


157-4800 


13-12333 


4-374444 


2-48548 


4 = 


1-08 


1-352 


4-2267 


10-5668 


11-3500 


5 = 


196-8500 


16-40417 


5-468056 / 


3-10685 


5 = 


135 


1-691 


5 2834 


13-2085 


14-1875 


6 = 


236-2200- 


19-68500 


6-561667 


3-72822 


6 = 


1-62 


2-029 


6-3401 


15-8502 


17 0250 


7.= 


275-5900 


22-96583 


7-655278 


4-34959 


7 = 


1-89 


2-368 


7-3968 


18-4919 


19-8625 


■8 = 


314-9600 


26-24667 


8-748889 


4-97096 


8 = 


2-16 


2-706 


8-4534 


21-1336 


22-7000 


9 = 


354-3300 


29-52750 


9-842500 


5-59233 


9 = 


2-43 


3-043 


9-510L 


23 7753 


25 5375 






27. Squa 


re. 




30. Weight. 




w 










o 


o 


O 03 


O 03 




U <D 


o 


o 


03 / 






+a 


03 -U "S 


+* "S 




0> CD fH • 


0+^ 


<D +^ 0) • 


^ SR 








1 0)^-^ 03 O 


, 03 « 2 




o 


03 t-i ostJ 


53 M h% 

03 fn 03^3 
3 * P 2. 

co 2 oq >» 
1-196 


O 03 

2-471 


1 = 


0-01543 


5|.S 

"IS 

be 


° d rH ° ^ 

■S y a ° a 

b£S > 
3-5274 


i oj'O a 

5flC3 

was? 

03 P<0 


1 = 


0-1550 


10-764 


15432-36 


2 20462 


3 = 


0-3100 


°-l-528 


2-392 


4-942 


2 = 


0-03086 


30864 71 


7-0548 


4-40924 


3 = 


0-4650 


32-292 


3-588 


7-413 


3 = 


0-04630 


46297*07 


10-5822 


6-61386 


4 = , 


0-6200 


43-055 


4*784 


9-884 


4 = 


0- 06173 


61729-43 


14-1096 


8-81849 


5 = 


0*7750 


53-819 


5-980 


12-355 


o = 


0-07716 


77161-78 


17-6370 


11-02311 


6 = 


0-9300 


64-583 


7-176 


14-826 


6 = 


0- 09259 


92594 14 


21-1644 


13 22773 


7 = 


1-0850 


75-347 


8-372 


17-297 


7 = 


0-10803 


10802649 


24-6918 


1543235 


8 = 


1-2400 


86-111 


9-568 


19-768 


8 = 


0- 12346 


123458 -85 


28-2192 


17-63697 


9 = 


1-3950 


96-874 


10-764 


22-239 


9 = 


0- 13889 


138891 21 


31-7466 


19-84159 


28. Cubic. 


31. Weight— (continued.) 


- 


03 

CD O • 
+J-;5 03 


03 


o 

■^ o . 

SSI'S "» 


o 

i-ai 

a° 


1 = 


O .03 

fl3? 
•a. o.a 

3 fto 

C > 

03 


•S a p-g 

S G ° P. 

B o P-o 
^•^ > 

03 


£8 

a§g 

03 O+J 

OB 


1 = 


0-0610 


' 61-023 


35-314 


1-308 


220 46 


2204-6 


0*03215 


2 = 


04220 


122-047 


70-629 


2-616 


2 = 


440 92 


4409-2 


0-06430 


3 = 


0-1831 


183-070 


105-943 


3-924 


3 = 


661-38 


6613-8 


0-09645 


4 = 


0-2441 


244-093 


141-258 


5-x32 


4 = 


881-84 


8818-4 


0-12860 


5 = 


0-3051 


305-117 


176-572 


6-540 


5 = 


1102 30 


11023-0 


0-16075 


6 = 


0-3661 


366-140 


211-887 


7-848 


6 = 


1322 76 


13227-6 


0-19290 


7 = 


0-4272 


427-163 


247-201 


9 156 


7 = 


1543-22 


15432-2 


22505 


8 = 


0-4882 


488-187 


282-516 


10-464 


8 = 


1763-68 


17636-8 


25721 


9 = 


0-5492 


549 210 


317-830 


11771 


9 = 


1984-14 


19841-4 


28936 



By the concurrent action of the principal governments of the world, an International Bureau 
of Weights and Measures has been established near Paris. Under the direction of the International 
Committee, two ingots were cast of pure platinum-iridium in the proportion of 9 parts of for- 
mer to 1 part of the latter metal. From one of these a certain number of kilogrammes were 
prepared, from the other a definite number of meter bars. These standards of weight and length 
were intercompared, without preference, and certain ones were selected as international prototype 
standards. The others were distributed by lot to the different governments, and are called 
national prototype standaius. Those apportioned to the United States are in the keeping of 
this office. 

The metric system was legalized in the United States in 1866. 

The international standard meter is derived from the meter des archives, and its length is 
defined by the distance between two lines at 0° Centigrade, on a platinum-Mdium bar deposited 
at the International Bureau of Weights and Measures. 

The international standard kilogramme i9 a mass of platinum-iridium deposited at the same 
place, and its weight in vacuo is the same as that of the kilogramme des archives. 

The liter is equal to-a cubic decimeter of water, and it is measured by the quantity of dis- 
tilled water which, at its maximum density, will counterpoise the standard kilogramme in a 
vacuum, the volume of such a quantity of water being, as nearly as has been ascertained, equal 
to a cubic decimeter. 



C50 



in turn involved many investigations in regard 
to the best methods to be pursued, the im- 
provement and construction of apparatus, 
and studies in thermometry and barometry, 
which resulted in establishing a standard ther- 
mometric scale and a standard barometer. 

It was decided to make the new international 
meter a line measure, and to derive it and the 
kilogramme from the meter andkilogramme of 
the archives. The material chosen for the new 
standards was an alloy of pure platinum-irid- 
ium, in the proportion of nine parts of the for- 
mer to one of the latter. Two ingots were 
cast, and from one of them a certain number 
of kilogrammes were prepared ; from the other 
a definite number of meter bars. The stand- 
ards of length and weight were intercompared 
without preference, and certain ones were 
selected for deposit and safe keeping at the in- 
ternational bureau, and are called interna- 
tional prototypes. The others were distributed 
by lot to the different governments ordering 
them, and are called national prototypes. 

The distribution was made in September, 
1889, and those apportioned to the United States 
are in the keeping of this office. 

The comparison of length measures with the 
United States standards will be undertaken on 
application. It is not necessary to explain the 
well-known methods by which the shorter 
length measures are compared with greater or 
less precision. The degree of refinement to 
which the comparisons are carried will depend, 
of course, on the purpose for which the meas- 
ures are to be used. Where great accuracy is 
required a special understanding with this 
office should be had. The means used for veri- 
fying tape lines are less well known and a de- 
scription will therefore be of use. 

The United States Mural or Bench Standard. 
— This apparatus derives its name from the 
fact that it was originally attached to a wall. 
As constructed in lb84, and as now arranged, 
it consists of a wooden bench 104 ft. long, hav- 
ing upon it an iron bar with German silver 
plugs on which the graduation is traced. The 
bench is made of white pine wood well seasoned 
and painted. The planks used in its construc- 
tion are 2 in. thick and 11}^ in. wide; they are 
supported on cedar posts firmly planted in the 
ground. 

The top of the bench and the bar are pro- 
tected from the weather by a cover made in 
sections, each section attached by hinges to the 
bench, and sufficiently inclined to shed the 
rain. 

The iron bar offers a continuous surface a 
little over 100 ft. long. The bar is 2 in. wide 
and T 7 S in. thick; it rests upon equidistant brass 
rollers T s s in. in diameter; these in turn rest on 
the bench. 

At *each side of the bar, parallel to it and 
firmly attached to the bench, is a strip of wood 
of such thickness as to bring its surface even 
with the surface of the bar. Sufficient space 
is left between these strips and the bar to allow 
free circulation of the air and not to hinder the 
expansion of the bar. At one end the bar has 
a device for clamping a tape or wire when the 
initial lines of the latter and of the standard 
bar are in coincidence. A spring balance for 
giving any desired tension is also provided. 
This has a clamp for holding the tape or wire, 
and it can be set on any part of the standard 
to conform to the length of the tape. Length- 
wise the bar, two parallel series of German 
silver plugs are inserted in the bar at suitable 
distances apart to receive the graduation, one 
being subdivided into yards and in places into 
feet, the other into meters. The yard gradu- 
ation is intended to be standard at 62° F., 16 # 67 
C; the metric at 32° F., or 0° C. 

In comparing, the tape line is stretched 
under the desired tension on the standard bar, 
and the difference between its graduation and 
that of the latter is read either by means 
of a finely subdivided scale or, where the 



graduation of the tape warrants the refine- 
ment, by means of a low power microscope. 

The chief advantage of using an iron bar 
over marks on bolts let into a wall is that the 
difference between the expansion of the tape 
and of the bar is very small. 

The question of temperature enters only very 
slightly, assuming that the temperature at 
which the iron bar is standard has been care- 
fully determined, and that both tape and bar 
are at the same temperature during the com- 
parison. 

The verification of weights and capacity 
measures will be undertaken, and a statement 
issued showing their relation to the United 
States standards. "Weights and measures sub- 
mitted for comparison should conform to cor- 
rect principles of construction. The cost of 
all comparisons for other than State or national 
purposes must be borne by those for whom 
they are made. The amount is calculated so 
as to cover the cost to the general government 
of the services of the person charged with 
making comparisons. 

(See Tables on pages 654, 655.) 

32. Household and Miscellaneous Tables. — The 
following tables may be of assistance in 
prescribing fluid preparations. They are; 

Teaspoonf ul ....... .... about 1 fl. drm. 

Dessertspoonful about 2 fl.drm. 

Tablespoonful . . about 4 fl. drm. 

Wineglassf ul , . about 2 fl. oz. 

Teacupful about 4 fl. oz. 

Breakfastcupful about 8 fl. oz. 

Tumblerful about 8 fl. oz. 

Thimbleful about % fl. drm. 

Pinch (of leaves and flow- (troy.) 

ers) about 1 drm. 

Handful (of leaves and (troy.) 

flowers) , about 10 drm. 

8 wineglassfuls, each two fluid ounces, in a 
pint. 

32 tablespoonf uls, each one-half fluid ounce, in 

a pint. 
16 tablespoonf uls, each one-half fluid ounce, in 

half a pint. 
12 tablespoonfuls, each one-half fluid ounce, in 

six fluid ounces. 

24 dessertspoonfuls, each two fluid drachms, in 
six fluid ounces. 

16 dessertspoonfuls, each two fluid drachms, in 
four fluid ounces. 

32 teaspoonf uls, each one fluid drachm, in four 

fluid ounces. 
16 teaspoonf uls, each one fluid drachm, in two 

fluid ounces. 
8 teaspoonf uls, each one fluid drachm, in one 

fluid ounce. 

33. Weights and Measures for Domestic Pur- 
poses. — Wheat flour, one pound is a quart. 

Indian meal, one pound two ounces is one 
quart. 

Butter, when soft, one pound is one quart. 

White sugar, when powdered, one pound one 
ounce is one quart. 

Best brown sugar, one pound two ounces is 
one quart. 

Liquids.— Sixteen large tablespoonfuls are 
half a pint. 

Eight large tablespoonfuls are one gill. 

Four large tablespoonfuls are half gill. 

Twenty-five drops are equal to one teaspoon- 
ful. 

A common wineglass is equal to a half gill. 

A common tumbler is equal to a half gUL p ° 

34. To Reduce Parts by Volume, or Measure 
to Parts by Weight.— Multiply the parts by vol- 
ume, or measure by the specific gravity of the 
different substances; the result will be parts 
by weight. 



657 

35. Electrical Horse Power, 

E X C 

Calculated from 

746 



-P © 

l, ft 














E.M.F 


. in Volts. 














l\ 


10 


20 


30 


40 


50 


60 


70 


80 


90 


100 


110 


120 


130 


140 


150 


5 


0-06 


013 


0-20 


0-28 


0-33 


0-40 


0-47 


0-53 


0-60 


0-67 


0*73 


0-80 


0-87 


93 


10 


10 


013 


0-28 


040 


0*53 


0-67 


0-80 


0-93 


1-07 


1-2 


1-3 


1-4 


1-6 


1-6 


1-9 


20 


20 


0*28 


0-53 


0-80 


1-07 


13 


1-6 


1-9 


2-1 


2'4 


2-7 


2'9 


3-2 


35 


37 


4-0 


30 


0-40 


0'80 


1'2 


1-6 


2-0 


2'4 


2-8 


3'2 


3-6 


4-0 


4*4 


4-8 


5'2 


5'6 


60 


40 


0-53 


1-U7 


1-6 


2-1 


2-6 


3-2 


3-7 


4-2 


+•8 


5-3 


5-9 


6-4 


6-9 


7*5 


8-0 


50 


0*67 


1-30 


2-0 


26 


3'3 


4*0 


46 


5-4 


60 


6-7 


7-4 


8-0 


8-7 


9-4 


io-o 


60 


080 


1-6 


2'4 


3-2 


40 


4-8 


5-6 


6-4 


7-2 


8-0 


8-8 


9-6 


104 


11-2 


12 


70 


0-93 


1-9 


2'8 


37 


4-6 


5-6 


6-5 


7'5 


8-4 


9-4 


10-3 


11-2 


12'3 


13-1 


14*0 


80 


1-07 


2-1 


32 


4'2 


5-4 


64 


7'5 


8-5" 


9-6 


10-7 


11-8 


12*8 


13-9 


lo'O 


16-0 


90 


1-2 


2-4 


3-6 


4*8 


6-0 


7-2 


8-4 


9'6 


10-8 


12-0 


13-2 


14-4 


15*6 


16-9 


18'0 


100 


1-3 


27 


4-0 


5-3 


6-7 


8-0 


9'4 


10-7 


12-0 


13-4 


14-7 


16-0 


17*4 


18-7 


wo 


no 


1-4 


2-9 


4-4 


5-9 


7-4 


8'8 


10*3 


11-8 


13-2 


14-7 


16-2 


17-6 


19-1 


20*6 


22-0 


120 


15 


3-2 


4*8 


6-4 


8'0 


9-6 


11-2 


12-8 


14-4 


16-0 


17-6 


19 2 


20-9 


22-5 


24-0 


130 


1-6 


35 


5'2 


6-9 


87 


10*4 


12-3 


13-9 


15-6 


17-4 


19*1 


20-9 


22-6 


24-4 


26-0 


140 


1-9 


3-7 


5-6 


75 


9-4 


11-2 


13-1 


15-0 


16'9 


18-7 


20-6 


22-5 


24'4 


26-2 


28-0 


150 


20 


4-0 


6-0 


8-0 


io-o 


12-0 


14-0 


16-0 


18-0 


20-0 


22-0 


24-0 


26-0 


28-0 


30*0 



E.H.P. on current line, under E.M.F. 



3b. Wire Gauges, in Decimal Parts of an Inch. 



<W © 








a" . 


' 


■a 

in • 


a a 


O be 


be 


^ r 


d co 


O'C 


So 


u 3 
© c3 


a 


a ft 


rd- 




'B'S 


& be 


© 
o 




S* o 

s 


co p 
bJ0^2 

H 


6° 


cOOOOOO 


0-46 









464 




00000 


0-43 









432 




0000 


0-393 





46 0-454 





4 


0-454 


000 

00 




0-362 





40964 0-425 





372 


0-425 


0-331 





3648 0-380 





348 


0-38 


0-307 





32495 0-340 





324 


0-34 


1 


0*283 





2893 1 0-3 





3 


0-3 


2 


0-263 





25763 0-284 





276 


0-284 


3 


0-244 





22942 0-259 





252 


0-259 


4 


0-225 


0-20431! 0-238 





232 


0-238 


5 


0-207 


18194 0-22 





212 


0-22 


6 


0-192 


16202 0-203 





192 


0-203 


7 


0-177 


0-14428 0-18 





176 


0-18 


8 


0-162 


0-12849! 0-165 





16 


0-165 


9 


0-148 


0-11443; 148 





144 


0-148 


10 


0-135 


0- 10189 0-134 





128 


0-134 


11 


0-12 


09074 0T2 





116 


0-12 


12 


0-105 


08081 0-109 





104 


0-109 


13 


0-092 


07196 0-095 





092 


095 


14 


0-08 


0-06408 0-083 





08 


0-083 


15 


0-072 


0-05706 0-072 


II 


072 


072 


16 


0-063 


0-05082 0-065 





064 


0-065 


17 


0-054 


0-04525 0-058 





056 


0-058 


18 


0-047 


0-0403 | 0-049 


(J 


048 


0-049 


19 


0-041 


0-03589 0-042 





04 


0-04 


20 
21 


035 


0-03196 035 





036 


035 


032 


0-02846 032 





032 


0315 


22 


0-028 


0-02534 0-028 


(1 


028 


0'0295 


23 


0025 


0-02257 025 





024 


0-027 


24 


023 


0201 i 022 





022 


025 


25 


0-02 


00179 | 002 





02 


0-023 


26 


0-018 


0-01594 0-018 





018 


0205 


27 


0-017 


0-01419 C016 





0164 


01875 


28 


0-016 


0-01264 0014 





0148 


0165 


29 


0-015 


0-01125 013 





0136 


0-0155 


30 


0-014 


0-01002 0-012 





0124 


0-01375 


31 


0-0135 


0-00893 0-010 


(1 


0116 


0- 01 225 


32 


0-013 


0-00795 0-009 





0108 


0-1 1125 


33 


o-oii 


0-00703 - 008 


(1 


01 


0- 01025 


34 


o-oi 


0-0063 0-007 





0092 


0-0095 


35 


0-0095 


0-00561 005 





0084 


0-009 


36 


0-009 


0-005 0-004 


0-0076 


0-0075 



37. Table Indicating Size, Weight and Length 
of Iron and Steel Wire. 





. 


+3 


© 


CO 




CO 


© 


© 




-a 




© 


© 


«H 


a 


3 


© 


£> 


p 




© . 


o 


c3 





i— i 


o co 


s &> 


P-I 




2 

© 

'• be- 
P 
a 




T-fiXS 


o'B 




O 1 © 


© 
© 

B 

03 


c o 

bo 

© 


a 

C o 

■PO, 

,60 

© 


o 

C 

+3 

© 


U1A 
© 

< 




P 


& 


fc 






3-0 


•362 


34-73 


1834 


5,759 


•102921 


2-0 


•331 


29-04 


1533 


6,886 


•086049 


1-0 


•307 


25-00 


1318 


8,C00 


•074023 


1 


•283 


21-23 


1121 


9,425 


•062901 


2 


•263 


18-34 


968 


10,905 


•054325 


3 


•244 


15-78 


833 


- 12,674 


•046759 


4 


•225 


1339 


707 


14,936 


•039760 


5 


•207 


11-35 


599 


17,621 


•033653 


6 


•192 


9-73 


514 


20,555 


•028952 


7 


•177 


8-30 


439 


24,906 


•024605 


8 


•162 


6-96 


367 


28,734 


•020612 


9 


•148 


5-80 


306 


34,483 


•017203 


10 


•135 


4-83 


255 


41,408 


•014313 


11 


•120 


3-82 


202 


52,356 


•011309 


12 


•105 


2-92 


154 


68,493 


•008659 


13 


•092 


2-24 


118 


89,286 


•006647 


14 


•080 


1-69 


89 


118,343 


•005026 


15 


072 


1-37 


72 


145,985 


•004071 


16 


•063 


105 


55 


190,476 


•003117 


17 


054 


0-77 


41 


259,740 


"002290 


18 


■047 


0-58 


31 


344,827 


•001734 


19 


•041 


0-45 


24 


444,444 


•001320 


20 


•035 


0-32 


17 


625,000 


•000962 


21 


•032 


0-27 


14 


740,741 


•000804 


22 


•028 


0-21 


11 


952,381 


•000615 


23 


•025 


0-175 


9-24 




•0)0491 


24 


•023 


0-140 


7-39 




•000415 


25 


•020 


0-116 


6-124 




•000314 


26 


•018 


0-093 


4-91 




•000254 


27 


•017 


0-083 


4-382 




•000227 


28 


••016 


0-074 


3-907 




•00C201 


29 


•015 


0-061 


3-22 




•HI ml 76 


30 


•014 


0-054 


2-851 




'000134 


31 


•0135 


0-050 


2-64 




•000143 


32 


•013 


0-046 


2-428 




•( 100 132 


33 


•on 


0-037 


1-953 




•000095 


34 


•0i0 


030 


1-584 




•0 0078 


35 


•0095 


0025 


1-32 




"III III! 171 


36 


•009 


0-021 


1-161 ! 




•0( 11)11(14 



38. Resistance and Weight Table.— American Gauge for Cotton and Silk Covered and Bare- 
Copper Wire.— The resistances are calculated tor pure copper wire. 

The number of feet to the pound is only approximate for insulated wire. 



No. 


Diameter. 


8 


•12849 


9 


•11443 


10 


•10189 


11 


•09074 


12 


•08081 


13 


•07196 


14 


•06408 


15 


•05707 


16 


•05082 


17 


•04525 


18 


•0403 


19 


•03539 


20 


03196 


21 


•02846 


22 


•02535 


23 


•02257 


24 


•0201 


25 


•0179 


26 


•01594 


27 


•01419 


28 


"01264 


29 


•01126 


30 


•01002 


31 


•00893 


32 


•00795 


33 


•00708 


34 


•0063 


35 


•00561 


36 


•005 



FEET PER POUND. 



Cotton 
Covered. 



42 

55 

68 

87 

110 

140 

175 

220 

280 

360 

450 

560 

715 

910 

1165 

1445 

1810 

2280 

2805 

3605 

4535 



Silk 
Covered. 



46 

60 

75 

95 

120 

150 

190 

240 

305 

390 

490 

615 

775 

990 

1265 

1570 

1970 

2480 

3050 

3920 

4930 

6200 

7830 

9830 

12420 



Naked. 



20 
25 

32 

40 

50 

64 

80 

101 

128 

161 

203 

256 

324 

408 

514 

649 

818 

1030 

1300 

1640 

2070 

2617 

3287 

4144 

5227 

6590 

8330 

10*60 

13210 



RESISTANCE, NAKED COPPER. 



Ohms per 
1000 feet. 



•6259 
•7892 
•8441 
1*254 
1-580 
1-995 
2-504 
3-172 
4-001 
5-04 
6-36 
825 
10-12 
12 76 
16-25 
20-30 
25-60 
32-2 
40 7 
51-3 
64-8 
81-6 
103- 
ISO" 
164- 
206- 
260- 
328- 
414' 



Ohms per 
mile. 



3-3 
4-1 

4-4 
6-4 
8-3 
104 
13-2 
16-7 
23- 
26" 
33- 
43- 
53' 
68- 
85' 
108' 
135' 
170- 
214- 
270- 
343* 
432- 

ass- 
ess- 

865* 
1033- 
1389- 

1820- 
2200- 



Feet per 
ohm. 



1600- 
1272- 
1185 
798- 
633- 
504* 
400* 
316- 
230- 
198' 
157- 
121' 
99' 
76-5 
61-8 
48-9 
39-0 
310 
24-6 
19-5 
15-4 
12-2 
9-8 
7*7 
6-1 
49 
3-8 
29 
2-4 



Ohms per 
pound. 



•0125 
•0197 
"0270 
•0501 
•079 
•127 
•200 
•320 
•512- 
•811 
129 
211 
3-27 
5-20 
8-35 
133 
20-9 
33-2 
52-9 
84-2 
134- 
213" 
338" 
539' 
856" 
1357- 
2166* 
3521- 
5469' 



39. Weight in Pounds per Mile of Copper Wire. 



Number. 


Roebling. 


Birmingham. 


Brown & Sharpe, 


English Legal 
Standard. 


0000 


2466 


3286 


3375 


2555 


000 


2092 


2884 


2677 


2210 


00 


1750 


2305 


2123 


1933 





1504 


1846 


1684 


1682 


1 


1278 


1437 


1335 


1437 


2 


1104 


1287 


1058 


1216 


3 


950 


1071 


839 


1012 


4 


808 


904 


665 


860 


5 


684 


773 


528 


718 


6 


588 


657 


418 


588 


7 


500 


517 


332 


495 


8 


419 


435 


263 


409 


9 


350 


350 


209 


332 


10 


291 


287 


165 


263 


11 


230 


230 


131 


215 


12 


176 


190 


104 


173 


13 


135 


144 


83 


135 


14 


102 


110 


65 


102 


15 


83 


83 


52 


83 


16 


64 


68 


41 


65 


17 


47 


53-M 


33 


50 


18 


35 


38 


26 


37 


19 


27 


28 


20M 
16M 


26 


20 


19M 


19^ 


20% 


21 


16^ 


16*4 


13 


16J4 


22 


12^ 


12^ 


10J4 


12^ 


23 


10M 


im 


m 


m 


24 


m 


m 


V/2 


m 


- 25 


<M 


m 


sy a 


VA 


26 


5 


5 


4 


5 


27 


43^ 


4 


m 


4 


28 


4 


m 


I W/% 


3)4 


29 


Ws 


2% 


2 


o 
O 


30 


m 


m 


i IVs 


m 



659 



Specific Gravity. 

Tables Showing a Comparison of the Degrees of Baume, Cartier and Beck's Areometers, with 
Specific Gravity Degrees. 






40. For Liquids Li 


ghter than Water. 


41. For Liquids Heavier than Water. 


Degrees of 


Baum 


e. Cartier. 


Beck. 


Degrees of 


Baume. 


Beck. 




Baume, 








Baume, 
Beck. 








Cartier, 
Beck. 


Sp. G 


v. Sp. Gr. 


Sp. Gr. 


Sp. Gr. 


Sp. Gr. 






1-000 

1 1-007 


1 0000 
1-0059 





















1-0000 


2 1-014 


10119 




1 




• . . 




/ 9941 


3 1-020 


1-0180 




■ 2 








0-9883 


4 


1-028 


10241 




3 




• • • 




0-9826 


5 


1-034 


1-0303 




4 




* » 




0-9770 


6 


1-041 


1-0366 




5 








9714 


7 


1-049 


1-0429 




6 








0-965!) 


8 


1-057 


1-0494 




7 








0'96U4 


9 


1-064 


1-0559 




8 








0-9550 


10 


1-072 


1-0625 




9 








9497 


11 


1-080 


1-0692 




10 


i'00( 


) "'". 


9444 


12 


1-088 


1-0759 




11 


0-99J 


1 1000 


9392 


13 


1096 


1-0828 




12 


0'98( 


5 992 


0-9340 


14 


1104 


1-0897 




13 


0-97* 


) 0*985 


0-928.) 


15 


1113 


1-0968 




14 


0-97J 


J 0977 


9239 


16 


1121 


1-1039 




15 


0-96' 


r 0-969 


0-9189 


17 


1-130 


11111 




16 


96( 


) 0-962 


9139 


18 


1-138 


1-1184 




17 


0-95< 


t 0955 


9090 


19 


1-147 


1-1258 




18 , 


94! 


i 0948 


0-9042 


20 


1157 


11333 




19 


0-94: 


J 0-941 


8994 


21 


1-166 


11409 




20 


0-93, 


) 934 


0-8947 


22 


1-116 


1-1486 




21 


92< 


) 0927 


0-8900 


23 


1-185 


1-1565 




22 


0-92- 


1 0920 


0-8854 


24 


1-195 


1-1644 




23 


91) 


I 0914 


0-8808 


25 


1-205 


1-1724 




24 


0-91S 


I 0908 


0-8762 


26 


1-215 


1-1806 




25 


90( 


5 0-901 


0-8717 


27 


1-225 


1-1888 




26 


090" 


L 0-895 


0-8673 


28 


1235 


1-1972 




27 


0-89. 


> 0'889 


0-8629 


29 


1-245 


1-2057 




28 


0"88< 


) 0-883 


0-85a5 


30 


1-256 


1-2143 




29 


0-88' 


I 0*877 


0-8542 


31 


1-267 


1-2230 




30 


0-87 ( 


) 0871 


0-8500 


32 


1-278 


1-2319 




31 


0-87! 


J 0865 


0-8457 


33 


1-289 


1-2409 




32 


0-86J 


I 0-859 


0-8415 


34 


1-300 


1-2500 




33 


0-86: 


} 0-853 


0-8374 


35 


1312 


1-2593 




34 


0-85i 


1 0-848 


0-8333 


36 


1-324 


1-2680 




35 


o-85; 


J 0-842 


0-8292 


37 


1-337 


1-2782 




36 


0-84J 


5 837 


0-8252 


38 


1349 


1-2879 




37 


84; 


i 831 


0-8212 


39 


1-361 


1-2977 




38 


0-83! 


1 0826 


0-8173 


40 


1 375 


1-3077 




39 


0-83 


3 820 


0-8133 


41 


1-388 


1-3178 




40 


0-82< 


) 0-815 


0-8095 


42 


1 401 


1-3281 




41 


82< 


I 0810 


0-8061 


43 


1 414 


1-3386 




42 


0-81< 


) 0-805 


0-8018 


44 


1 428 


1-3492 




43 


0-81. 


> 0-800 


0-7981 


45 


1442 


1-3600 




44 


811 


J 


0-7944 


46 


1 456 


1-3710 




45 


80 




0*7907 


47 


1-470 


1-3821 




46 


080 


L '.'.'.'.'. 


0-7871 


48 


1-485 


13934 




47 


79 


i 


0-7834 


49 


1-500 


1-4050 




48 


079 


> 


0-7799 


50 


1 515 


1-4167 




49 


0-78 


3 '.'.'.'.] 


0-7763 


51 


1-531 


1-4286 




50 


0-78 


t ..... 


0-7727 


52 


1 546 


1-4407 




51 


0-78 


L 


0-7692 


53 


1-562 


1-4530 




52 


077 




0*7658 


54 


1578 


14655 




53 


077 


i !"'.! 


0-7623 


55 


1-596 


14783 




54 


0-76 


j 


0-7589 


56 


1 615 


14912 




55 


076 


3 


0-7556 


57 


1 634 


1-5044 




56 


0-75 


9 


0-7522 


58 


1 653 


1-5179 




57 


0-75 


5 


0-7489 


59 


1 671 


1-5315 




58 


75 


1 ..... 


0-7456 


60 


1690 


15454 




59 


074 


3 


07423 


61 


1-709 


1-5596 




60 


74 


1 


0-7391 


62 


1-729 


15741 




61 


74 


J 


0-7359 


63 


1-750 


1-5888 




62 


073 


5 


0-7328 


64 


1-771 


1-6038 




63 


o . ■ . 


. ..... 


0-7296 


65 


1-793 


1-6190 




64 






0*7265 


66 


1-815 


1-6346 




65 


.... 


..... 


7234 


67 


1-839 


1-6505 




66 






0-7203 


68 


1 864 


1-6667 




67 






0-7173 


69 


1-885 


1-6832 




68 






0-7142 


70 


1-909 


1-7000 




69 






07112 


71 


1-935 






70 




.... 


0-7083 


1 72 


I960 







APPENDIX. 

PART III. 

Chemical Synonyms. 

The following list of the principal chemicals and their synonyms is intended only as a guide 
to the amateur, who may be saved both time and money by its use, but makes no pretense to 
being complete. A complete list of every known chemical would require a volume. The list of 
synonyms of chemicals which are given at all will be found very complete. Only a few of the 
organic compounds are given, as they will not be much used by the amateur. 

The authorities consulted are Watt's Dictionary of Chemistry, and the works of Fownes, 
Wurtz, Roscoe, Schlorlemmer, Bloxham, Attfield, Fresenius, Cooley, etc., and great care has been 
taken to avoid mistakes, which are very liable to occur in compilations of this kind. 

The names of minerals are given in brackets, thus [Halite]. The number of the minerals 
noticed is not great, as the majority have a more or less complex formula. 

The chemical symbols are added, as they are really equal to a name. 

The Latin names, as well as those of other languages, are printed in italics, with the letters 
(L. Ger. or Fr.) for Latin, German and French. Many of the names are obsolete, or nearly so, but 
still it is of the utmost importance that their exact meaning is given. 

In general the subject is arranged under the principal constituent ; thus, to find Potassium 
Carbonate, look for Potassium. 



Aeetum:— Vinegar. 

Acetic Acid.:— H(C 2 Hs0 2 ). Hydrogen Ace- 
tate; Hydric Acetate; Acetulic Acid; Aci- 
dum Aceticum (L.); Acide Acetique (Fr.); 
Essigsdure (Ger.); Pyroligneous Acid; when 
free from water it is called Acetic Hydrate, 
Monohydrated Acetic Acid, Glacial Acetic 
Acid, Aeetum Glaciale (Fr.); Acid of Vinegar; 
Aeidum Aceticum Glaciale (L.); sometimes 
called Radical Vinegar. 

Acetylene:— C 2 H 2 . Klumene. Ethine. 

Acid:— See the name of the acid; only the 
principal ones are given. 

Alcoliol:— C 2 H 6 0. Ethyl Alcohol; Ethyl Hy- 
drate; Hydroxl-Ethane; Methyl Carbinol; 
Methyl Carbonal ; AlcoOl (Fr.) ; Alkaliol 
(Ger.); Rectified Spirits; Proof Spirit; Spirits 
of Wine; S. V.; S. V. R.; and S. V. P.; Alcohol 
Vini (L.); Ethylic Alcohol ; Absolute Alco- 
hol is also called Anhydrous Alcohol. 

Amylic Alcohol. See Fusel Oil. 

Methylic Alcohol :—CH 4 0. Wood Naphtha; 
Wood Spirit; Wood Alcohol; Pyroligneous 
Spirit; Pyroxylic Spirit. 

Aldehyd:— C 2 H 4 0. Aldehyde; Acetic Alde- 
hyde; Ethyl Aldehyde; Hydrated Oxide of 
Acetyle, or Acetule; Hydrate of Othyle; 
Acetaldehyd; Hydride of Acetyl. 

Alum:— A1 2 (S0 4 ) 3 .K 2 S0 4 +24H 2 0. Double Sul- 
phate of Aluminum and Potassium; Sul- 
phate of Aluminum and Potassium; Octa- 
hedral Alum Salt; Potash-Alum; Alumen, 
A. Potassicum (L.); Alun (Fr.); Alaun (Ger.). 
Alum, Ammonia : — A1 2 (S0 4 ) 3 .(NH 4 ) 2 S0 4 +24 
H 2 0. Alumen Ammoniatum (L.); Sulphate 



of Aluminum and Ammonium; Aluminii et 
Ammonii Sulphas (L.). 

Alum, Burnt :—K 2 Al 2 (S0 4 ) 4 . Dried Alum; 
Alumen Exsiccatum (L.); Alun Sec (Fr.;. 

Alum Chrome: — Cr 2 (S0 4 ) 2 .K 2 S0 4 + 24H 2 0. 
Double Sulphate of Chromium and Potas- 
sium. 

Alum, Iron:— Fe 2 (S0 4 ) 3 .K 2 S0 4 +24H 2 0. Alu- 
men Ferricum, Sulphas Ferri et Potassce (L.). 

Alum, Roman: — Red Alum; Roman Alum; 
Roach Alum; [Alum Stone] ; Roche Alum 
(Fr.); Rock Alum; Alumen Romanum (L.); 
Alum Rupeum (L.); Cubical Alum; impure 
variety of alum containing iron. 

Alum, Soda :-Na 2 S0 4 .Al 2 (S0 4 ) 3 .24H 2 0. Sul- 
phas Aluminas et Sodw (L.); Solfaterite. 
Aluminium: — Al. Aluminum, English, 
French, and Latin; Aluminum (Ger.) It 
has been proposed to shorten it to Alium. 

Aluminium Acetate:— A1 2 (C 2 H 3 2 ) 3 . Acetate 
of Alumina. 

Aluminium Chloride :— A1 2 C1 6 . Sesquichloride 
of Aluminum: Aluminii Chloridi (L)., Chlo- 
ralum (Impure). 

Aluminium Fluoride :— A1F 3 . 

Aluminium Hydrate :— Al 2 (HO) 6 . Aluminum 
Hydroxide; Hydrated Alumina, Aluminii 
Hydras (L). 

Aluminium Nitrate:— A1 2 (N0 3 ) 6 . Nitrate of 
Alumina ; Alumince Nitras (L). 

Aluminium Oxide:— A1 2 3 . Alumina; [Emery 
and Corundum are varieties of the oxide, 
Adamantine Spar.] Alumine. 

Aluminium Silicate :—Al 2 (Si0 2 ) 3 . Silicate of 
Alumina. 

Aluminium Sodium Fluoride :—AlF 3 .2NaF. 
[Cryolite.] 



662 






Aluminium Sulphate :— A1 2 (S0 4 ) 3 . 18H 2 0. 
Neutral Sulphate of Alumina ; Sesquisul- 
phate of Alumina; [Alunogen] ; Aluminii 
Sulphas (L.) ; Sometimes called cake alum 
or concentrated alum (erroneous). 

Aluminium Sulphide :— A1 2 S 3 . Sulphide of 
Aluminium. 

Aminonia:-NH 3 , Anhydrous Ammonia; 
Ammonia Gas ; Volatile Alkali ; Volatile 
Air ; Ammoniacal Gas; Terhydride of Nitro- 
gen ; Ammoniaque (Fr.) ; Ammoniak (Ger.). 

Ammonia, Solution of:— Ammonia; Ammo- 
nia Water ; Liquor Ammo nice, (L.); Spirits 
of Sal Ammoniac ; Ammonium Hydrate ; 
Ammonia; Spirits of Hartshorn; Ammo- 
niaque Liquide, Esprit de Sal Ammoniac 
(Fr.); Salmiak-Oeist (Ger.); Aqua Ammo- 
nice (L.). 
Ammonium:— (NH 4 ). 

Ammonium, Acetate :— (NH 4 )C2H 3 02. Am- 
monice Acetas (L.); Spirit of Mindererus 
(Med.) 

Ammonium Arseniate:— (NH 4 ) 3 As0 4 . Am- 
monii Arsenias (L.). 

Ammonium Binarseniate :— (NH 4 ) 2 As0 4 . 

Ammonium Arsenite :— NH 4 As0 2 . Ammonice 
Arsenis (L.). 

Ammonium Benzoate:— NH 4 ,C 7 H 5 2 . Solutio 
Ammonice Benzoas ; Ammonii Benzoas (L.). 

Ammonium Bromide :— NH 4 Br. Ammonii 
Bromidum ; Ammonii Bromis (L.). 

Ammonium Carbonate :— There are three car- 
bonates of ammonia. 

AmmoniaNormalCarbonate:-(NH 4 ) 2 C0 3 ,H 2 0. 
Di-ammonic Carbonate ; Volatile Salt ; 
Smelling Salts ; Sal Volatile (alcoholic solu- 
tion); Neutral Carbonate of Ammonium; 
Carbonate of Oxide of Ammonium. 

Ammonium Sesquicarbonate : — (NH 4 ) 4 H 2 
(C0 3 ) 3 ,H 2 0. Tetraammonio-dihydric Car- 
bonate; Half -acid Carbonate of Ammo- 
nia ; Ammonii Carbonas (L.); Preston Salts ; 
Smelling Salts; Volatile Spirits of Harts- 
horn. 

Ammonium Bicarbonate :— H(NH 4 )C0 3 . Acid 
Carbonate of Ammonium; Ammonium and 
Hydrogen Carbonate ; Ammonio-hydric 
Carbonate; Mono- Ammoniac Carbonate. 

Ammonium Chloride:— NH 4 C I. Sal Ammo- 
niac ; LSalmiak] ; Ammonic Chloride ; Hy- 
drochlorate of Ammonia; Ammonia Muria- 
tica (L.); Ammoniac Chloride Muriate of 
i Ammonia; Sel Ammoniac (Fr.); Ammonii 
Chloridum (L.). 

Ammonium Citrate :— (NH 4 ) 2 HC 6 H 5 7 . Ci- 
trate of Oxide of Ammonia ; Ammonice Ci- 
tras (L.) ; Di-ammonium Citrate. 
Ammonium Ferrocyanide : — (NH 4 ) 4 FeC 6 N 6 . 

3Aq. 
Ammonium Iodide :— NH 4 I. Hydriodate of 

Ammonia ; Ammonii Iodidum (L.). 
Ammonium Nitrate : — (NH 4 )N0 3 . Ammonice 
Nitras (L.) ; Nitrous Ammoniacal Salt ; Ni- 
trate of Oxide of Ammonium. 



Ammonium Nitrite :— Hyponitrite of Ammo- 
nium ; Nitrite of Oxide of Ammonium. 
Ammonium Oxalate :— (NH 4 ) 2 G 2 4 . Ammo- 
nice Oxalis (L.) ; Ammonic Oxalate. 

Ammonium Phosphates :— (NH 4 ) 3 P0 4 . Nor- 
mal Ammonium Phosphate. 

Ammonium Phosphate :— (NH 4 ) 3 HP0 4 . Am- 
monii Phosphas (L.) ; Tribasic Phosphate 
of Ammonium. 

Ammonium Sodium and Hydrogen Phos- 
phate:— Na(NH 4 )HP0 4 , 4H 2 0. Microcosmic 
Salt; Phosphorus Salt; Fusible Salt of 
Urine. 

Ammonium Sulphate : — (NH 4 ) 2 S0 4 . Glau- 
ber's Secret Salt ; Glauber's Secret Sal Am- 
moniac; Sulphate of Oxide of Ammonia; 
Ammonice Sulphas (L.) ; Ammoniacal Secret 
Salt of Glauber. 

Ammonium Sulphocyanide :— NH 4 CNS. 

Ammonium Sulphide:— (NH 4 ) 2 S. Ammonic 
Sulphide; Sulphuret of Ammonium; Hy- 
drosulphuret of Ammonia. 

Ammonium Sulphohydrate :— NH 4 HS. Sul- 
phide of Ammonia ; Hydrosulphide of 
Ammonia; Hydrosulphate of Ammonia ; 
Ammonium and Hydrogen Sulphide ; Bihy- 
drosulphuret of Ammonia. 

Ammonium Persulphide : — Hoffman's Vo- 
latile Spirit of Sulphur ; Boyles' Fuming 
Liquor (Obsolete); Ammonice Perhydrosul- 
phas (L.). 

Ammonium Sulphite :-(NH 4 ) 5 S0 3 7Aq. Sul- 
phite of Oxide of Ammonium. 

Ammonium Sulphocyanide :— NH 4 CNS. 

Ammonium Tartrate :—(NH 4 ) 2 C 4 H 4 O e . Am- 
monice Tartras CL.). 

Ammonium Bitartrate :— NH 4 HC 4 H 4 6 . Am- 
monice Bitartras (L.). 

Ammonium Valerianate ;— NH 4 C 5 H 9 2 . Am- 
monii Valerianas (L.). 
Amyl x-CsHu. (The Radical.) 

Amyl Acetate:— C 5 HiiC 2 H 3 02. Pearl oil. 

Amyl Nitrite:— C 5 H U . N0 2 . Amyl Mtris 
(L.). 

Amyl, Valerianate of :— CsHnCsHgOa. Apple 
oil. 
Aniline : — C 6 H 5 .NH 2 . Phenylamine; Anilina 

(L.). 
Antimony :— Metallic, Sb.; Regulus of An- 
timony; Stibium (L.); Antimone (Fr.); 
Spiessgla7iz (Ger.). 

Antimony, Butter of :— Antimony Trichlo- 
ride. 

Antimony, Trichloride:— SbCl 3 . Terchlor- 
' ide of Antimony; Antimonious Chloride; 
Butter of Antimony; Chloride of Anti- 
mony; Sesquichloride of Antimony; Caus- 
tic Antimony; Antimonii Chloridum (L.). 

Antimony, Pentachloride :— SbCl 5 . Antimonii 
Pentachloridum (L.). ' 

Antimony, Diaphoretic :— Antimoniate of 
Potash; Stibiated Kali (L.); Calcined Anti- 
mony; Antimoniate of Potash. 

Antimony, Flowers of :— Sb 2 3 . White Oxide 
of Antimony. 

Antimony, Triftuoride :— SbF 3 . 

Antimony, Pentafluoride :— SbF 5 . 



663 



Antimony, Glass of :— Vitrified Antimony; 
Gray Oxide of Antimony; Vitrified Oxide 
of Antimony; Antimonii Vitrum (L.). 

Antimony, Hydride :—SbH 3 . Stibine; Hy- 
drogen Antimonide; Antimonious Hy- 
dride. ( 

Antimony, Liver of :—Hepar Antimonii (L.). 

Antimony Trioxide :— Sb 2 3 . Antimonious 
Oxide; Protoxide of Antimony; Hypanti- 
monious Acid; Oxide of Antimony; Terox- 
ide of Antimony; Antimonii Oxidum (L.). 

Antimony, Tetroxide :— Sb 2 4 . Antimonious 
Acid; Antimony-Antimonate; [Cervantite]; 
Antimonoso-Antimonic Oxide; Diantimo- 
nic Tetroxide. 

Antimony Pentoxide :— Sb 2 5 . Antimonic 
Oxide. 

Antimony, Oxychloride of :— SbOCl. Powder 
of Algaroth. 

Antimony, Oxysulphide of :— Sb 2 3 2Sb 2 S 8 . 

Antimony, Red :— Oxysulphide of Antimony; 
Oxysulphuret of Antimony; Crocus of An- 
timony. See Oxysulphide, above. 

Antimony, Regulus of :— Regulus Antimonii 
(L.); Metallic Antimony. 

Antimony, Sulphurated :— Precipitated Sul- 
phide of Antimony; Oxysulphuret of Anti- 
mony ; Golden Sulphuret of Antimony; 
Antimonium Sidphuratum (L.). 

Antimony, Pentasulphide :— Sb 2 S 5 . Anti- 
monic Sulphide^ Sulphur Auratum (L.). 

Antimony, Trisulphide ;— Sb 2 S 3 . Antimoni- 
ous Sulphide; Sulphide of Antimony; Black 
Sulphide of Antimony; Tersulphide of An- 
timony; Sulphuret of Antimony; Sesqui- 

- sulphuret of Antimony; Gray Antimony ; 
LStibnite Antimonite; Antimony Glance] ; 
Crude Antimony; Judex Ultimus (L.). 

Antimony, Tartarated: — KSbOC 4 H 4 6 .Aq. 
Antimonii et Potassii Tartras (L.). Tartar 
Emetic; Emetic Tartar; Tartarized Anti- 
mony; Antimonium Tartaratum (L.). 
Aqua, Water: 

Aqua Ammoniae. See Ammonia, Solution 
of. 

Aquafortis :— Nitric Acid. 

Aqua Regia : — Nitro-hydrochloric acid. 

Aqua Vitas : — Native distilled spirit, usually 
French brandy. 
Argol :— See Potassium Bitartrate. 

Arsenic :— As. Arsenium ; Arsenicum ; (L.). 

Arsenic Anhydride :— As 2 6 . Arsenic Acid; 
Anhydrous Arsenic Acid; Acidum Arseni- 
cum (L.). 

Arsenious Anhydride : — As 2 3 ; Arsenious 
Acid; Arsenic; White Arsenic; Arsenic 
Blanc (Ft.): [Arsenolite.] 

Arsenic Tribromide :— AsBr 3 . Sesquibromide 
of Arsenic; Terbromide of Arsenic; Ar- 
senici Bromidum (L.). 

Arsenic Trichloride :— AsCl 3 . Chloride of Ar- 
senic; Arsenious Chloride; Terchloride of 
Arsenic ; Sesquichloride of Ai'senic ; Fum- 
ing' Liquor of Arsenic. 

Arsenic, Fluoride of :— AsF 3 . Arsenious Fluo- 



ride ; Arsenic Trifl uoride ; Terfluoride of 
Arsenic. 

Arsenious Hydride :— AsH 3 . Arsenetted 
Hydrogen ; Arsine ; Trihydride of Arsenic. 

Arsenic Dilrydride :— AsH or As 2 H 4 . 

Arsenic Triodide : — Asl 3 . Arsenious Iodide. 

Arsenious Oxide :— As 2 3 . White oxide of 
Arsenic. 

Arsenic Disulphide :— As 2 S 2 . Arsenic Bisul- 
phide ; [Realgar] ; Red Sulphide of Arsenic ; 
Bisulphuret; Red Sulphuret of Arsenic. 

Arsenic Trisulphide : — As 2 S 3 . Arsenious Sul- 
phide; [Orpiment]; Yellow Sulphide of 
Arsenic ; Sesquisulphide of Arsenic ; Ter- 
sulphide of Arsenic ; Tersulphuret of Ar- 
senic ; King's Yellow. 

Arsenic Pentasulphide :— As 2 S 5 . Sulpharsenic 
Acid ; Persulphuret of Arsenic. 

Arsenide:— Arseniuret; Arseniuretum (L.). 

Arsenile i—Arsenis (L.). 

Azote :— Nitrogen ; Azotum (L.). 

Barium :— Ba. 

Barium Acetate :— Ba(C 2 H 3 2 ). Barytce Ace- 
tas (L.). 

Barium Arseniate:— Ba 3 (P0 4 ) 2 . Barytce Ar- 
senics (L.). 

Barium Arsenite;— Ba(As0 2 ) 2 . Barytce Ar- 
senis (L.). 

Barium Bromide :— BaBr 2 . Barii Bromidum 
(L.). 

Barium Carbonate;— BaCO s . Carbonate of 
Baryta ; Barytce Carbonas, (L.); Boric Car- 
bonate. 

Barium Chloride ;— BaCl 2 .2H 2 0. Barii Chlori- 
dum (L.).; Baric Chloride. 

Barium Chlorate;— Ba(C10 3 ) 2 . Chlorate of 
Baryta; Barytce Chloras (L.). 

Barium, Ferrocyanide of :— Ba 2 FeC 6 N 8 . Barii 
Ferrocyanidum (L.). 

Barium Hydrate : — Ba(HO) 2 . Hydrate of 
Baryta ; Barytce Hydras (L.) . 

Barium Iodide :— Ba 2 I. Barii Iodidum (L.). 

Barium Nitrate :— Ba(N0 3 ) 2 . Barytce Nitras 
(L.) ; Nitrate of Baryta. 

Barium Oxalate :— BaC 2 4 . Oxalate of Ba- 
ryta ; Barytce Oxalas (L.). 

Barium Monoxide :— BaO. Baryta ; Barytes 
Caustic Baryta ; Oxide of Barium. 

Barium Dioxide :— Ba0 2 . Barium Peroxide; 

Hyperoxide of Barium ; Deutoxide of Ba- 
rium ; Barii Binoxydum (L.). 

Barium Phosphate :— Ba(P0 4 ) 2 . 

Barium Sulphate :— BaS0 4 . Sulphate of Ba- 
ryta ; [Barite, Heavy Spar] ; Barytce Sul- 
phas (L.). 

Barium Sulphide :— BaS ; Sulphuret of Ba- 
ryta ; Barium Monosulphide ; Barie Sul- 
phide. 

Barium Sulphite:— BaS0 3 . Sulphite of Ba- 
ryta. 

Barium Tartrate:— BaC 4 H 4 6 . Tartrate of 
Baryta. 
Benzoic A«-id ;— H(C 7 H 6 2 ) or C 7 H 6 2 . 
Hydrated Benzoyl ; Acidum Benzoicum (L.); 



664 



Salt of Benzoin ; Flowers of Benzoin or 
Benjamin. 

Benzol :— C 6 H 6 . Benzole ; Benzine ; Benzene; 
Benzin; Hydride of Phenyl; Phenyl Hy- 
dride ; Phene. Benzol (true) and Benzine 
should not be conf ounde d. See those heads 
in the body of the Cyclopedia. 
Benzol, Nitro:— See Nitrobenzol. 

Benzoyl :— C 7 H 5 0. 
Benzoyl Hydride :— C 7 H 5 OH. Essential Oil of 
Bitter Almonds ; Essence of Bitter Al- 
monds. Sometimes called Volatile Oil of 
Bitter Almonds. 

Bismuth :— Bi. Etain de Glace (Fr.) ; Wis- 
muth (Ger.). 

Bismuth Chloride (Basic) :— Bi 3 Cl 8 . Subchlo- 
ride of Bismuth ; Pearl Powder ; Bismuthi 
Subchloridum (L.). 

Bismuth Chloride :— BiCl 3 . Terchloride of 
Bismuth ; Butter of Bismuth. 

Bismuth Hydroxide:— BiH0 2 . 

Bismuth Subnitrate ; — BiON0 3 . Basic Nitrate 
of Bismuth; Pearl White; Flake White; 
Blanc de Fard (Fr.) ; Bismuthi Subnitras (L.). 

Bismuth (Normal) Nitrate :— Bi(N0 3 ) 3 ,5H 2 0. 
Neutral Nitrate ; Ternitrate. 

Bismuth Trioxide: — Bi 2 3 . Bismuthous 
Oxide ; Teroxide of Bismuth ; Protoxide of 
Bismuth. 

Bismuth Pentoxide :— Bi 2 5 . Bismuthic Ox- 
ide ; Bismuthic Anhydride ; Bismuthic Acid. 

Bismouthous Sulphide :-Bi 2 S 3 . [Bismuthinite; 
Bismuth Glance]. 
Boracic Acid :— B(OH) 8 . Boric Acid; Hydro- 
gen Borate; Sedative Salt; Acidum Boraci- 
cum (L.); Sedative Salt of Vitriol. 

Boric Acid :— See Boracic Acid above. 
Boric Anhydride:— B 2 3 . Boric Oxide; Boro- 
cic Anhydride; Anhydrous Boracic Acid. 

Borate: — Boras (L.). 

Borax :—Na 2 B 4 O 7 ,10H 2 O. Biborate of Soda; 
Pyroborate of Soda; Borate of Soda; Sub- 
borate of Soda ; [Tincal]. 
Boron : — B. 
Boron Trisulphide : — B 2 S 3 . 
Boron Nitride :— BN. 

Bromide i—Bromidum (L.); Bromuret; Hy- 
drobromate. 

Bromine :— Br. Brominium (L.); Brbme (Fr.). 

Cadmium:— Cd. Klaprophium. 
Cadmium, Carbonate of: — CdCo 3 . Cadmii 

Carbonas (L.). 
Cadmium, Chloride of :— CdCl 2 . Muriate of 

Cadmium; Hydrochlorate of Cadmium; 

Cadmii Chloridum (L.). 
Cadmium, Iodide : — Cdl 2 . Hydriodate of 

Cadmium; Cadmii Iodidum (L.). 
Cadmium, Oxide:— CdO. Protoxide of Cad- 
mium; Cadmii Oxydum (L.). 
Cadmium, Sulphate: — CdS0 4 .4H 2 0. Cadmii 

Sulphas (L.). 
Cadmium, Sulphide.— CdS. Cadmium Yellow; 

[Greenockite]. 



Caffeine:— C 8 H ]0 N 4 O 2 .H 2 O. Theine; Caffeina- 

(L.). 
Calcium: — Ca 

Calcium Acid Phosphate:— CaH 4 ,2P0 4 . Sol- 
uble acid Phosphate; Superphosphate of 
Lime. 

Calcium Bromide.-CaBr 2 . Calcii Bromidum (L.) 

Calcium Carbonate :— CaC0 3 . Calcii Carbonas 
(L.); Creta Praecipitata ; [Chalk ; Limestone; 
Marble ; Calcite ; Calc Spar]. 

Calcium Chloride :— CaCl 2 . Calcii Chloride; Cal- 
cii Chloridum (L.). Muriate of Lime ; Fixed 
Ammoniacal Salt; Chlorinated Lime; Bleach- 
ing Powder ; Calcium Hypochlorite. These 
three are realiy a mixture CaCl 2 + CaCl 2 2 . 

Calcium Fluoride :—CaF 2 . Hydronuorate of 
Lime; [Fluorite]. 

Calcium Hydroxide :— Ca(OH) 2 ; Calcic Hy- 
drate; Lime Water; Liquor Calcis (L.). 

Calcium Iodide :— Cal 2 . Hydriodate of Lime;. 
Calcii Iodidum (L.). 

Calcium Monoxide :— CaO; Lime; Calcic Oxide, 

Calcium Dioxide :— Ca0 2 . 

Calcium Nitrate :— Ca(N0 3 ) 2 ; Lime Saltpeter. 

Calcium Phosphate :— Ca 3 (P0 4 ) 2 . Calcii Phos- 
phas (L.) ; Tricalcic Phosphate. 

Monocalcic Orthophosphate :— CaHP0 4 . 

Tetrahydro-Calcic Phosphate :— H 4 0a(P0 4 ) 2 . 

Calcium Phosphide:— P 2 Ca 2 . Phosphuret of 
Li me ; Calcii Phosphuretum ( L . ) . 

Calcium Hypophosphite :— Ca(P0 2 H 2 ) 2 . 

Calcium Sulphate:— CaS0 4 ,2H 2 0. Calcii Sul- 
phas (L.); [Gypsum; Calcic Sulphate; Plaster 
of Paris; Selenite] ; Calcic Sulphate ; Bihy- 
drate of Lime. 

Calcium Protosulphide :— CaS. Calcium Mo- 
nosulphide. 

Calcium Bisulphide :— CaS 2 . 

Calcium Pentasulphide:— CaS 5 . 

Calcium Sulphide:— CaS. Calcium, Sulphuret 
of ; Calcium Monosulphide. 
Camplior :— CioHi 6 0. Camphire; Laurel 

Camphor; Camphora, (L.). 
Carbolic Acid:— C 6 H 6 0. Phenol; Phenyl 
Alcohol ; Phenic Acid ; Phenylic Acid ; 
Phenylic Alcohol; Hydrate of Phenyle; 
Coal Tar Creosote; Six Carbon Phenol; 
Hydrated Oxide of Phenyle ; Acidum Car- 
bolicum (L.). 
Capric Acid :— HC 10 H 19 O 2 . Rutic Acid; 

Acidum Capricum (L.). 
Carbon x—Carbo (L.) ; Carbone, (Fr.) ; Kohl- 
enstoff (Ger.). 

Carbon Monochloride :— C 2 C1 2 . Subchloride 
of Carbon. 

Carbon Protochloride :— C 2 C1 4 . Carbon Di- 
chloride ; Tetrachlorethane. 

Carbon Sesquichloride : — C^Cl^ Trichloride of 
Carbon ; Hexchlorethane ; Perchloride of 
Carbon. 

Carbon Tetrachloride :—CCl 4 . Bichloride of 
Carbon ; Tetrachloromethane. 

Carbon Oxychloride :— C0C1 2 . Phosgene Gas ; 
Chlorocarbonic Acid ; Chloride of CarbonyL 

Carbon Monosulphide:— CS. 



665 



Carbon Sulphide :-CS 2 . Carbon Disulphide ; 
Carbon Bisulphide ; Bisulphide of Carbon ; 
Sulphuret of Carbon; Carbonei Bisulphidum 
(L.) ; Bisulphuret of Carbon ; Sulpho- carbo- 
nic Acid. 
Carbon Oxysulphide :— COS. Carbonyl Sul- 
phide. 
Carbonic Anhydride :— C0 2 . Carbonic Acid ; 

Carbon Dioxide ; Choke Damp. 
Carbonic Oxide:— CO. Carbon Monoxide; 
Protoxide of Carbon; Gaseous Oxide of Car- 
bon. 
For other carbon compounds see Acetyline, 
Olefiant Gas. 
Cerin :— nC 2 7H5 3 2 . Cerotic Acid. 
Cerotic Acid s— See Cerin. 
Cetin :— C 32 H 64 2 . 
Cetraric Acid :— C 18 H 16 8 . Cetrarin. 

Chalk :— Calcium Carbonate; Carbonate of 

Lime. 
Chloral Hydrate: — C 2 HCl 3 O.Aq. Hydrate 

of Chloral; Chloral. 
Chlorate :— Hyperoxymuriate; (Moras (L.). 
Chloride :— Chloruret ; CI dum (L.). 

Chloride of Lime:- B hing Powder; 
often called Calcium Chloride, (improperly). 
Chlorine :— CI. Chlorinum (L.) ; Chlore (Ft.) ; 
Chlor (Ger.). 

Hydrochloric Acid :— HC1. See Hydrochlo- 
ric Acid. 

Hypochlorous Acid :— HC10. 

Chlorous Acid:— HC10 2 . Acidum Chlorosum 
(L.). 

Chloric Acid :— HC10 3 . Hyperoxymuriatic 
Acid ; Acidum Chlor icum (L.). 

Perchloric Acid :— HC10 4 . 
Chloroform :— CHC1 3 . Chloroformyl ; Me- 
thenyl Chloride ; Terchloride of Formyle ; 
Formyle - Chloride ; Terchloromethane ; 
Chloroformvm (L.) ; Perchloride of For- 
myle; Tri-chloro- methane. 
Chromate :— Chromas (L.) ; for Potassium 

Dichromate, etc., see Potassium, etc. 
Chromium :— Cr. 

Chromous Chloride :—CrCl 2 . Protochloride. 

Chromic Acid :— Cr0 3 . Chromic Anhydride ; 
Chromium Trioxide ; Acidum Chromicum 
(It.); Anhydrous Chromic Acid. 

Chromic Chloride :— Cr 2 Cl 6 . Sesqui chloride. 

Chromyl Dichloride :— Cr0 2 Cl 2 . Chromium 
Dioxydichloride; Chlorochromic Acid. 

Chromous Oxide :— CrO. Protoxide of Chro- 
mium ; Monoxide of Chromium ; Green 
Oxide of Chromium ; Chrome Green. 

Chromic Oxide :— Cr 2 3 . Sesquioxide. 

Trichromic Tetroxide :— Cr 3 4 . 

Chromic Anhydride :— CrO 3 . Chromic Acid; 
Chromic Trioxide; Anhydrous Chromic 
Acid. 
Citric Acid :— C 6 H R 7 or C 3 H 4 (OH) 2 (C0 2 H) 3 . 
Acid of Lemons; Acidum Citricum (L.); 
Salt of Lemons. 



Cobalt : — Co. Regulus of Cobalt; Cobaltun. 

(L.). 
Cobalt Acetate :— Co(C 2 H 3 2 ) 2 . 
Cobalt Arseniate :— Co 3 2As0 3 ,8H 2 O. 
Cobalt Carbonate:— CoCO 3. 
Cobalt Chloride :— CoCl 2 . Muriate of Cobalt ; 

Hydrochloride of Cobalt ; Dichloride ; Co- 

baltous Chloride. 

Cobalt Trichloride :—Co 2 Cl 6 ; Cobaltic Chlo- 
ride. 

Cobalt Nitrate :-Co(No 3 ) 2 ; Cobalto us Nitrate. 

Cobalt Oxalate :— CoC 2 4 . 

Cobalt Protoxide :— CoO. Oxide of Cobalt; 
Cobalt Black ; Gray and Black Oxide of Co- 
balt ; Cobalt Monoxide ; Cobaltous Oxide ; 
[Asbolite]. 

Cobalt Sesquioxide:— Co 2 3 . Peroxide of Co- 
balt ; Cobaltic Oxide. 

Coboltoso- Cobaltic Oxide:— Co 3 4 . 

Cobalt Phosphate :— Co 3 (P0 4 ) 2 . 

Cobalt Sulphate :— CoS0 4 . 

Cobalt Sulphide : — CoS. Bisulphide, CoS 2 ; 
Sesquisulphide, Co 2 S 3 . 
Copper:— Cu. Cuprum (L.). 

Copper, Acetate :— Cu(C 2 H 3 2 ) 2 . Neutral or 
Normal Acetate of Copper; Crystallized 
Verdigris ; Crystals of Venus. 

Copper, Basic Acetates :— Sub- Acetates of 
Copper ; Basic Cupric Acetates. 

Copper, Ammonio-Sulphate of: — (N 2 H 8 Cu> 
S0 4 . Sulphate of Cupra- Ammonium ; Cu- 
pro-Sulphate of Ammonia; Cupri Ammonio- 
Sulplias (L.). 

Copper Arsenite: — Cu(As0 2 ) 2 . Scheele's 
Green. 

Copper Carbonate : — CuC0 3 , CuH 2 2 . Di- 
basic Carbonate of Copper ; Dicarbonate of 
Copper [Malachite] ; Green Copper Carbon- 
ate. 

Cuprous Chloride ;— CuCl. Dichloride of 
Copper; Subchloride of Copper. 

Copper Chloride : — CuCl 2 . Neutral Chloride 
of Copper ; Cupric Chloride. 

Copper Oxychloride :— CuCl 2 .3Cu0.4H 2 0. 

Cuprous Hydride :— Cu 2 H 2 . 

Cupric Iodide :—CuI 2 . Iodide of Copper; 
Diniodide of Copper. 

Cupric Nitrate ;— Cu(N0 3 ) 2 ,3H 2 0„ Nitrate of 
Copper ; Cupri Nitras (L.). 

Cuprous Oxide:— Cu 2 0. Red Oxide of Cop- 
per; Dinoxide; Sub-oxide; Cupri Suboxy- 
dum (L.); [Cuprite ; Red Copper Ore.] 

Cupric Oxide :— CuO. Protoxide of Copper ; 
Oxide of Copper ; Black Oxide of Copper; 
Cupri Protoxydum (L.); [Melaconite]. 

Copper Phosphide: — Cu 3 P 2 . 

Cupric Sulphate :—CuS0 4 .5Aq. Sulphate of 
Copper; Blue Vitriol; Blue Copperas; 
Cupri Sulphas (L.); Blue Stone; Roman 
Vitriol ; [Chalcontrite.] 

Copper Sulphide :— CuS. Cupric Sulphide. 

Cnprous Sulphide:— Cu 2 S. Copper Subsul- 
phide; [Chalcocite; Chalcocine; Vitrious 
Copper; Copper Glance]. 
Copperas, Blue:— Copper Sulphate of Cop- 
per. 



666 



Copperas, Green :— Iron Sulphate. 
Copperas, White : — Zinc Sulphate. 

Creosote :— See Kreasote, 

Eau (Fr.) Water:— See also Aqua. 
Eau de Mer:— Salt of Sea Water. 
Eau Distillee: —Distilled Water. 
Eau de Yie :— Brandy; Aqua Vitae. 
Eau Eorte :— Nitric Acid. 

Eikonogen :— Eiko. 

Ether:— (C 2 H 5 ) 2 .0. or C 4 H 10 O. Oxide of Ethyl. 
See Ethyl. 

Ethyl :— C 2 H 5 . Ethyle; JEthyle (L.); Etnule. 
Ethyl Acetate :— C 2 H 6 C2H 3 02. Acetic Ether ; 

Pyroligneous Ether ; Acetate of Oxide of 

Ethyl, or Ethule; JEther Aceticus (L.). 
Ethyl Benzoate :— C 2 H 5 C T H 5 02 . Benzoic 

Ether; Benzoate of Ether; JEther Benzol- 

cus (L.). 
Ethyl Bromide :—C 2 H 5 Br. JEther Hydrdbro- 

micus (L.); Bro methane Hydrobromic 

Ether. 
Ethyl Butyrate : — C2H5C4H7O2. Pineapple 

Oil ; Butyric Ether. 
Ethyl Carbonate: — (C 2 H 5 )2C0 3 . Carbonic 

Ether; Carbonate of Oxide of Ethyl; 

JEther Carbonicus (L.). 
Ethyl Chloride :-C 2 H 5 Cl. Chloride of Ethyl ; 

Light Hydrochloric Ether ; JEther Hydro- 

chloricus (L.); Chlorethane ; Hydrochloric 

Ether ; Muriatic or Chlorhydric Ether. 
Ethyl, Cyanide of :— C 2 H 5 CN. JEther Hydro- 

cynicus (L.); Propionitrile. 
Ethyl, Cyanate of :— C 2 H 5 CNO. Cyanic Ether; 

Cyanate of Oxide of Ethyl. 
Ethyl, Cyanurate of:— (C 2 H5) 3 C 3 N 3 3 . Cy- 

anurate of Oxide of Ethyl. 
Ethyl Iodide : — C 2 H 5 I. JEther Hydriodicus 

(L.). Iodethane Hydriodic Ether. 
Ether, Methylic :— C 2 H 6 0. Oxide of Methyl ; 

Wood-Ether ; Methyl-Ethyl; Ethyl-Methyl; 

Ethyl-Methyl Oxide ; Ethel Methyl Ether ; 

Ethyl Methylate ; Methyl Ethylate. 
Ethyl Nitrate: — C 2 H 5 N0 3 . Nitric Ether; 

Hyponitrous Ether ; Nitrite of Ether ; Ni- 
trite of Oxide of Ethyl ; Hyponitrite 

of Ethyl ; JEther Nitrosus (L.)'. 
Ethyl Nitrite:— C 2 H 5 N0 2 . Nitrous Ether. 
Ethyl, OSnanthate of:— CEnanthic Ether; 

Pelargonic Ether ; QDnanthate of Oxide of 

Ethyl. 
Ethyl Oxalate :— (C 2 H ) 2 C 2 4 . Oxalic Ether ; 

Oxalate of Oxide of Ethyl; JEther Oxali- 

cus (L.). 
Ethyl Oxide :— (C 4 H 10 O). Ether ; Sulphuric 

Ether; JEther; JEther Sulphuricus, (L.). 

Ether ; Ethylic Ether ; Hydrate of Ether. 

Ethyl Phosphates:— (C 2 H 5 )H2P0 4 . Monet hylic 
Phosphate; Phospho vinic Acid ; Eth yl- 
phosphoric Acid. 

Diethylic Phosphate :— (C 2 H 5 )2,HP0 4 . Di- 
ethylphosphoric Acid. 

Triethylic Phosphate :— (C 2 H 5 ) 3 P0 4 . 

Tetrethylic Pyrophosphate :— (C 2 H 5 )PO 2 . 



Ethyl Phosphites:— Triethyl Phosphite (Sym- 
metrical) P(O.C 2 H 5 ) 3 0. 

Ethylphosphoric Acid:— (C 2 H 5 )PO(OH) 2 . 

Ethyl Sulphate :— C 2 H 6 S0 4 . Acid Ethyl Sul- 
phate ; Ethyl Sulphuric Acid ; Sulphovinic 
Acid. 
Ferric and Ferrous Salts. See Iron. 

Ferricyanide :— Eerridcyanide ; Ferridcy- 
anuret. 

Ferricyanogen :— Ferridcyanogen ; Ferric- 
cyanogen. 

Ferrocyanide :— Ferrocyanuret ; Prussiate ; 

Ferrocyanidum (L.). 

Ferroeyanogen z—Ferrocyanogenium (L.). 
Fluohydric Acid:— Fluoride of Hydrogen. 

Fluoride of Hydrogen :— HF. Fluohydric 
Acid ; Hydrofluoric Acid ; Acidum Hydro- 
fluoricum (L.). 

Fluorine :— F. Fluorinium (L.). 
Fluosilicic Acid:— H 2 SiF 6 . Hydrofluosilicic 
Acid ; Silicofluoric Acid. 

Formate :— Formiate. 

Formic Acid :-HCH0 2 . Hydrogen Formiate 

Formobenzoic Acid :-HC 7 H 6 0,CH0 2 . Man 
delic Acid ; Formiate of Hydride of Ben- 
zoyle ; Phenylgly collie Acid. 

Fusel Oil:— C 5 H n HO. Fousel Oil; Potato 
Oil ; Oil of Potato Spirit ; Grain Oil ; Grain 
Spirit Oil ; Marc Brandy Oil ; Amylic Al- 
cohol; Hydrated Oxide of Amyl; Amilic 
Alcohol; Bihydrate of Amilen; Pentylic 
Alcohol ; Isobutyl ; Corbinol ; Isopentyl 
Alcohol. 

Gall ate z—Gallas (L.). 

Gallic Acid :— C 7 H 6 5 . Acidum Gallicum(L.); 
Trioxylbenzoic Acid ; Dioxysalicylic. 

Glycerine :— C 3 H fi 3 . Glycerin ; Hydrated 
Oxide of Glyceryl; Glycerinum (L.); Pro- 
penyl Alcohol ; Glyceryl. 

Gold :— Au. Aurum (L.); Or (Ft.); Gold (Ger.). 

Gold Monochloride :— AuCl. Aurous Chloride. 

Gold Trichloride:— AuCl 3 . 

Gold Monoxide :— Aurous Oxide. 

Gold Trioxide— Au 2 3 . Auric Oxide. 

Aurous Sulphide :— Au 2 S. 

Auric Sulphide :— Au 2 S 3 . 
Guaiacin : — Guaiacic Acid. 
Hydracids :— Hydrogen Acids. 
Hydriodate :— Iodides. 

Hydriodic Acid:— HI. Iodhydric Acid; 
Acidum Hydriodicum (L.); Hydrogen Io- 
dide. 

Hydrobromic Acid:— HBr. Hydric Bro- 
mide ; Hydrogen Bromide. 

Hydrobromide :— Bromide. 

Hydrochloric Acid:— HC1. Muriatic Acid ; 
Hydrogen Chloride ; Hydric Chloride ; Chlo- 
rydric Acid ; Spirit of Salts ; Marine 
Acid. 



Hydrochloric Ether :— C 2 H 5 C1. Ethyl Chlo- 
ride; Chloride of Ethyl; Chlorethane; 
JEther Hydrochloricus (L.). 

Hydrocyanic Acid :— HCN or HCy. Hydric 
Cyanide ; Cyanhydric Acid ; Prussic Acid. 

Hydrofluoric Acid :— HF. Hydric Fluo- 
ride ; Hydrogen Fluoride. 

Hydrofluosilicic Acid :— H 2 FSiF 6 . Fluo- 
ride of Silicon and Hydrogen ; Silico-fluoric 
Acid. 

Hydrogen :— H. Hydriogenium (L.). 

Hydrogen, Antimoniureted— SbH 3 . Antimo- 
neted Hydrogen ; Stibine Hydride of Anti- 
mony Stibamine; Hydrogenium Antimo- 
niatum (L.); Antimonious Hydride; Stiba- 
mine. 

Hydrogen Arseniureted :— AsH 3 . Arsenet- 
ed Hydrogen ;, Hydride of Arsenic ; Arsen- 
amine ; Hydrogenium Arseniuratum (L.). 

Hydrogen' Carbureted :— CH 4 . Carbureted 
Hydrogen ; Marsh Gas; Fire Damp; Gas of 
the Acetates ; Rock Gas. 

Hydrogen Suboxide:— H 2 0. "Water. 

Hydrogen Peroxide:— HO or H 2 2 . Hydroxyl; 
Hydrogen Binoxide; Oxygenated Water; 
Hudrogenii Binoxydum (L.); Deutoxide of 
Hydrogen. 

Hydrogen Phosphureted :— PH 3 . Phospho- 
rus Hydride; Phosphoreted Hydrogen; 
Phosphine ; Phosporus Trihydride. 

Hydrogen Monosulphide :— H 2 S. Sulphur- 
eted Hydrogen ; Sulphphydric Acid ; Hy- 
drosulphuric Acid ; Hydric Sulphide ; Dihy- 
dric Sulphide ; Hydrogen Sulphide. 
Hydroquinone :— Hydrochinon ; Hydrochi- 
none ; Hydroquinon; Hydrokinone; Hydro, 
(contraction); Quinol. 
Iodate z—Iodas (L.). 
Iodide :— Ioduret ; Hydriodate ; Iodidum ; 

loduretum (L.). 
Iodine :— I. Iodatum ; Iodatium (L.); lode 
(Fr.); lod (Ger.). 

Hydriodic Acid:— HI. Hydrogen Iodide; 
Iodhydric Acid ; Acidum Hydriodicum (L.). 

Iodic Acid :— HI0 3 . Acidum Iodidum (L.); 
Hydrogen Iodate. 

Irdineand Hydrogen:— Hydriodic Acid, HI; 
Iodhyric Acid ; Acidum Hydriodicum (L.). 
Iodoform :— CHI 3 . Iodoformum (L.). 

Iridium :— Ir. 

Iridium, Chloride of :— IrCl 2 . Dichloride. 

Iridium, Sesquichloride :— Ir 2 Cl 6 . Iridium 
Trichloride ■ Iridious Chloride. 

Iridium Hexachloride :— Ir 2 Cl 8 . 

Indium, Tetrachloride :— IrCl 4 . Iridic Chlo- 
ride. 

Iridium Monoxide :— IrO. Hypoindius Ox- 
ide ; Iridium Protoxide. 

Iridium, Sesquioxide :—Ir 2 3 . Iridious Oxide. 

Iridium Dioxide:— Ir0 2 . Iridic Oxide; Bi- 
noxide. 

Iridium Trioxide :— Ir0 3 . Iridium Teroxide. 



Iridium Sulphides :— Monosulphide ; Sesqui- 
sulphide ; and Disulphide. 

Iron:— Fe. Ferrum (L.); Fer (Fr.) ; Eisen 
(Ger.). 

Ferric Citrate :— Fe 2 (C 6 H 5 7 ) 2 . Citrate of 
Iron; Ferri Citras (L.) ; Prussiate of Iron; 
Citrate of Sesquioxide of Iron. 

Ferric and Ammonium Citrate: — Ammonio- 
Citrate of Iron ; Ammonio-Ferric Citrate ; 
Ferri et Ammonii Citras (L.); Citrate of Iron 
and Ammonium ; Ammonio-Ferric Citrate. 

Ferric Chloride :— Fe 2 Cl 6 .12H 2 0. Perchloride 
of Iron; Permuriate of Iron ; Sesquichloride 
of Iron; Ferri Sesquichloridum (L.); Chlo- 
ride of Iron ; Ferri Chloridum [(L.) IT. S.]. 

Ferric and Ammonium Chloride :— Fe 2 Cl 6 NH 4 
Cl.Aq. Ammonio-Chloride of Iron ; Double 
Chlorides of Iron and Ammonium ; Ferri 
Ammonium Chloridum (L.). 

Ferric Ferrocyanide :— Fe 4 (FeCy 6 ) 3 .18Aq. Fer- 
rocyanide of Iron ; Prussian Blue ; Sesqui- 
f errocyanide of Iron ; Ferri Ferrocyanidum 
(L.) ; Ferrocyanuret of Iron. 

Ferric Hydrate :— Fe 2 (HO) 6 . Hydrated Oxide 
of Iron; Ferrugo ; Hydrated Oxide of Iron; 
Moist Peroxide of Iron ; Hydrated Sesqui- 
oxide of Iron ; Ferri Oxydum Hydratum (L.). 

Ferric Iodide :— Fe 2 I 6 . Ferri Peroxydum (L.) 

Ferric Nitrate:— Fe 2 (N0 3 ) 3 . Nitrate of Ses- 
quioxide of Iron ; Protonitrate of Iron ; 
Ferri Pernitras (L.). 

Ferric Oxide :— Fe 2 3 . Iron Peroxide ; Ses- 
quioxide of Iron ; Red Oxide of Iron ; Ferri 
Sesquioxydum (L.) ; Indian Red ; Rouge ; 
• Jeweler's Red ; Crocus ; Brown Red ; Col- 
cothar ; [.Hematite ; Specular Iron Ore ; 
Red Ocher.] 

Ferric Phosphate :— Fe 2 H 3 (P0 4 ) 3 . Ferric Or- 
thophosphare ; Ferri Phosphas, Phosphas 
Ferricus (L.) ; Phosphate of Iron. 

Ferric Pyrophosphate :— Fe 6 (P 2 7 ) 2 . Pyro- 
phosphate of Iron ; Ferri Pyrophosphas(L.). 

Ferric Sulphate :— Fe 2 (S0 4 ) 3 . Persulphate of 
Iron ; Sulphate of Sesquioxide of Iron; 
Ferri Persulphas (L.). 

Ammonio-Ferric Sulphate:— Fe 2 (NH 4 ) 2 S0 4 ) 4 . 
23H 2 0. Sulphate of Iron and Ammonium; 
Ammonio-Ferric Alum ; Ferri et Ammonii 
Sulphas (L.). 

Ferric Sulphide :— Persulphide of Iron. 

Ferric Bisulphide :— FeS 2 . [Pyrites ; Marca- 
site.] 

Double Ferric and Ammonium Tartrate : — 
Ammonio-Tartrate of Iron ; Double Tar- 
trate of Iron and Ammonium ; Ammonio- 
Ferric Tartrate ; Ferri et Ammonii Tartras 
(L.) ; Tartrate of Iron and Ammonium ; 
Ammonio-Ferric Tartrate. 

Ferric and Potassium Tartrate :— Ferric Tar- 
trate of Potassium ; Ferro-Tartrate of Po- 
tassa ; Tartrate of Potassa and Iron ; Ferri 
et Potassii Tartras (L.) ; Tartrate of Iron 
and Potassium ; Tartarated Iron ; Potassio- 
Ferric Tartrate. 



668 



Ferroso-Ferric Hydrate :— Fe 3 (HO) 6 . Hydra- 
ted Magnetic Oxide ; Hydrated Ferroso- 

Ferric Oxide. 
Ferroso-Ferric Oxide :— Fe 3 4 . Triferro-te- 

troxide ; Magnetic Oxide of Iron ; [Magne- 
tic Iron Ore ; Loadstone]; Protosesqui Oxide 

of Iron ; Black Iron Oxide ; Ferri Oxydum 

Magneticum (L.). 
Ferrous Acetate :— Fe(C 2 H 3 C2)2 ; Ferri Acetas 

(L.). 
Ferrous Arseniate :— Fe 3 (As0 4 ) 2 . Ferri Arse- 
nica (L.) ; Ferrous Arseniate ; Arseniate of 

Iron. 
Ferrous Arsenite :— Fe(As0 2 ) 2 . Ferri Arsenis 

(L.). 
Ferrous Bromide :— FeBr 2 . Ferri Bromidum 

(L.). 
Ferrous Carbonate :— F 2 C0 3 . Protocarbon- 

ate of Iron ; Ferri Carbonas ; Ferri Subcar- 

bonas (L.). [Siderite; Spathic Iron Ore.]. 
Ferrous Chloride :— FeCl 2 . Protochloride of 

Iron ; Muriate of Iron ; Ferri Chloridum 

(L.). 
Ferrous Citrate :-Fe 3 (C 6 H 5 7 ) 2 . Protocitrate 

of Iron ; Citrate of Protoxide of Iron. 
Ferrous Ferocyanide : — Ferridcyanide of 

Iron. 
Ferrous Hydrate :— Fe 2 (HO) 2 . 
Ferrous Iodide : — Fel 2 . Iron Iodide ; Pro- 

toiodide of Iron ; Ferri lodidum (L.); Iodide 

of Iron. 
Ferrous Nitrate :— Fe(N0 3 ) 2 . Protonitrate of 

Iron ; Nitrate of Protoxide of Iron ; Ferri 

Nitras (L.). 
Ferrous Oxalate :— FeC 2 4 .H 2 0. Ferri Oxalas 

(L.); Oxalate of Iron. 
Ferrous Oxide : — FeO. Protoxide of Iron ; 

Ferri Protoxydum (L.); Monoxide of Iron. 
Ferrous Phosphate :— Phosphate of Iron ; 

Neutral Phosphate of Protoxide of Iron ; 

Ferri Phosphas (L.); Bimetallic Ferrous 

Orthophosphate. 
Ferrous Sulphate :— FeS0 4 .7Aq. Sulphate of 

Iron ; Protosulphate of Iron ; Copperas ; 

Green Vitriol ; Shoemaker's Black ; Ferri 
r Sulphas (L.); Iron Vitriol ; Protosulphate 

of Iron ; Salt of Steel ; Salt of Colcothar. 
Ferrous Sulphide :— FeS. Sulphide of Iron ; 

Monosulphide of Iron; Sulphuret of Iron ; 

Protosulphide of Iron ; Ferri Sulphur etum; 

Ferri Sulphidum (L.). 
Ferrous Tartrate -.—Ferri Tartras (L.). 
Iron Liquor :— Pyrolignite of Iron ; Dyer's 

Acetate of Iron ; Black Liquor ; Tar Iron ; 

Protacetate of Iron. 
Isobutyl. See Fusel Oil. 
Klnic Acid :— HC 7 Hi t0 6 . Cinchonic Acid. 
Kreasote :— Creasote ; Creosote ; Kreosote ; 

Creasotum (L.). 
Lactate :—Lactas (L.). 
Lactic Acid s— C 3 H 6 3 . Acid of Milk ; Acid- 

um Lacticum (L.); Oxypropionic Acid. 

Lead:— Pb. Plumbum (L.). 
Lead Acetate:— Pb(C 2 H 3 2 ) 2 .3H 2 0. Plumbic 



Acetate ; Sugar of Lead ; Plumbi Acetas 

(L.) ; Salt of Saturn. 
Tribasic Lead Acetate:— Pb(C 2 H s 2 ) 2 2Pb0. 

Subacetate of Lead ; Basic Lead Citrate ; 

Goulard's Acetate of Lead; Plumbi Sub- 

acetas ( L.). 
Lead, Arseniate :— Pb 3 (As0 4 ) 2 . Arsenate of 

Lead ; Plumbi Arsenias (L.). 
Lead Bromide :— PbBr 2 . Plumbi Bromidum 

(L.). 
Lead Carbonate:— PbC0 3 . Plumbi Carbonas 

(L. ; see White Lead below); [Cerussite]. 
Lead Chloride:— PbCl 2 . Chloride of Lead; 

Plumbi Chloridum (L.). 
Lead, Oxychloride :— (PbCl 2 .PbO.) 
Lead Chromate :— PbCr0 4 . Lemon Yellow ; 

Leipsic Yellow ; Paris Yellow. 
Lead Dichromate : — PbCr0 4 .PbO. Chrome 

Orange ; Chrome Red. 
Lead Cyanide :— PbCy 2 . Plumbi Cyanidum 

(L.). 
Lead Iodide :,— Pbl 2 . Lead Iodide; Plumbi 

lodidum (L.). 
Lead Nitrate :— Pb(N0 3 ) 2 . Plumbi Nitras (L.); 
Lead Suboxide :— Pb 2 0. Diplumbic Oxide. 
Lead Oxide :— PbO. Lead Monoxide ; Lead 

Protoxide; Yellow Oxide of Lead; Plumbi 

Oxydum (L); Litharge; Massicot. 
Lead Sesquioxide :— Pb 2 3 . 
Lead lied Oxide :— Pb 3 4 . Red Lead ; [Min- 
ium] ; Triplumbic Tetroxide ; Plumbate of 

Oxide of Lead. 
Lead Dioxide :— Pb0 2 . Lead Peroxide ; Puce 

Oxide of Lead. 
Lead Sulphate :— PbS0 4 . Plumbi Sulphas (L.); 

[Anglesite]. 
Lead Sulphide: — PbS. [Galena]; Plumbi 

Sulphide (L.). 
White Lead :— PbO.H 2 0,2(PbO,C0 3 ). 
Lime, See Calcium Dioxide. 
Lithium :— Li. 
Lithium Benzoate :— LiC 7 H 5 ,0 2 ,H 2 0. 

thium Bromide :— LiBr. 
Lithium, Carbonate of:— Li 2 C0 3 . Carbonate 

of Lithia ; Lithice Carbonas (L.); Lithic car- 
bonate. 
Lithium Citrate:— Li 3 C 6 H 5 7 . Lithice Citras- 

(L.). 
Lithium Hydroxide :— LiHO. Lithia. 
Lithium Oxide : — Li 2 0. 
Magnesium :— Mg. Magnium (L.). 
Magnesium Bromide : — Magnesii Bromidum 

(L.). 
Magnesium Carbonate :— (MgC0 3 ) 4 .Mg(HO) 2 . 

5H 2 0. (Light.) Carbonate of Magnesia: 

Magnesii Carbonas; Magnesia Alba (L.). 
Magnesium Chloride: -- MgCl 2 . Magnesii 

Chloridum (L.). 
Magnesium, Citrate of :— Mg3(C 6 H 5 7 V Mag- 
nesia} Citras (L.). 
Magnesium, Oxide of :— MgO. Oxide of Mag- 

sium; Magnesia; Calcined Magnesia ; [Peri- 

clastite.] 
Magnesium, Phosphate of :— MgHP0 4 .6Aq» 

Magnesice Phosphas (L.). 



669 



Magnesium and Ammonium, Phosphate of ; 
— MgNH 4 .P0 4 ,6Aq. Ammonio-Phosphate of 
Magnesia; Magnesias et Ammoniee Phosphas 
(L.). 

Magnesium, Sulphate of :— MgS0 4 .7Aq. Mag- 
nesic Sulphate; Sal Anglicum; Cathartic 
Salt; Epsom Salt; Magnesii Sulphas (L.); Sal 
Amer; Sel de Sedlitz (Fr.); Salt of Canal; 
[Epsomite]; Bitter Purging Salt. 

Magnesium, Sulphite :— MgS0 3 .6H 2 0. Magne- 
sii Sulphis (L.). 

Magnesium, Tartrate of :— Magnesii Tartras 
(L.). / 

Magnesium and Potassium, Tartrate of:— 
Potassio-Tartrate of Magnesia; Magnesice 
Potassio-Tartras (L.). 

Malic Acid :— H 3 C 4 H 3 05. Acidum Malicum 

(L.). 
Manganese :— Mn. . Manganesium (L.). 

Manganous Acetate :— Mn(C 2 H 3 2 ) 2 . Acetate 
of Protoxide of Manganese; Manganii Ace- 
tas (L.). 

Manganous Carbonate :— MnC0 3 . Carbonate 
of Protoxide of Manganese; Manganesii 
Carbonas (L.). 

Manganous Chloride :— MnCl 2 . Dichloride of 
Manganese; Protochloride of Manganese; 
Muriate of Manganese; Manganesii Chori- 
dum (L.); Manganous Chloride. 

Manganic Chloride :— Mn 2 Cl 6 . Trichloride of 
Manganese. 

Manganous Hydrate :— Mn(HO) 2 . Hydrated 
Protoxide of Manganese. 

Manganous Iodide :— Mnl 2 . Manganesii Iodi- 
dum (L.). 

Manganous Oxide : — MnO. Protoxide of 
Manganese; Monoxide. 

Manganese Dioxide:— Mn0 2 . Peroxide of 
Manganese; Deutoxide of Manganese ; 
Black Oxide of Manganese; [Pyrolusite]; 
Mangani Oxidum Nigrum (L.). 

Manganous Manganic Oxide :— Mn 3 4 . Red 
Oxide of Manganese; Protosesquioxide of 
Manganese; Trimangano Tetroxide. 

Manganese Sesquioxide :— Mn 2 3 . Manga- 
nic Oxide. 

Manganous Manganic Peroxide :— Mn 4 7 . In- 
termediate Oxide of Manganese. 

Manganous Phosphate:— MnH.P0 4 +6Aq. 
Phosphate of Protoxide of Manganese; 
Manganesii Phosphas (L.). 

Manganous Sulphate : — MnS0 4 .4H 2 0. Sul- 
phate of Protoxide of Manganese; Manga- 
nesii Sulphas ; Mangani Sulphas (L.). 

Manganous Tartrate :— MnC 4 H 4 6 . Manga- 
nesii Tartras (L.). 

Manganate of Barium .:— Ba(Mn0 4 ). 

Manganate of Potassium :— K 2 Mn0 4 . 

Manganate of Sodium :— Na(Mn0 4 ). 

Manganic Acid :— H 2 Mn0 4 . 

Manganic Hydrate :— Mn 2 (N0) 6 . Hydrated 
Sesquioxide of Manganese. 

Manganic Oxide:— Mn 2 3 . Sesquioxide of 
Manganese. 



Manganic Peroxide :— Mn0 2 . Black Oxide of 
Manganese; Oxide of Manganese; Perman- 
ganic Oxide; Binoxide of Manganese; Per- 
oxide of Manganese; Manganesii Oxidum 
Nigrum (L.). 

Permanganic Acid : — H 2 Mn 2 8 . 

Permanganate of Potassium :— K 2 Mn 2 8 Per- 
manganate of Potash; Potasii Permanganas 
(L.). 

Permanganate of Silver :— Ag(Mn0 4 ). 

Permanganate of Sodium :— Na(Mn0 4 ). 

Permanganic Acid :— H 2 Mn 2 8 . Hydrogen 

Permanganate. 

Marsh. Gas :— See Hydrogen, Carbureted. 

Mercury : — Hg. Quicksilver ; Hydrargyrum 

(L.) ; Mercure, Vif Argent (Fr.) ; Queck- 

silber (Ger.). 

Mercuric Acetate :— Hg(C 2 H 3 2 ) 2 . Protace- 
tate of Mercury. 

Mercuric Bromide :— HgBr 2 . Protobromide 
of Mercury; Hydrargyri Bibromidum (L.). 

Mercuric Chloride : — HgCl 2 . Bichloride of 
Mercury; Corrosive Sublimate; Proto- 
chloride of Mercury ; Perchloride of Mer- 
cury; Hydrargyri Perchloridum; Hydrargyri 
Chloridum Corrosivum (L.); Corrosive Chlo- 
ride of Mercury; [Horn Quicksilver.] 

Mercuric Ammonium Chloride :— HgNH 2 Cl, 
Ammonio-Chloride of Mercury; "White 
Precipitate ; Cosmetic Mercury ; Infusible 
White Precipitate ; Mercurammonium 
Chloride; Lewery's "White Precipitate; 
Hydrargyri Ammoniatum (L.). 

Mercuric and Ammonium Chloride : — NH 4 C1 
HgCl 2 . Chloride of Mercury and Ammonio; 
Sal Alembroth ; Fusible White Precipitate ; 
Mercuro-Diammonium Chloride; Hydrar- 
gyri et Ammonii Chloridum (L.); Salt of 
Wisdom. 

Mercuric Cyanide :— HgCy 2 or Hg(CN) 2 . Cya- 
nide of Mercury ; Bicyanide of Mercury ; 
Prussiate of Mercury; Hydrargyri Cyani- 
dum (L.). 

Mercuric Iodide :— Hgl 2 . Red Iodide of Mer- 
cury ; Protiodide of Mercury ; Biniodide of 
Mercury; Hydrargyri Iodidum (L.).. 

Mercuric and Potassium Iodide :— HgI 2 .KI. 
Iodide of Mercury and Potassium ; Hydrar- 
gyri et Potassi Iodidum (L.). 

Mercuric and Potassium Iodo-Cyanide : — 
Hydrargyri et Potasii Iodo-Cyanidum (L.). 

Mercuric Nitrate:— Hg(N0 3 ) 2 ,2H 2 0. Proto- 
nitrate of Mercury ; Pernitrate of Mer- 
cury. 

Mercuric Oxide : — HgO. Monoxide of Mer- 
cury ; Protoxide of Mercury ; Red Pre- 
cipitate ; Binoxide of Mercury ; Oxide of 
Mercury ; Red Oxide of Mercury ; Yellow 
Oxide of Mercury; Yellow Mercuric Oxide; 
Red Mercuric Oxide; Deutoxide of Mer- 
cury; Peroxide of Mercury; Hydrargyri 
Oxydum(L.). 

Mercuric Sulphate :— HgS0 4 . Protosulphate 
of Mercury ; Hydrargyri Sulphas (L.); Per- 
sulphate of Mercury ; Precipitated Oxide 
of Mercury. 



670 



Mercuric Sulphide :— HgS. Protosulphide of 
Mercury ; Vermilion; Sulphide of Mercury ; 
Red Sulphide of Mercury; Bisulphide of 
Mercury; Hydrargyri Bisulphidum (L.); 
[Cinnabar]; Red Mercuric Sulphide. 

Mercurous Acetate :— Hg(C 2 H 3 2 ). Subace- 
tate of Mercury ; Acetate of Mercury. 

Mercurous Bromide :— HgBr. Sub-bromide of 
Mercury ; Hydrargyrum Bromidum (L.). 

Mercurous Chloride :— HgCl or Hg 2 Cl 2 . Mer- 
cury Chloride; Subchloride of Mercury; 
Submuriate of Mercury ; Protochloride of 
Mercury; Calomel; Hydrargyri Subchlori- 
dum (L.). . 

Mercurous Iodide :— Hg 2 I 2 . Subiodide of 
Mercury ; Green Iodide of Mercury ; Hy- 
drargyri Iodidum (L.); Yellow Iodide of 
Mercury ; Protiodide of Mercury. 

Mercurous Nitrate :— (Hg 2 )(N0 3 ) 2 ,2H 2 0. Sub- 
nitrate of Mercury; Hydrargyri Subnitras 
(L.). 

Mercurous Oxide :— Hg 2 0. Suboxide of Mer- 
cury ; Gray Oxide of Mercury ; Dioxide of 
Mercury ; Protoxide of Mercury ; Hydrar- 
ggri Suboxydum (L.); Black Oxide of Mer- 
cury. 

Mercurous Phosphate -.—Hydrargyri Phos- 
phas (L.). 

Mercurous Sulphate: — Hg 2 S0 4 . Subsul- 
phate of Mercury; Sulphate of the Sub- 
oxide of Mercury ; Protosulphate of Mer- 
cury; Hydrargyri Subsulphas (L.); Basic 
Mercuric Sulphate; Yellow Subsulphate; 
[Turpeth Mineral.] 

Mercurous Sulphide :— Hg 2 S. Subsulphate of 
Mercury ; Hydrargyri Subsulphuretum cum 
Sulphure (L.); Ethiop's Mineral (Obsolete). 

Mercurous Tartrate :— Prototartrate of Mer- 
cury ; Hydrargyri Tartras (L.). 

OTicrocosmic Salt :— HNa(NH 4 )P0 4 +4H 2 0. 

Sodium- Ammonium Phosphate. 

Molybdenum :— Mo. 

Molybdenum Sulphide :— MoS 2 . [Molybden- 
ite.] 

Mnrexid :— C 8 N 6 H 8 6 or (C 8 H 4 (NH 4 )N 5 6 + 
H 2 0. Murexide; Purpurate of Ammonium 
Muriate. 

Muriate :— Chloride and Hydrochlorate. 

Muriatic Acid :— HC1. Hydrochloric Acid ; 
Spirit of Salts. 

Nickel :— Ni. Nickelium (L.). 
Nickelic Oxide :— Ni 2 3 . Peroxide of Nickel ; 

Sesquioxide of Nickel. 
Nickelous Oxide :— NiO. 
Nickelous Acetate :— Ni(C 2 H 3 2 ) 2 . Nickelii 

Acetas(L.). 
Nickelous Carbonate :— NiC0 3 . Nickelii Car- 

bonas (L.). 
Nickelous Chloride :— NiCl 2 . Nickelii Chlori- 

dum (L.) ; Nickel Chloride. 
Nickelous Hydrate :— Ni(HO) 2 . 
Nickelous Oxalate :— NiC 2 4 . Nickelii Oxalis 

(L.). 



Nickelous Oxide :— NiO. Protoxide of Nickel: 

Monoxide of Nickel. 
Nickelous Sulphate :— NiS0 4 .7H 2 0. Sulphate 

of Nickel. 
Nickelous and Potassium Sulphate :— NiS0 4 
K 2 S0 4 ,6Aq. Double Sulphate of Nickel and 
Potassium ; Sulphides of Nickel ; Subsul- 
phide, Ni 2 S ; Protosulphide, NiS; [Millerite; 
Capillary Pyrites] ; Disulphide, NiS 2 . 
Nitrate x—Nitras (L.). 
Niter :— Nitrate of Potassium. 
Niter, Sweet Spirits of :— An Alcoholic Solu- 
tion of Nitrous Ether. 
Nitric Acid:— HN0 3 . Aquafortis (L.) ; Azo- 
tic Acid ; Acidum Nitricum (L.). 
Nitric Acid, Anhydrous :— N 2 5 . Nitric An- 
hydride. 
Nitro benzol :— C 2 H 5 N0 2 . 

Nitrogen :— N. Azote ; Nitrogenium (L.). 

Nitrogen Chloride :— NC1 3 . Nitrogen Tri- 
chloride ; Terchloride of Nitrogen. 

Nitrogen Iodide :— Ni 2 . Nitrogen Tri- iodide ; 
Teriodide of Nitrogen. 

Nitrous Oxide :— N 2 0. Laughing Gas ; Nitro- 
gen Monoxide ; Protoxide of Nitrogen ; 
Nitrogenii Protoxydum (L.). 

Nitric Oxide :— NO. Nitrous Gas ; Deutox- 
ide of Nitrogen ; Bin oxide of Nitrogen ; JVi~ 
trogenii Binoxydum (L.). 

Nitrous Anhydride :— N 2 3 . Nitrogen Triox- 
ide ; Anhydrous Nitric Acid. 

Nitric Peroxide :— N0 2 . Peroxide of Nitro- 
gen ; Nitrogenous Tetroxide ; Hyponitric 
Anhydride ; Hyponitric Acid ; Pernjtrie 
Oxide. 

Nitrogen Pentoxide :— N 2 5 . Anhydrous Ni- 
tric Acid ; Nitric Anhydride. 

Nitro-Glycerine :— Trinitro-glycerine ; Glo- 
noin ; Nitrate of Glyceryl ; Trinitrite ; Ni- 
troleum ; Fulminating Oil. 
Nitro-Hydrochloric Acid:— Aqua Begia 

(L.) ; Nitro-Muriatic Acid. 
Olefiant Gas :— C 2 H 4 . Ethene Ethylene ; 
Ephene ; Elayl ; Heavy Carbonated Hydro- 
gen ; Hydruret of Acetyl ; Etherin. 
Oleic Acid :— HC, e H 34 2 . Elaic Acid. 
Orpiment. See Arsenic. 
Osmium :— Os. 
Osmium Dichloride :— OSCl 2 . Osmius Di- 
chloride; Osmium Protochloride; Hypo-Os- 
mious Chloride. 
Osmium Tetrachloride :— OSCl 4 . Osmic Te- 
trachloride; Osmium Bichloride; Osmic 
Chloride. 
Osmium Dioxide :— OS0 3 ; Osmious Acid. 
Osmium Trioxide :— OS0 3 . 
Osmium Tetroxide :— OS0 4 ; Osmic Acid. 
Osmium Protoxide : — OsO; Hypo-osmious 

Oxide. 
Osmium Sesquioxide :— Os 2 3 . 

Oxalate :— Oxalis (L.). 

Oxalic Acid :— H 2 C 2 4 . Acidum Oxalicum 
(L.). 



671 



Oxide :— Oxyd; Oxydum (L.). 

Oxychloride : — Oxichloride; Ozychloridum 
(L.). 

Oxycrate i—Oxycratum (L.) The old name of 
a mixture of vinegar, water and honey. 

Oxygen :— 0. Oxygen Gas ; Volatile Air; 
Empyreal Air; Dephlogisticated Air (Ob- 
solete). 

Ozone :— 00 2 or 3 . Oxygen Peroxide. 

Palladium :— Pd. 

Palladium Dichloride : — PdCl 2 ; Palladious 

Chloride. / 

Palladium Tetrachloride :— PdCl 4 ; Palladic 

Chloride. 
Palladious Iodide :— Pdl 2 . 
Palladium Monoxide : — PdO ; Palladious 

Oxide. 
Palladium Dioxide :— Pd0 2 . Palladic Oxide. 
Palladious Sulphide :— PdS. 
Palmitic Acid :— HC ]6 H 32 2 . 
Perchlorate i—Perchloras (L.). 
Perchloric Acid :— HC10 4 . 
Periodic Acid:— HOI 4 . Hydric Periodate; 
Hydrogen Periodate. 

Petroleum : — Rock Oil; Liquid Bitumen; 
Oil of Petre. 

Phenol :—C 6 H 6 0. PhenicAcid; Carbolic Acid; 
Phenyl Alcohol; Coal Tar Creasote; Six 
Carbon Phenol. 

Phenyl :— C a H 6 . The radical of the phenyl 
series. 

Phenylamine :— C 6 H 5 H 2 lSr or C 6 H 7 N. Ani- 
line. 

Phosgene Gas :— COCl 2 . Carbonyl Chloride ; 
Oxychloride of Carbon; Chlorocarbonic 
Acid. 

Phosphate i—Phosphas (L.). 

Phosphide :— Phosphuret. 

Phosphite i—Phosphis (L.). 

Phosphorus:— P. Phosphorus, Amorphous; 
Red Phosphorus ; Allotropic Phosphorus ; 
Phosphorus Ruber (L.). 

Phosphorus Trichloride :— PC1 3 . Phosphorus 
Terchloride ; Phosphorus Chloride . 

Phosphorus Pentachloride:— PC1 . Phos- 
phoric Chloride and Perchloride of Phos- 
phorus ; Phosphoric Chloride. 

Phosphorus Oxychloride:— PC1 3 0. Phosphor- 
ic Oxychloride ; Phosphoric Monoxychlor- 
ide. 

Phosphorus Hydride :— PH 3 . Phospbureted 
Hydrogen; Hydrogen Phosphide; Phos- 
phorus Trihydride ; Phosphine ; Phosphur- 
eted Hydrogen. 

Hypophosphorus Acid :— H 3 P0 2 . 

Phosphorus Trioxide :— P 2 3 . Phosphorus 
Anhydride; Anhydrous Phosphoric Acid; 
Phosphorus Oxide. 

Phosphorus Pentoxide, Acid :— P 2 5 . An- 
hydrous Phosphoric Acid ; Phosphoric An- 
hydride ; Phosphoric Oxide. 



Hypophosphorus Acid:— H 3 P0 2 . 

Phosphorus Acid :— H 3 P0 3 . Hydrated Phos- 
phorus Acid. 

Hypophosphorus Acid :— H 6 P 2 4 . 

Phosphoric Acid, Orthophosphoric Acid: — 
H 3 P0 4 . Tryhydric Phosphoric and Tri- 
basic Phosphoric Acid. 

Metaphosphoric Acid : — HP0 3 . Monobasic 
Phosphoric Acid ; Glacial Phosphoric Acid. 

Pyrophosphoric:-H 4 P 2 7 . Dibasic Phosphor- 
ic Acid. 
Pitch :— Black Pitch ; Boiled Pitch ; Stone 
Pitch ; Wood Pitch. 

Pitch, Burgundy :— White Pitch ; Burgundy 
Pine Resin. 

Pitch, Canada :— Hemlock Gum; Hemlock- 
Pitch. 

Pitch, Jew's :— Asphaltum. 

Pitch Mineral : — Asphaltum ; Bitumen. 

Platinum :— Pt. Platina ; White Gold ; Plat- 
inum (L.). 

Platinous Chloride :— PtCl 2 . Dichloride of 
Platinum. 

Platinic Chloride:— PtCl 4 . Chloride of Plat- 
inum; Tetrachloride of Platinum; Perchlo- 
ride of Platinum ; Platini Bichloridum (L.). 

Platinic-Ammonium Chloride:— Pt(NH 4 ) 2 .Cl 8 . 
orPtCl 4 2NH 4 Cl. Ammonio- Chloride of 
Platinum; Platino-Chloride of Ammonium. 

Platinic Potassium Chloride:— PtK 2 Cl 6 or Pt 
C1 4 2KC1. Platino-Chloride of Potassium; 
Potassio-Chloride of Platinum. 

Platinic Sodium Chloride :— PtNa 2 Cl 6 or PtCl 4 
2NaCl. Chloride of Platinum and Sodium; 
Sodio-Chloride of Platinum; Platino-Bich- 
loride of Sodium; Platini et Sodii chloridum 
(L.). 

Platinic Oxide :— Pt0 2 . Binoxide of Platinum; 
Dioxide of Platinum. 

Platinous Oxide:— PtO. Oxide of Platinum;. 
Monoxide of Platinum. 

Platinum Gas :— Gaz-Platine; Gillard's Gas. 

Plumbago :— Graphite; Black Lead. 
Plumbic Acetate :— Lead Acetate. 
Plumbic Acid :— Binoxide of Lead. 
Plumbum : See Lead. 

Potash : See Potassium. 

Potassium :— K. Kalium (L.). 
Potassium Acetate : — K(C 2 H 3 2 ). Acetate of 
Potash; Potassic Acetate; Potassii Acctas 
(L.); Diuretic Salt; Digestive Salt of Sylvius- 
Potassium Arseniate:— KH 2 As0 4 ; Potassium 
Arsenate; Dipotassic Arsenate; Arseniate 
of Potassa; Potassium Dihydric Arseniate; 
Monopotassic Arseniate; Potassaz Bin Ar- 
senias (L.); Arsenical Neutral Salt of Mac- 
quer. 
Potassium Meta-Arsenite :— KAs0 2 . 
Potassium Diarsenite :— K 4 As 2 5 . 
Potassium Borate :— K 4 B 4 8 . Potassaz Boras 

(L.). 
Potassium Borotartrate :— PotasscB Borota:- 



672 



tras (L.); Soluble Cream of Tartar; Cremor 
Tartari Solubilis (L.), 

Potassium Bromide :— KBr. Potassii Bromi- 
dum (L.). 

Potassium Carbonate :— K 2 C0 3 . Carbonate 
of Potassa; Potash of Commerce; Pearlash 
(Impure); Subcarbonate of Potassa; Salt of 
Tartar; Potassii Carbonas (L.); Normal 
Potassium Carbonate; Dipotassic Carbon- 
ate; Potassium utral Carbonate; Salt of 
Wormwood; Febrifuge Salt of Sylvius. 

Potassium Bicarbonate :— KHC0 3 . Acid Po- 
tassium Carbonate; Bicarbonate of Potassa; 
Hydrogen Potassium Carbonate; Potassii 
Bicarbonas (L.); Monopotassic Carbonate. 

Potassium Chlorate :— KC10 3 . Chlorate of 
Potash; Potassii Chloras (L.); Potassic Chlo- 
rate. 

Potassium Perchlorate : — KC10 4 . 

Potassium Chloride :— KC1; Chloride of Po- 
tassium; Chloride of Potassa; Febrifuge 
Salt;[Sylvite]. 

Potassium Chromate :— K 2 Cr0 4 . Chromate 
of Potassa; Neutral Chromate of Potassa; 
Monochromate of Potassa; Yellow Chro- 
mate of Potassa; Salt of Chrome; Potassii 
Chromas (L.); Potassic Chromate. 

Potassium Bichromate: — K 2 Cr 2 7 . Potas- 
sium, Bichromate of; Potassium Dichro- 
mate; Potassic Acid Chromate; Bed Chro- 
mate of Potash; Potassii Bichromas (L.); 
Potassic Dichrome. 

Potassium Citrate : — K 3 C 6 H 5 7 . Potassii 
Citratis (L.). 

Potassium Cyanate:— KCyO. or KCNO. 

Potassium Cyanide :— KCy or KCyN. Cyanide 
of Potash; Cyanuret of Potassium; Potassii 
Cyanidum (L.); Potassic Cyanide. 

Potassium Ethylate :— C 2 H 5 KO. 

Potassium Ferricyanide :— K 3 FeCy a . Ferrid- 
cyanide of Potassium; Red Prussiate of 
Potash; Potassium Ferric yanuret; Potassii 
Ferricyanidum (L.); Prussias Rubrum. 

Potassium Ferrocyanide : — K 4 FeCy« or 
K 4 FeC 6 N 6 orFe(CN) 6 . Prussiate of Potash; 
Yellow Prussiate of Potash; Ferrocyanuret 
of Potassium; Potassii Ferrocyanidum (L.); 
Potassic Ferro-Cyanide; Ferroprussiate of 
Potassa. 

Potassium Hydrate:— KOH. Potassium Hy- 
droxide Potassa; Potassa Hydrate; Hydrate 
of Potassa; Caustic Potash; Caustic Potas- 
sa; Hydrated Oxide of Potassa; Potassa 
Caustica (L.); Potassic Hydrate. 

Potassium Iodate :— KI0 3 . Potassce Iodas (L). 

Potassium Iodide :— KI. Potassii Iodidum (L.); 
Potassic Iodide. 

Potassium Nitrate:— KN0 3 . [Niter]; Salt- 
petre; Saltpeter; Salt Peter; Salt Petre; Ni- 
trate of Potash; Potassii Nitras ; Kali ; Ni- 
tratum; Sel Nitri (L.). 

Potassium Nitrite :— KN0 2 . Nitrite of Potas- 
sa, Potassce Nitras (L.). 

Potassium Oxalate:— K 2 C 2 4 . Neutral Ox- 
alate of Potassa; Potassce Oxalas (L.). 

Potassium Hydrogen Oxalate: — HKC 2 4 . 



Potassium Binoxalate; Salt of Sorrel; Es- 
sential Salt of Lemons; Potassce Binoxalas 
(L.). 

Potassium Acid Oxalate :—KH 3 (C 2 4 ). Po- 
tassium Trihydrogen Oxalate; Potassium 
Quadroxalate. 

Potassium Oxide :— K 2 0. Potassium Monox- 
ide; Anhydrous Potash; Anhydrous Po- 
tassa. 

Potassium Perchlorate :— K 2 C10 4 . Potassm 
Perchloras (L.). 

Potassium Permanganate:— K 2 Mn 2 8 . Per- 
manganate of Potash; Potassii Permanganas 
(L.). 

Potassium Manganate :— K 2 Mn0 4 . 

Potassium Phosphate :— K 3 P0 4 . 

Normal Orthophosphate :— K 3 P0 4 . 

Dipotassic Salt :— K 2 HP0 4 . 

Monopotassic Salt :— KH 2 P0 4 . 

Potassium Prussiate :— Red Prussiate (see 
Potassium Ferricyanide); Yellow Prussiate 
(see Potassium Ferrocyanide). 

Potassium Silicate -.—Potassce Silicas (L.). 

Potassium Sulphate :-K 2 S0 4 . Potassii Sulphas 
(L.); Potassic Sulphate; Sulphate of Potassa; 
Normal Potassium Sulphate; Dipotassic 
Sulphate; Sal Polychrest; Vitriolated Tar- 
tar. 

Potassium Bisulphate :— KHS0 4 . Potassium- 
Hydrogen Sulphate ; Acid Potassium Sul- 
phate; Potassce Bisulphas (L.); Monopotas- 
sic Sulphate; Bisulphate of Potash. 

Potassium Disulphate :— K 2 S 2 7 . Potassium 
Pyrosulphate. 

Potassium Sulphide :— Sulphuret of Potassi- 
um; Liver of Sulphur; Potassii Sulphuretum 
(L.); Hepar of Sulphur; Hepar Sulphurous 
(L.); Several Sulphides, Mono-, Bi-, Tri-, 
Tetra- and Penta-Sulphides have the sym- 
bols K 2 S; K 2 S 2 ; K 2 S 3 ; K 2 S 4 ; K 2 S 5 ; Hydro- 
sulphide or Sulphydrate, KHS. 

Potassium Sulphocyanide :— KCNS or KCyS. 
Sulphocyanuret of Potassium; Potassii Sul- 
phocyanidum (L.); Potassic Sulpho-Cyanide; 
Potassium Sulpho-Cyanate. 

Potassium Tartrate :— K 2 C 4 H 4 6 . Tartrate 
of Potassa; Neutral Tartrate of Potassium; 
Neutral Tartrate; Soluble Tartrate; Potassii 
Tartras (L.); Vegetable Salt. 

Potassium Bitartrate : — KHC 4 H 4 6 . Argol 
or Argal (Impure); Cream of Tartar; Su- 
pertartrate of Potassium; Acid Tartrate of 
Potassa; Potassa Bitartras (L.); Crystals of 
Tartar. 

Potassium and Sodium Tartrate. See Sodium 
and Potassium Tartrate. 
Precipitate, Red:— Mercuric Sulphate. 
Prussian Blue : —Ferrocyanide of Iron; 
Prussiate of Iron; Cyanuret of Iron; Paris 
Blue; Berlin Blue. 
Purple of Cassius:— Purple Precipitate of 
Cassius; Gold Prepared with Tin; Aurum 
Stanno Paratum (L.). 
Purpurate of Ammonium; — Murexide. 
Pyrogallic Acid:— HC 6 H 5 3 . Pyro; Acidurr. 
Pyrogallicum (L.); Pyrogallol ; Galline. 



673 



I 



Pyropliosplioric Acid : — See Phos- 
phorus, (Dibasic Phosphoric Acid.) 

Pyrotartaric Acid :— H 2 C 5 H 8 4 . Methyl- 
succinic Acid. 

Quartz :— SiO a . Silicon Dioxide. 

Quinidi tie :— C 2 oH 2 o0 2 N 2 ,2HaO. Quinidia ; 

Conchimine: Cinchinine. 
Quinine :— C 10 H 12 ON. Quina; Quinia. 
Quinine Sulphate:— (C 20 H 24 N 2 O 2 ) 2 .2H 2 SO 4 

7Aq. Quinine Disulphate ; Quinine. 
Salicin :— C i3 H 18 7 . 
Salicyl :— C 7 H 4 0. 
Salicylic Acid :— H 2 C 7 H 4 3 . Ortho-Oxyben- 

zoic Acid. 

Salicylous Acid :— C 7 H 6 2 . Hydrosilicic 
Acid ; Salicylol; Hydride of Salicyl; Meadow 
Sweet, Artificial Oil of. 
Saltpeter : — Potassium Nitrate ; which see. 
Salts :— See salts in the body of the Encyclo- 
pedia; salts of the different chemicals are 
also given with the other synonyms under 
the name of the metal. 
Selenium :— Se. 

Selenic Acid . — H 2 Se0 4 . Acidum Selenicum 
(L.). 

Selenious Acid :— H 2 Se0 3 . 

Selenium Monochloride :— Se a Cl 2 . 

Selenium Tetrachloride :— SeCl 4 . 

Seleniureted Hydrogen :— H 2 Se. Hydrogen 
Selenide; Selenieted Hydrogen; fcelenhy-' 
dric Acid. 
Silicon:— Si. Silicium (L.). 

Silica:— Si0 2 . Silicon Dioxide ; Silicic Anhy- 
dride ; Silicic Acid ; Silex : [Quartz ; Chal- 
cedony ; Agate ; Flint ; Opal, etc.] 

Silicon Trichloride :— Si 2 Cl 6 . 

Silicic Chloride :— SiCl 4 . Silicic Tetrachloride. 

Silicon Hydrotrichloride :— SiHCl 3 . Silicic 
Chloroform. 

Silicic Fluoride :— SiF 4 . Silicic Tetrafluoride_ 

Hydrofluosilicic Acid:— Si 4 2HF. Siliconuoric 
Acid. 

Silicon Disulphide :— SiS 2 . 

Silicon Monosulphide :— SiS. 

Silicon Oxysulphide :— SiSO. 
Silver :— Ag. Argentum (L.). 

Silver Acetate :— Ag(C 2 H 3 2 ). 

Silver Ammonio-Chloride : -Argento-Chloriae 
of Ammonio. 

Silver Benzoate :— AgC 7 H 5 2 . 

Silver Bromide :— AgBr. Argentic Bromide. 

Silver Carbonate :— Ag 2 C0 3 . Argenti Carbonas 
(L.). 

Silver Chloride:— AgCl. Argentic Chloride; 
Monochloride of Silver. 

Argentous Chloride : — Ag 4 Cl 2 . Subchloride 
of Silver ; [Cerargyrite ; Horn Silver.] 

Silver Cyanide :— AgCN. Argentic Cyanide; 
Hydrocyanate of Silver. 

Silver Fluoride :— AgF or Ag 2 F 2 . 

Silver Iodide :— Agl. Argentic Iodide; Ar- 
genti Iodidum (L.). 



Silver Nitrate :— AgN0 3 . Argenti Nitras (L.); 
Lunar Caustic ; Argentic Nitrate. 

Silver Dichloridc :— Ag 2 2 . Argenti Suboxy- 
dum (L.). 

Silver Oxide:— Ag 2 0. Protoxide of Silver; 
Argenti Oxydum (L.) ; Silver Monoxide ; Ar- 
gentic Oxide. 

Argentous Oxide :— Ag 4 0. 

Silver Sulphate :— Ag 2 S0 4 . Argenti Sulphas 
(L.). 

Silver Sulphide :— Ag s S. Sulphuret of Silver ; 
Argenti Sulphuretum (L.); [Argentite; Vit- 
reous Silver ; Silver Glance.] 

Silver Hyposulphide :— Ag 2 S 2 3 ; Argenti Hy- 
posulphis (L.). 

Sodium •:— Na. Natrium (L.). 

Sodium Acetate:— Na(C 2 H 3 2 ).3H 2 0. Acetate 
of Soda ; Sodce Acetas (L.). 

Sodium Benzoate :—Soda3 Benzoas (L.). 

Sodium Borate :— Na 2 O(B 2 O 3 ) 2 ,10H 2 O. Borax; 
Borate of Sodium ; Sodii Boras (L.) ; Pyro- 
borate ; Sodium Biborate ; [Tincal.] 

Sodium Bromide :— Sodii Bromidum (L.). 

Sodium Carbonate :-Na( 2 CO 3 .10H 2 O. Carbon- 
ate of Soda ; Subcarbonate of Soda ; Mono- 
carbonate of Soda ; Sodii Carbonas (L.) ; Salt 
of Barilla; Sodic Carbonate; Sal Soda; 
Washing Soda ; Soda Crystals ; Salt of Soda; 
[Natron]; Sal Sodce (L ). 

Sodium Sesquicarbonate : — Na 4 H 2 (C0 3 ) 3 ,2H 2 
O. Dihydro-tetra Sodic Carbonate. 

Sodium Bicarbonate :— NaH CO 3 . Sodce Bi- 
carbon&s (L.) ; Hydrogen and Sodium Bicar- 
bonate ; Monosodic Carbonate ; Hydrosodic 
Carbonate ; Sodium Hydrocarbonate. 

Sodium Chlorate:— NaC10 3 . 

Sodium Chloride :— NaCl. Sodii Chloridum; 
Sodce Murias (L.) ; Common Salt ; Marine 
Salt ; [Halite] ; Muriate of Soda. 

Sodium Hydroxide:— XaOH. Hydrate of 
Soda ; Caustic Soda ; Socte Hydras (L.). 

Sodium Hypochlorite :— Chlorinated Soda; 
Chloride of Soda; Sodce Clilorinata (L.). 

Sodium Hyposulphite :— Na 2 S 2 3 .5 H 2 o» 
Hypo; Sodce Hyposulphas (Lj; Sodium 
Thiosulphate. 

Sodium Iodide : — Nal. Sodii Iodidum (L.). 

Sodium Nitrate :— NaN0 3 . Chilian Saltpeter ; 
Peruvian Saltpeter ; Cubic Niter ; Sodce Ni- 
tras (L.) ; [Nitratine]. 

Sodium Nitrite -.—Sodce Nitris (L.). 

Sodium Oxide:— Na 2 0. Anhydrous Soda; 
Sodium Monoxide. 

Sodium Phosphate:— Na 2 HP0 4 .12Aq. Tri- 
basic Phosphate of Soda ; Khombic Phos- 
phate of Soda ; Sodce Phosplias (L.) ; Perlate 
Salt; Tasteless Salt; Hydrodisodic Phos- 
phate ; Disodic Orthophosphate ; Phosphate 
of Soda. 

Sodium-Ammonium Phosphate :— NaNt, 4 HP 
4 .4H 2 0. Microcosmic Salt; Sodii et Am~ 
monii Phosplias (L.). 
Sodium Pyrophosphate :-Na 4 P 2 7 -flOH 20 . Sodce 
Pyrophosphas ; (L.). Normal Sodium Pyro- 
phosphate. 



674 



Sodium Silicate : — Na 2 Si 4 0,. Soluble Glass : 
Water Glass ; Quadrisilicate; Tetra-Silicate. 

Sodium Sulphate:— Na 2 SO 4 .10Aq. Glauber's 
Salt; Spdce Sulphas (L.) ; Wonderful Salt ; 
Sal Cathariticus Glauberi; Sodii Sulphas 
(L.); [Thenardite Mirabilite; Glauberite.]. 

Sodium Acid Sulphate:— Na 2 S0 4 ,H 2 S0 4 ,3H 2 
O. Bisulphate of Soda. 

Sodium Sulphite:— Na 2 S 3 . Sulphite of Sodi- 
um; Sodic Sulphite; Sodii Sulphls (L.). 

Sodium and Potassium Tartrate:— KNaC 4 H 4 
6 .4Aq. Tartrate of Potassium and Soda ; 
Rochelle Salts; Tartarized Soda; Sodas Tar- 
taratum ; Sodce Potasses Tartras (L.) ; Salt 
of Seignette ; Tartarated Soda. 
Spirit:— Amylic. See Fusel Oil. 

Spirit of Hydrochloric Ether : — Spirit of Mu- 
riatic Ether; JEther Hydrochloricus Alcohol- 
icus (L.). 

Spirit of Nitric Ether:— Sweet Spirit of Niter; 
Spirit of Nitrous Ether ; Nitrous Ethereal 
Spirit; Niter Drops; Spiritus JEtheris Ni- 
trici (L.). 

Spirit Pyroacetic: — Acetone; Spiritus 
Pyroaceticus (L.). 

Spirit Pyroxylic :— P yroligneous Spirit ; 
Wood Spirit; Wood Naphtha; Hydra ted 
Oxide of Methyl ; Medicinal Naphtha ; 
Spiritus Pyroxylicus (L.). 

Spirit, Rectified : -See Alcohol. 

Sirits of Wine :— See Alcohol. 

Starcli:— C a H 10 O5. Amylaceous Fecula; Amy- 

lum (L.); Amidin. 
Stearic Acid : — HC 18 H 36 02. Stearin. 
Strontium :— Sr. 

Strontium Carbonate :—SrC0 3 . [Strontanite. J 

Strontium Chloride :— SrCl 2 . 

Strontium Nitrate :— Sr(N0 3 ) 2 . 

Strontium Oxide :— SrO. Strontia; Protoxide 
of Strontium. 

Strontium Dioxide : — SrOa. 

Strontium Sulphate :— SrSO*. [Celestite.] 
Sulphate :— Sulphas (L.). 
Sulphide :— Sulphuret. 

Sulphovinic Acid : — C 2 H 6 HS0 4 . Sulph- 

ethylic Acid; Acidum Sulphovinicum (L.). 
Sulphur :—S. Brimstone. 

Amorphous Sulphur :— Brown Sulphur ; Sul- 
phur Amorphum (L.). 

Liver of Sulphur :— Mixture of Potassium 
Polysulphides with Potassium Sulphate. 

Precipitated Sulphur :— Hydrate of Sulphur ; 
Milk of Sulphur ; Sulphuris Hydras ; Lac 
Sulphuris (L.). 

Roll Sulphur :— Stick Sulphur; Cane Sulphur; 
Sulphur in Bacculis (L.). 

Sublimed Sulphur :— Flowers of Sulphur ; 
Flores Sulphuris (L.). 

Sulphur Vivum :— Black Sulphur ; Crude Sul- 
phur ; Horse Brimstone ; Sulphur Nigrum 
(L.). 

Sulphur Mono-Chloride :— S 2 C1 2 . 

Sulphur Iodide;— S 2 I 2 . Biniodide of Sulphur; 
Sulphuris Iodidum (L.). 



Sulphuret:— Sulphide ; Sulphuretum and Sul- 
phidum (L.). 

Sulphuretted Hydrogen:— H 2 S. Hydrogen 
Sulphide; Dihydric Sulphide; Hydric Sul- 
phide; Hydrosulphuric Acid; Sulphydric 
Acid; Hydrogen Monosulphide. 

Sulphur Mono-, Di- and Tri-chlorides :— SCI; 
SC1 2 ; SC1 4 . 

Sulphuric Acid :— H 2 S0 4 . Oil of Vitriol; Vit- 
riolic Acid; Acidum Sidphuricum (L.). 

Sulphuric Acid, Anhydrous :— S0 3 . Sulphuric 
Anhydride; Dry Sulphuric Acid. 

Sulphuric Acid, Nordhausen :— H 2 S 2 7 . Fum- 
ing Sulphuric Acid : Disulphuric Acid; 
Acidum Sidphuricum Furnas (L.); Pyrosul- 
phuric Acid. 

Hydrosulphurous Acid ;— H 2 S0 2 . 

Thiosulphuric Acid :— H 2 S 2 3 . Hyposulphur- 
ous Acid. 

Dithionic Acid: — H 2 S 2 6 . Hyposulphuric 
Acid. 

Trithionic Acid ;— H 2 S 3 6 . 

Tetrathionic Acid :— H 2 S 4 6 . 

Pentathionic Acid : H 2 S 5 0e- 

Sulphurous Acid:— H 2 S0 3 . Sulphurous An- 
hydride ; Acidum Sulphurosum (L.). 

Sulphur Dioxide :— S0 2 . Sulphurous Oxide. 

Sulphur Trioxide:— S0 3 . Sulphuric Oxide; 
Sulphuric Anhydride; Anhydrous Sulphuric 
Acid. 

Sulphurous Chloride :— SOCl 2 . Chloride of 
Thionyl. 

Sulphuric Chloride :— S0 2 C1 2 . Sulphuryl Chlo- 
ride; Cnlorosulphuric Acid. 

Sulphuric Ether. See Ether. 

Tartar :— Argal; Orgal; Tartaratum Tartrus 

(L.). 

Tartar Ammoniated :— Ammonio-Tartrate of 
Potassa; Soluble Tartar (ammoniated); Tar- 
tras AmmovAatus (L.). 

Tartar Roraxated :— Soluble Cream of Tartar; 
Boro-Tartrate of Potassium and Sodium; 
Tartaratum Boraxatum (L.). 

Tartar Chalybeated : — Potassio-Tartrate of 
Iron. 

Tartar Cream :— Tartrate of Potassium. 

Tartar Emetic: — Potassio-Tartrate of Anti- 
mony. See Antimony. 

Tartar Oil :— Deliquesced Carbonate of Po- 
tassa. 

Tartar Salt :— Carbonate of Potassium. 

Tartar Soluble :— Neutral Tartrate of Potas- 
sium. 

Tartar Spirit :— Pyrotartaric Acid. 

Tartaric Acid :— H 2 C 4 H 4 6 or C 4 H 6 6 . 
Acid of Tartar; Essential Salt of Tartar; 
Acidum Tartaratum (L.) Dextrotartaric 
Acid. 

Tellurium :— Te. Tellurium compounds are 
numerous but are not of much importance. 

Hydrogen Telluride :— H 2 Te. Hydrotelluric 
Acid; Tellurated Hydrogen. 

Tellurous Acid:— H 2 Te0 3 . 

Telluric Acid :— H 2 Te0 4 . 



675 



Theine :— C e H 10 N 4 O 2 . Theine; Caffeine. 
Tliymol :— C 10 Hi 3 .OH. Thymic Acid. 
Thymic Acid :— C ]0 H 14 O. 
"Tin :— Sn. Stannum (L.). 

■ Stannous Chloride :— SnCl 2 . Protochloride of 
Tin; Dichloride of Tin. 

Stannous Chloride Hydrated :— SnCl 2 ,2H 2 0. 
Tin Salt. 

Stannous Hydrate :— Sn(HO) 2 . Hydrated Ox- 
ide of Tin. 

Stannous Iodide :— Snl 2 . Protiode of Tin. 

Stannous Oxide :— SnO. Protoxide of Tin; 
Monoxide of Tin. ' 

Sesquioxide of Tin :— Sn 2 3 . 

Stannous Sulphide :— SnS.. Protosulphide of 
Tin. 

Stannic Chloride :—SnCl 4 . Bichloride of Tin; 
Tetrachloride of Tin; Perchloride of Tin; 
Permuriate of Tin; Stanni Bichloridum 
(L.); Fuming- Liquor of Libavius (with 
water, forms Butter of Tin). 

Stannic Hydrate :— Sn(HO) 4 . Hydrated Per- 
oxide of Tin; Stannic Acid. 

Stannic Iodide:— Snl 4 . 

Stannic Oxide :— SN0 2 . Binoxide of Tin; Per- 
oxide of Tin ; Dioxide of Tin ; [Cassiterite]. 

Stannic Sulphide :— SNS 2 . Bisulphide of Tin; 
Bronze Powder; Mosaic Gold; Aurum Musi- 
rum ; Aurum Mosiacum (L.). 
Tungsten:— W. Tungstenum; Woframium 
(L.). 

Tungsten Trioxide :— W0 3 
dride; Tungstic Oxide. 

Tungstic Acid :— H 2 W0 4 . 

Tungstic Chloride :— WC1«. 



Tungstic Anhy- 



Hexachloride. 



Tungsten Bisulphide :— WS 2 . Tungstous Sul- 
phide; Disulphide. 

Tungsten Trisulphide :— WS 3 . Tungstic Sul- 
phide. 

Vanadium :— V. 

Vanadic Binoxide:— V 2 2 . Vanadic Anhy- 
dride; Tetroxide of Vanadium; Acidum 
Vanadicum (L.). 

Vanadic Oxychloride :— V0C1 3 . Vanadic 
Oxytrichloride. 

Vermilion :— Red Sulphide of Mercury; Red 
Sulphuret of Mercury; Factitious Cinna- 
bar. 

Vinegar :—Acetum (L.). 

"Water:— H 2 0. Protoxide of Hydrogen; 

Oxide of Hydrogen; Aqua (L.); Eau (Fr.); 
Wasser (Ger.). 

Zinc :— Zn. Zink; Spelter; Zincum (L.). 
Zinc Acetate:— Zn(C 2 H 3 2 ) 2 . Zinci Acetas 

(L.). 
Zinc Bromide:— ZnBr 2 . Zinci Bromidum (L.). 
Zinc Carbonate:— ZnC0 3 . Zinci Carbonas 
(L); [Smithsonite]. 
Zinc Chloride:— ZnCl 2 . Muriate of Zinc; 

Butter of Zinc ; Zinci Chloridum (LJ. 
Zinc Cyanide: ZnCy 6 . Zinci Cyanidum (L.); 

Cyanuret of Zinc. 
Zinc Oxide:— ZnO. Peroxide of Zinc ; Zinc 

White; [Zincite; Red Zinc Ore]. 
Zinc Sulphate:— ZnS0 4 .7H 2 0. White Copper- 
as; White Vitriol ; Zinci Sulphas (L.) ; Sal. 

of Vitriol ; [Goslarite]. 
Zinc Sulphide :— ZnS. [Blende ; Sphalerite; 

Blackjack], 



APPENDIX. 



PART IV. 



/ 

Alloys.— Magnolia Metal for Anti-Friction 
Bearings.— The metal of the well-known patent 
Magnolia anti-friction bearings has been found 
by analysis to have the following composition : 
Lead, 80 lb. ; antimony, 15 lb. ; tin, 5 lb. ; bis- 
muth, 4 oz. ; graphite, 8 oz. ; aluminum, 4 oz. 

Manganine. — Manganine is the name of a 
new alloy, consisting of copper, nickel, and 
manganese, which has been brought on the 
market, says Iron, by the German firm Abler, 
Haas & Angerstein, as a material of great 
resisting power. The specific resistance of 
manganine is g;ven as 42 microhm centi- 
meters, that is, higher than that of nickeline, 
which has hitherto passed as the best resisting 
metal. Another advantage of manganine is 
its behavior under variations of heat, the re- 
sistance, it is claimed, being affected only in a 
minute degree by high temperatures. It is 
therefore adapted for the manufacture of 
measuring instruments and electrical appara- 
tus in general, which are required to vary their 
resistance as little as possible under different 
degrees of heat. A further interesting fact is 
that, while other metals increase their resist- 
ance by the raising of the temperature, that of 
manganine is diminished. 

Platinum Silver.— Platinum silver is an alloy 
consisting of platinum 1 part, silver 2 parts. 

Improved Alloys for Tools.— These are alloys 
for the manufacture of boring and cutting 
tools having a hardness equal to that of tem- 
pered steel, with the further advantage of not 
losing their hardness when heated by friction. 
The following- alloy is suitable for the manu- 
facture of boring tools, such as driUs, milling 
cutters, reamers, and the like : 

Pig iron, 17*25 %; ferro-manganese, 3'00 %; 
chromium, 1*50 %; tungsten, 5*25 %; aluminum, 
T25 fo ; nickel, 0*50 % ; copper, 0*75 % ; bar iron, 
70-50*; total, 100*00*. 

The following alloy is suitable for the manu- 
facture of nail-cutting blades, cutting blades 
for machines, cutting-out tools, and the like : 

Pig iron, 17*25 %; ferro-manganese, 4*50 %; 
chromium, 2*00 % ; tungsten, 7*50 % ; aluminum, 
2*00^; nickel, 075 %; copper, 1*00 %\ bar iron 
(Swedish) 65*00 % ; total, 100*00 %. 

In making these alloys the pig iron, ferro- 
manganese, chromium, and tungsten are melt- 
ed together in graphite crucibles under stick 
charcoal and calcined borax, the tungsten and 
pig iron being preferably melted first. The 
alloy so produced is then remelted in clay cru- 
cibles together with the bar iron; and the 
nickel, copper, and aluminum are then added. 
The metal is this time covered with stick char- 
coal only. The above alloys are cast in sand 
moulds. 

Amadou.— The French name for spunk or 
tinder. Agaric is another name. It is obtain- 
ed from a kind of mushroom. Agaric is pre- 
pared to inflame by steeping in a solution of 
potassium nitrate, and afterward drying. It 
is very readily inflammable. 

Baldness. See Hair, the. 



Batteries.— Batteries, Secondary, Prepara- 
tion for Forming. — Litharge is placed in a very 
concentrated solution of caustic potash and 
boiled. A lead plate boiled in this solution will 
acquire a coating of spongy lead half inch 
thick, which can be pressed down so as to oc- 
cupy T Jtf part of an inch. 

Beverages. — "Heading " or " Foam " for 
Beverages. — If it is thought desirable to give 
an extra foam or "head" this formula wilL 
do: Take soap bark in coarse powder, 2 oz.; 
animal charcoal, 1 oz. Macerate two days 
in alcohol, 2 oz.; glycerine, 2 oz.; distilled 
water, 4 oz. Percolate to obtain 8 oz. of finished 
product. Quantity to be used 2 drm. to the gal- 
lon of concentrated ginger ale. 

Blacking.— Leather and Harness.— Prepare 
ferrous resinate in the following manner: Boil 
together for three hours, or until a clear solu- 
tion is effected, 2 parts crystallized sodium car- 
bonate, 5 parts colophony (rosin crushed), ami 
water a sufficient quantity, adding the colo- 
phony in small portions at a time to facilitate 
complete saponification. This solution, while 
still hot, is precipitated by a 1*5 ferrous sul- 
phate solution, and after allowing to settle, the 
resulting ferrous resinate is well washed with 
hot water and placed in a straining cloth. 
After two or three days this mass is spread in 
thin layers on porcelain plates and allowed to 
dry. To convert into a paste, rub up 5 or 6 parts 
of the dry powder with 95 parts of petrolatum, 
improving the color by the addition of some 
lamp black or fat soluble aniline blue, and 
perfume with nitrobenzol. The foregoing pro- 
duces a most durable and satisfactory black- 
ing, applicable equally well to shoes, harness or 
other leather goods to preserve a fine black 
color. Regular shoe polish may be applied 
directly over the same without impairing the 
shine. 

Harness Polish.— Laundry soap, shavings, 300 
parts; starch, 150 parts; nutgall, bruised, 150 
parts ; iron sulphate, 150 parts ; water, 10,000 
parts. Boil together for one hour, filter and 
add : Animal charcoal, 500 parts ; extract log- 
wood, 100 parts; brown molasses, 1,000 parts; 
carbolic acid, 125 parts. 

Metals.— To Color Iron and Steel a Dead 
Black. — A new blacking fluid has been invented 
by M. Mazure. According to Cosmos, this 
liquid has the following formula : Bismuth 
chloride, 1 part; mercury bichloride, 2 parts; 
copper chloride, 1 part ; hydrochloric acid, 6 
parts; alcohol, 5 parts; water, 50 parts. Mix. 
To use this fluid successfully, the article to be 
blacked or bronzed must be clean and free 
from grease. It may be applied with a brush or 
swab, or, better still, the object may be dipped 
into it. Let the liquid dry on the metal, and 
then place the latter into boiling water, and 
maintain the temperature for half an hour. If 
the color is then not as dark as desired, repeat 
the operation. The editor of the National 
Druggist finds it to work beautifully. After 
getting the desired color, the latter is fixed and 



Bleaching. 



678 



Bronzing. 



much improved by placing - for a few minutes 
in a bat h of boiling- oil, or by coating the sur- 
face with oil and heating the object until the 
oil is driven off. 

Nickel, to Blacken. — Nickel, as well as copper, 
can be blackened by brushing with an aque- 
ous solution of platinic chloride. 

Bleaching.— Photographs.— Prints on plain 
paper may be bleached by flowing with an 
alcoholic solution of mercuric chloride. This 
salt is sparingly soluble in water and alcohol, 
and is intensely poisonous. This method is 
largely used in making newspaper sketches, 
as designs can be drawn on the paper, and the 
original photograph bleached out. Use only 
Winsor & Newton's or Higgins 1 waterproof 
India ink. 

Sponges, to Bleach.— Soak in a mixture of 
hydrochloric acid 1 fl. part to 8 fl. parts of 
water; rinse, immerse in a solution of potas- 
sium permanganate, 1 part in 160 fl. parts, 
wring ; immerse in a solution of sodium hypo- 
sulphite, 16 parts ; water, 160 fl. parts ; hydro- 
chloric acid, 1 part. Wash well. 

Bluing on Steel, to Remove.— For re- 
moving the blue from steel, so as to leave it as 
clean as before coloring, try acetic acid, or 
solution of tin chloride (stannous chloride). 

Bones for Manure, Preparation of. 

— Illienkof, a Russian chemist, gives the fol- 
lowing process, which, it is said, has received 
the approbation of Liebig : The author mixes 
4,000 kilos, of ground bones with 4,000 kilos, of 
wood ashes containing 10 per cent, of carbo- 
nate of potash, and adds 600 kilos, of quick- 
lime. This mixture he places in a tank or 
fosse, with water sufficient to make the whole 
moist. In a short time the bony matter is 
completely disaggregated by the caustic pot- 
ash, and the pasty mass formed is then taken 
from the tank, dried, mixed with an equal 
weight of mould, and is then ready to be dis- 
tributed. 

Brass.— Coloring Brass a Deep Blue.— A cold 
method of coloring brass a deep blue is as fol- 
lows : 100 grms. of carbonate of copper and 750 
grms. of ammonia are introduced in a decan- 
ter, well corked, and shaken until dissolution 
is effected. There are then added 150 c. c. of 
distilled water. The mixture is shaken once 
more, shortly after which it is ready for use. 
The liquid should be kept in a cool place, in 
firmly closed bottles or in glass vessels, with a 
large opening, the edges of which have been 
subjected to emery friction and covered by 
plates of greased glass. When the liquid has 
lost its strength, it can be recuperated by the 
addition of a little ammonia. The articles to 
be colored should be perfectly clean ; especial 
care should be taken to clear them of all trace 
of grease. They are then suspended by a brass 
wire in the liquid, in which they are entirely 
immersed, and a to-and-fro movement is com- 
municated to them. After the expiration of 
two or three minutes, they are taken from the 
bath, washed in clean water, and diled in saw- 
dust. It is necessary that the operation be 
conducted with as little exposure to the air as 
possible. Handsome shades are only obtained 
in the case of brass and tombac— that is to say, 
copper and zinc alloys. The bath cannot be 
utilized for coloring bronze (copper- tin), argen- 
tine, and other metallic alloys. 

Cutting Brass Chemically. -The Engineer gives 
the following as a means of cutting brass sheet 
chemically : Make a strong solution of bichlo- 
ride of mercury in alcohol, and with a quill 
pen draw a line across the brass at the place at 
which it has to be cut. Let it dry on, and then 
with the same pen draw over the line with 
nitric acid. The brass may then be broken 
across like glass cut with a diamond. The phi- 
losophy of this is that the salt of mercury is 
decomposed, the free mercury amalgamating 



the zinc, and the nitric acid attacking the cop- 
per of the brass. 

Tin Wash for Brass.— To put a white coating 
on brass with block tin, commonly known as 
"white washing,' 1 boil together 6 lb. of potas- 
sium bitartrate, 4 gallons of water, and 8 lb. of 
grain tin, or tin shavings, for half an hour, in a 
porcelain-lined vessel ; put the clean brass ware 
in the boiling liquid for a few minutes, or until 
properly coated. A boiling solution of potas 
sium or sodium stannate, mixed with tin turn- 
ings, may be employed instead of the above. 

Silvering Brass.— Brass and copper are the 
only metals that can be silvered without a 
battery. The process of silvering brass is thus 
described: In 8 oz. of water dissolve 2 oz. of 
potassium cyanide, and in the same quantity 
of water 1 dr. of silver nitrate. Into the ves- 
sel containing the silver throw about half a 
spoonful of common salt ; stir this well with a 
glass rod until the silver is precipitated. Mix 
a little salt and water, and add a few drops to 
the solution after it has had time to settle. If 
any cloudiness follow, more salt must be ad- 
ded. When the addition of salt water has 
ceased to have any effect, carefully pour off 
the water and preserve the deposit. Wash 
this deposit two or three times in boiling water 
and then carefully dry. Place this powder in 
a vessel, and pour on it about a pint of water, 
and add the cyanide solution, about % oz. at a 
time, until the precipitate is dissolved, then 
add enough water to make about a quart. 
While adding the cyanide solution, stir well. 
If, when dipping the article into this solution, 
the silver deposits too quickly, more water 
must be added ; if it coats very slowly, the so- 
lution must be strengthened with more preci- 
pitate. This must be also done whenever the 
solution becomes weak. The solution when in 
use should be kept at a temperature of from 
60° to 70° of heat. After polishing and bur- 
nishing, the article silvered should be as bril- 
liant and durable as can be wished. 

Brassoline. See Lacquers. 

Breath, Fetid.— This may arise from de- 
caying teeth, or it may come from some sto- 
mach difficulty, as impaired digestion; lung 
troubles' may cause it. In any event, thorough 
cleansing of the teeth and a camphorated den- 
tifrice is by many thought more useful than 
other varieties. The following formulas are 
commended by various authors as to the seve- 
ral sources of the trouble, the active materials 
for disinfecting being one of the following ar- 
ticles : Carbolic acid, chlorine water, potassium 
permanganate, thymol, salicylic acid, camphor, 
borax. 

1. Camphor water ; water, equal parts use 
as a mouth wash. 

2. Thymol, 10 gr. ; alcohol, 1 oz. ; borax, 30 
gr. ; water, 19 oz. 

3. Potassium permanganate, 8 gr. ; water, 8 
oz. 

4. Chlorine water, 1 oz. ; glycerin, 2 fl. oz. ; 
water, 14 oz. 

5. Salicylic acid, 120 gr. ; glycerin, 2 fl. oz. ; 
water, 6 oz. 

6. Borax, 240 gr. ; water, 1 pt. 

7. Chlorinated lime, 120 gr. ; sodium carbo- 
nate, 160 gr. ; water, 6 oz. ; alcohol, 2 oz. ; rose 
water, 12 oz. Dissolve the sodium carbonate in 
2 oz. of the water, rub the chlorinated lime to a 
paste with water, adding in all 4 oz. ; mix in a 
12 oz. bottle, adding the alcohol. After the 
reaction, separate the clear solution, and add 
to the rose water. 

8. Salicylic acid, sodium bicarbonate, saccha- 
rine, each 60 gr. ; alcohol, water, each 4 fl. oz. ; 
oil of peppermint, 5 drops. Of this solution, 
use two teaspoonfuls to a wineglass of hot 
water, and use as a gargle twice daily.— Phar- 
maceutical Record. 

Bronzing.— China, Glass, Wood, etc., How 
to Bronze.— One method of bronzing wood, 
china, glass, metal, etc., consists in the applica- 



Camphor. 



679 



Cements. 



tion of fine bronze powders, differently col- 
ored, and of a concentrated solution of 30° B, 
of soluble glass, prepared with potash or sili- 
cate of potash. The articles are first coated by 
a brush with a thin and uniform layer of solu- 
ble glass, after which the bronze powder is put 
on by means of a dredger. The objects treated 
are then dried in the air or in a room at a mod- 
erate heat, and the superfluous bronze powder 
which has not been attached to the glass is 
brushed away with a large camel's hair brush. 
The bronze powder and glass are so thoroughly 
united and adhere so firmly to the objects 
treated that they cannot be taken off by wash- 
ing either with alcohol, ether, or water. They 
can also be burnished with an agate burnisher. 
Where stoves and fireplaces have been ^treated 
in this manner, the application will not be in- 
jured by the heat. A very useful application 
of this process is the renovating of worn or 
damaged picture frames, cornices, etc. As 
bronze powder is made in different colors and 
shades, the application of this process for orna- 
mental purposes is capable of much extension. 
—Desicjn and Work. 

Zinc Fret-Work, to Bronze. — Coat the metal 
with very thin gold size, and when nearly dry 
rub on a sufficient quantity of red bronze 
(bronze powder), dry and burnish. 

Camphor, — Perfumed Naphthalin. — Naph- 
thalin, 3000 parts; camphor, 1000 parts; coum- 
arin, 2 parts ; nerolin, 1 part ; nitrobenzol, 10 
parts. Melt together the naphthalin and cam- 
phor, then add the perfumes.— DietericWs Man- 
ual. 

Celluloid Varnish. See Varnishes. 

Cements. — Casein.- By heating milk with a 
little tartaric acid, the casein is coagulated. 
This casein is then treated with a solution con- 
taining 6 parts of borax to 100 parts of water 
and warmed. It speedily dissolves and forms 
a very tenacious adhesive medium. 

Cap Cement.— (Soulan's.)— Make the follow- 
ing solution : Purified resin, 7 dr.; ether, 10 dr.; 
collodion, 15 dr. Sufficient aniline red. Dis- 
solve the resin in the ether, mix it with the 
collodion, and color to taste. All that is nec- 
essary to apply the mixture is to dip the cork 
and the top of the bottle in it, turning it for an 
instant in the hand while the composition dries. 
The result is a semi-transparent varnish of 
pleasing appearance, especially if the cork of 
the bottle is previously sealed on top with seal- 
ing wax. 

Iron Cement.— 1. The " rusting " of joints is an 
old trick with mechanics. But in place of sal 
ammoniac let the joiner use chloride of lime, 
one of the common disinfectants, and the fixity 
of the joint will surprise him. Two joints of 3- 
inch cast iron pipe, with flanges sufficiently 
wide to take in three-fourth inch bolts, were 
secured with a mixture (in the usual propor- 
tion) of cast iron filings, water, and chloride of 
lime. The actual proportions were : Fine filings, 
10 parts ; chloride of lime, 3 parts ; water, 
enough to mix to a paste. These joints were 
bolted together after the mixture was placed 
between them, and after being left one night, 
when broken apart the cement scaled off a por- 
tion of the solid iron of one of the flanges. 
This cement has stood the action of sixty 
pounds of steam in a pipe connection to a 
steam boiler where rubber glands and canvas 
and white lead failed. 

2. For stopping holes in castings, or for cov- 
ering scars, a useful cement may, it is said, be 
made of equal parts of powdered gum arabic, 
plaster of Paris, and iron filings ; and, if a lit- 
tle finely pulverized white glas be added to the 
mixture, it will make it still harder. This mix- 
ture forms a very hard cement that will resist 
the action of fire and water. It should be kept 
in its dry state, and mixed with a little water 
when wanted for use. 

Labels, to Cement o Tin, Zinc and Glass.— 1. 



Rub the metal with emery paper and attach the 
label with sodium silicate (water glass). The 
labels thus cemented will stand considerable 
heat. 2. Dip the metal into a strong and hot 
solution of washing soda, afterward rubbing 
perfectly dry with a clean i*ag. Onion j uice is 
then applied to the surface of the metal, and 
the label pasted and fixed in the ordinary way. 
It is said to be almost impossible to separate 
paper and metal thus joined. 

Mastics or Metallic Cements.— 1. Mr. C. Powell 
Karr explains that mastic is a substance which 
is generally considered to be a composition of 
finely ground oolitic limestone mixed with 
sand and litharge, and to which has been added 
a portion of linseed oil. Its composition, how- 
ever, is quite variable. It has also received the 
appellation of a metallic cement. In small 
quantities its usage is similar to that of com- 
mon mortar, in pointing up the joints of stone- 
work and in patching up disintegrated walls. 
Many of these mastics contain a certain pro- 
portion of metal, iron, zinc, lead, etc., whence 
their name 

In general they acquire a substantial hard- 
ness after a lapse of some time. The formulas 
for the preparation of these cements are ex- 
ceedingly numerous, and have been more thor- 
oughly developed and studied in Europe than 
in America. 

At Paris alone more than twenty firms make 
a specialty in dealing in this building material. 
Most of those mentioned here are of French 
origin. 

2. Mastic of Litharge.— Mix 93 parts of pot- 
ter's clay, well burned and pulverized, and 7 
parts of litharge, in powder, with pure linseed 
oil to the consistency of a stiff plaster. Sprinkle 
with water the surface to be coated before em- 
ploying the mastic, as would be done for plas- 
tering. This mastic, as pointed out by Theuard, 
serves successfully to line reservoirs and point 
up the joints of masonry. It becomes very 
hard. 

3. The following is also vouched for as being 
equally adapted to the same kind of work: 
Siliceous sand, 14$! by volume ; pulverized 
chalk, 14$ by volume ; powdered litharge, ^ of 
the weight of sand and stone together ; linseed 
oil, 3> of the total weight. 

It is necessary to calcine the calcareous mat- 
ter and sand before mixing them with the rest 
of the ingredients. The parts to be coated with 
mastic are previously painted with linseed oil. 

4. Other compositions commended by Mr. 
Marcel Daly are as follows, by weight: Cement, 
63*15$; white lead, 10*52$; litharge, 10*52$; lin- 
seed oil, 10*52$ ; drying oil, 5*26$. 

5. And another is, by weight: Pulverized 
burnt clay, 50$; litharge, 8J$; white lead, L 8£$; 
linseed oil for the dilution, 25$ ; drying oil, 8£$. 

The last mastic is called the mastic of Corbel, 
It is employed for repointing the flags in 
humid places, to repair curb stones or the 
joints of dressed stone masonry which are to be 
painted with oil and exposed to the action of 
sea air. 

6. Argillaceous pozzuolana ground to a pow- 
der can be substituted for the burnt clay and 
white lead. This last ingredient does not ap- 
pear to be of any special importance. The sur- 
faces to which the cement is applied must be 
clean and dry. 

7. Fontenelle Mastic— Two parts, by weight, 
of oxide of zinc, 2 parts of very aard calca- 
reous stone passed through a sieve of t§u of an 
inch, and 1 part of crushed sandstone or 
quartz rock. The whole is mixed as it is 
served, and colored with a little ocher or car- 
bon black, of which the weight should be de- 
ducted from the quantity of stone employed. 
Then dissolve clippings of zinc freshly cut in 
commercial hydrochloric acid up to the point 
of saturation. Then add to the liquor thus 
prepared one-sixth of its weight of zinc dis- 
solved. This is allowed to settle and the super- 
natant liquid decanted. Then add two-fifths 



Cleansing. 



680 



Cleansing. 



of water, by volume, to the liquid thus pre- 
pared. "We have, as a result, a liquid and a 
powder which, united, make the cement. It is 
to be applied quickly to the stone surface, 
pricked or lightly roughened and brushed. It 
takes about one pound of the powder to one- 
third of a quart of the liquid. At the last 
moment the stone is moistened with the pure 
liquid, the cement is then applied and set with 
a trowel. The operation is performed in about 
twenty minutes. When the part to be mended 
measures more than two inches in thickness, 
it is found to be economical and yet not detri- 
mental to good work to convert the cement 
into a concrete by adding pebbles ; the pebbled 
surface may be afterward bush-hammered to a 
uniform surface. 

8. Mastics for Water Jars or Vessels.— This is 
generally composed of iron filings, 88'8$, and 
salt, 11 '2%. Make an infusion for 24 hours in 2 
quarts of vinegar ; to this there is sometimes 
added one-half quart of urine (or replace this 
by ammonia water) and garlic (4 garlics). The 
filings should be fresh and clean, and without 
rust. The hardness that this mastic acquires 
with time is incontestable, but it will answer 
only for coarse work. It is used to restore 
parts broken out by frost or accidents, but to 
blend patching with old masonry the following- 
mixture is better : 

9. Filings Mastic. — Take three-sevenths, by 
weight, of pulverized stone (as much as possi- 
ble like the stone that is to be repaired, both as 
to color and characteristics), two-sevenths of 
the cement to be added slowly, two-sevenths of 
the cast iron filings, or the same amount of 
copper. It goes without saying that the iron 
filings are the most economical. Triturate these 
three substances with care, so as to arrive at a 
complete mixture, then moisten with water, 
little by little, after the manner of mixing fine 
plaster. "This last cement," says M. Daly, 
"has given excellent results at the Hotel de 
Ville of Quesnoy (North), where MM. F. Guil- 
lemin and L. Laubser have employed it with 
success.' 1 — American Gas Liight Journal. 

Metal, Cement for.— This well known cement, 
which is prepared from zinc oxide and zinc 
chloride and some other material, such as iron 
slag, powdered glass, etc., may be caused to set 
more slowly by adding with the zinc chloride, 
when it is mixed, with the other ingredients, 
some zinc sulphate and powdered limestone. 
The adhesive power of the cement (for cement- 
ing metals) may be increased by the addition 
of 2 per cent, of ferrous sulphate.— If. Spenle. 

Plaster Models, to Cement.— Sandarac varnish 
is the best material. Saturate the broken sur- 
faces thoroughly, press them well together, 
and allow them to dry. 

White Cement.— White cement of the same 
character as Portland cement iG made by grind- 
ing together three parts of chalk and one of 
kaolin, burning at a red heat and grinding 
again. The cement made by this process hith- 
erto has shown a tensile strength only about 
one-half as great as that of good Portland ce- 
ment, but it has the hydraulic quality and other 
characteristics of Portland cement, and it is to 
be hoped that the manufacture may be so im- 
proved as to increase the tensile strength to 
the point required for making artificial stone. 
If a white cement can be found for a matrix, 
it will -be easy to obtain aggregates of light 
color by utilizing white sand, marble dust, 
white talc, and so on, suitable for making a con- 
crete which could be used in place of marble. 

Woodwork, Cement for. -The following cement 
will be very hard when dry, and will adhere 
firmly to wood. Melt 1 oz. of resin and 1 oz. of 
pure yellow wax in an iron pan, and thoroughly 
stir in 1 oz. of Venetian red, until a perfect 
mixture is formed. Use while hot. 

Cleansing.— Belts, to Remove Oil from.— 
When a belt #ets saturated with waste oil, an 



application of ground chalk will soon absorb 
the oil, and make the belt workable. 

Cleansing Compound.— 1. A French patent re- 
cently published describes the use of a liquid 
based on petroleum for cleansing linen. In the 
patent it is directed to dissolve Q'23 lb, of cam- 
phor in 4)4 lb. of light petroleum (such as kero- 
sene), and in the camphorated solution to steep 

1 lb. of onions. In the course of two days, the 
principle residing in the onions is extracted 
and the liquid filtered. The resulting fluid is 
to be used as follows : A tablespoonful of it is 
added to four or eight gals, of water. The linen 
to be treated is rubbed with soap until a lather 
is produced, and then boiled ten minutes in the 
solution or mixture of petroleum, rinsed in 
cold water and dried.— Oil and Colorman^s Jour- 
nal. (Not tested.) 

2. Stain Remover for Textile Fabrics.— Soap 
bark extract, 1 oz. ; borax, 1 oz. ; fresh ox gall, 
4 oz. ; tallow soap, 15 oz. Mix the borax, ex- 
tract, and gall together by triturating in a 
mortar, then incorporate the soap so as to pro- 
duce a plastic mass, which may be moulded or 
put up in boxes. 3. Oleic acid, 1 part ; borax, 

2 parts ; fresh ox gall, 5 parts ; tallow soap, 20 
parts. Mix the borax and ox gall, then incor- 
porate the soap, and lastly mix in the oleic 
acid. 

Paint, Hints on Cleaning.— Paint should be 
more often swept than scrubbed, for too fre- 
quent scrubbing causes it to decay. Use as 
little soap as possible, and wash it off with 
plenty of clean water to prevent discoloration. 
To clean paint that has not been varnished, 
put upon a plate some of the best whiting; 
have ready some clean warm water and a piece 
of flannel, which dip into the water and squeeze 
nearly dry ; then take as much whiting as will 
adhere to it, apply it to the paint, when afittle 
rubbing will instantly remove any dirt or 
grease ; wash well off with water, and rub dry 
with a soft cloth. Paint thus cleaned looks 
equal to new, and, without doing the least in- 
jury to the most delicate color, it will preserve 
the paint much longer than if cleaned with 
soap, and it does not require more than half 
the time usually occupied in cleaning. 

Papier Mache, Japanned Goods, etc., to Clean. 
— Boiling water should not be poured over tea 
trays, japanned goods, etc., as it will make the 
varnish crack and peel off. Have a sponge, 
wet with warm water, and a little soap, if 
the tray be very dirty ; then rub it with a cloth ; 
if it looks smeary, dust on a little flour, then 
rub it with a cloth. If the paper tray gets 
marked, take a piece of woolen cloth, with a 
little sweet oil, and rub it over the marks. If 
anything will take them out, this will. 

Shells, to Clean.— Dark, colored organic mat- 
ter on the outer surface is first removed by 
making a thick mixture of one part bleaching- 
powder to two parts water and soaking the 
shell therein. On removing wash and scrub it. 
Thick incrustations of lime must be picked off 
with a sharp-edged hammer or some similar 
tool, and then the shell must be dipped in boiling 
dilute hydrochloric acid. Valuable shells may 
have the face or pearly portion covered with 
shellac varnish, which may be removed with al- 
cohol after the acid bath. For strong, heavy 
shells use 1 acid to 3 of water ; for delicate shells 
use 1 part acid to 10 of water. Dip the shell for 
a second only, wash and examine; if not enough, 
give it a second dip. Hold it in' wooden forceps 
or attach it to a stick in any way to serve as its 
handle. The important point is not to let the 
acid stay long on the shell. For local spots it 
may be applied with a brush. 

Tor Stains, to Remove.— It is said that tar is 
instantaneously removed from hand and fin- 
gers by rubbing with the outside of fresh 
orange or lemon peel, and wiping dry imme- 
diately after. It is astonishing what a small 
piece will clean. The volatile oils in the skins 
dissolve the tar, and so it can be wiped off. 



Coal. 



681 



Copying". 



Windows, Paste for Cleaning, readily made 
and very efficient, is recommended in the Prag. 
ttdsch. 1. Finely powdered carbonate of mag- 
nesium is made into suitable paste with soap 
spirit (soap dissolved in alcohol) and soda solu- 
tion. A little of the paste on a sponge rubbed 
over the glass, and the glass polished with 
alcohol just before t'he paste dries, insures 
bright, clean windows. 

2. Window polishing paste is made of 99 parts 
prepared chalk and 5 parts each of white bole 
and Armenian bole, rubbed together into a 
smooth paste with 50 parts water and 25 parts 
alcohol. The paste is to be rubbed on the win- 
dow, allowed to dry, and then rubbed off with 
cloths. 

Coal, Products of. — From a single ton 
of ordinary gas coal may be produced 1,500 lb. 
of coke, 20 gal. of ammonia water, and 140 lb. 
of coal tar. By destructive distillation the 
coal tar will yield 69'6 lb. of pitch, 17 lb. of 
creosote, 14 lb. of heavy oils, 9 - 5 lb. of naphtha 
yellow, 6 - 3 lb. of naphthaline, 4'75 lb. naphthol, 
2*25 lb. alizarin, 2*4 lb. solvent naphtha, 1*5 lb. 
phenol, 1'2 lb. aurine, 1*1 lb. benzine, 1*1 lb. ani- 
line, 0*77 lb. toluidine, 0*46 lb. anthracine, and 
0*9 lb. of toluene. From the latter is obtained 
the substance known as saccharin, which is 230 
times as sweet as the best cane sugar. 

Copper, to Color.— Copper sulphate, J4 
oz. ; sodium hyposulphite, % oz. ; add 1 pt. of 
water. Clean the articles to be colored, and 
heat solution. More of the copper sulphate 
gives a gray tint. 

Cop yiiiir.— Ingenious Artistic Invention.— 
M. Felix Plateau describes in Les Mondes an 
ingenious process, of his own invention, for 
drawing on paper white lines on a black ground 
—a method so frequently used for scientific 
illustrations— by means of which both author 
and artist will be able to judge of the effect of 
such an illustration before putting it into the 
hands of the engraver. A piece of thick pa- 
per, as smooth as possible, a little larger than 
the intended illustration, is heated, say, by lay- 
ing it, with proper precautions against being- 
injured, on the top of a stove, and a piece of 
beeswax is rubbed over it until the paper is 
completely covered with a thin coating. A 
piece of glass, the size of the paper, is black- 
ened by being held over a candle, and when 
thoroughly cooled, it is laid on the wax paper, 
and rubbed firmly with the fingers, the result 
being that a blackened surface is produced on 
the paper, on which any design can be traced, 
with a needle for the finer lines, or the back of 
a steel pen for the thicker ones. 

Copying Processes.— 1. A black process 
is given in the Photocopie of A. Fisch. The 
process is technically known as heliography, is 
simple and inexpensive, while the prints are 
ink-black, and are made from drawings or 
positives and negatives. We owe this process 
to Poitevin, but it has been slightly improved. 

Sensitizing Solution. — Dissolve separately : 
(1.) Gum arabic, 13 dr. ; water, 17 oz. (2.) Tar- 
taric acid, 13 dr. ; water, 6 oz. 6 dr. (3.) Persul- 
phite of iron, 8 dr. ; water, 6 oz. 6 dr. 

The third solution is poured into the second, 
well agitated, and then these two solutions 
united are added to the first, continually stir- 
ring. When the mixture is complete, add 
slowly, still stirring, 100 c. c. (3 fl. oz. 3 dr.) of 
liquid acid perchloride of iron at 45° B. Filter 
into a bottle and keep away from the light. It 
keeps well for a very long time. 

Select a paper that is very strong, well sized, 
and as little porous as possible. By means of 
a large brush or sponge apply the sensitizing 
liquid very equally in very thin and smooth 
coats; then dry as rapidly as possible with heat, 
without exceeding, however, a temperature of 
55° C. (131° F.) The paper should dry in obscu- 
rity, and be kept away from light and damp- 
ness. Notwithstanding all these precautions, it 



does not keep very long. It should be of a yel- 
low color. 

Printing.— The tracing, made with very black 
ink, is placed in the printing frame, the draw- 
ing in direct contact with the plate ; then place 
over it the sensitized paper, the prepared side 
in contact with the back of the tracing. The 
progress of insolation is sufficiently seen on the 
sensitized paper during the exposure. From 
yellow that it was it should become perfectly 
white in the clear portions, that is to say, upon 
which there is no drawing of the transfer or 
positive cliche that is to be copied ; this is as- 
certained by raising from time to time the 
shutter of the frame. The exposure lasts 10-12 
minutes in the sun ; in summer less, in winter 
more. When the exposure is ended remove the 
print from the frame, and it should show a yel- 
low drawing upon a white ground. If in the 
sensitizing bath a few cubic centimeters of a 
rather highly concentrated solution of sulpho- 
cyanide of potassium have been added, this 
bath becomes blood-red and colors paper the 
same. In this case the print also whitens dur- 
ing exposure, but then the image, instead of 
being yellow, is red on a white ground. This 
substance, however, is, if we may so speak, in- 
ert, or without any other action; it is very 
fugitive, and even disappears in a short time in 
obscurity ; it has no other use, therefore, than 
to render the drawing or the image more visi- 
ble after exposure. 

Developing the Prints.— When the print has 
been sufficiently exposed, it is taken from the 
pressure frame and floated for a minute in the 
following solution, so that the side upon which 
is the image should alone be in contact with the 
surface of the liquid, avoiding air bubbles be- 
tween the two surfaces. The developing bath 
is composed as follows: Gallic acid (or tannin), 
31-46 gr.; oxalic acid, \ l /i gr.; water, 34 oz. 

In this bath the orange yellow or red lines 
are changed into gallate or tannate of iron, and 
form, consequent^, a veritable black writing 
ink, as permanent as it. The print is then 
plunged into ordinary water, well rinsed, dried, 
and the print is now finished. The violet black 
lines become darker in drying, but unfortu- 
nately the ground which appears of a pure 
white often acquires, in drying, a light vioiet 
tint. For prints with half tones this is of no 
importance ; but for the reproduction of plans, 
for example, it is very objectionable. 

2. The Papier Zeitung gives the following di- 
rections for making an improved "graph:" 
Soak 4 parts of best clear glue in a mixture of 5 
parts pure water and 3 parts ammonia (presum- 
ably liquor ammonia) until the glue is thor- 
oughly softened. Warm it until the glue is dis- 
solved, and add 3 parts of granulated sugar and 
8 parts of glycerine, stirring well and letting it 
come to the boiling point. While hot, paint it 
upon clean white blotting paper, with a broad 
brush, until the blotting paper is thoroughly 
soaked and a thin coating remains on the sur- 
face. Allow it to dry for 2 to 3 days, and it is then 
ready for use. The writing or drawing to be cop- 
ied is done with the usual aniline ink upon writ- 
ing paper. Bef oi-e transferring to the blotting 
paper, wet the latter with a sponge or brush 
and clean water, and allow it to stand one or 
two minutes. Place the written side down and 
stroke out any air bubbles, and submit the 
whole to gentle pressure for a few moments, 
remove the written paper, and a number of 
impressions can then be taken in the ordinary 
way. When the impressions begin to grow 
weak, wet the surface of the "graph" again. 
This "graph" does not require washing off, 
but simply laying away for 24 to 36 hours, when 
the surface will be ready for a new impressio.n. 

3. Permanently moist copying paper.— A per- 
petually damp copying paper, always ready for 
use, is described in the Paper Trade Journal. 
It is prepared by dissolving 1 lb. of chloride of 
magnesium in a moderate quantity of warm or 
cold water— about 1 lb. When dissolved, apply 



Corn. 682 



Distillery, 






this solution with a brush to ordinary copying- 
paper, whether in book form or otherwise, or 
preferably by means of cloth pads saturated 
with the liquid, then place these pads between 
any suitable number of leaves: apply pressure, 
at first very moderate, until the absorption by 
the paper is complete ; then remove the cloth 
pads and apply with the press a strong- pres- 
sure. It is then ready for use. 

Paper prepared by this process will remain 
permanently moist under ordinary tempera- 
ture, and if made dry by an extraordinary heat, 
will regain its moisture ttpeu being- subjected 
to the common atmosphere. 

One advantage of this method is that the 
sheets of paper will not adhere to each other, 
as is frequently the case when the paper is pre- 
pared with compounds containing glycerine, 
etc. The above process is patented. 

Corn Cures.— 1. Tincture pine needles, 400 
parts ; liquid ammonia caustic, 400 parts ; tinc- 
ture of iodine, 200 parts. Also suitable for 
frost bites. 

2. Salicylic acid, 9 parts ; extract cannabis in- 
dica, 1 part ; collodion, 48 parts. Cleanse and 
dry the foot thoroughly before applying. 

3. Resin, 6 parts ; balsam of fir, 5 parts ; then 
stir in salicylic acid as it cools, 10 parts. 

4. Resin cerate, 40 parts ; galbanum plaster, 
40 parts; verdigris, 15 parts; turpentine (the 
oleoresin), 5 parts ; creosote, 3 parts. 

5. Salicylic acid, 2 drm.; arsenious acid, 1 
drm.; vaseline, 1 oz. 

6. (C. W. Moister.) White wax, 3 oz.; Venice 
turpentine, )4 oz.; white resin, 34 oz.; salicylic 
acid, 1 drm.; balsam of Peru, 34 oz. Melt to- 
gether over a slow fire or water bath. Apply 
twice a day for three days ; then soak the feet 
in warm water and pick out the corns. 

Corn, Wart and Bunion Cure.— Gun cotton, 
200 gr.; sulphuric ether, 1234 oz.: alcohol, 334 
oz.; salicylic acid, 2 av. oz.; zinc chloride, 1 av. 
oz. Mix the ether and alcohol and dissolve the 
gun cotton in the mixture. This will require 
a day or so. Then add the salicylic acid, and 
when it is dissolved, the chloride of zinc. Keep 
tightly stoppered and away from the light or 
flame. 

Cosmetics.— Cream Balm. — White wax, 1 
dr.; paraffin, 34 dr.; oil sweet almonds, 2 dr.; 
adding vaseline and stirring well until cold. 
Having dissolved in a mortar 34 drm. soda 
nitrate in 34 drm. of water, mix the above 
salve thoroughly with this solution, and finally 
add : oil of lemon, 10 m.; oil of orange, 2 m. 

Balm, Magnolia. — Florida water, 1 oz.; alco- 
hol, 1 oz.; rose water, 2 oz.; glycerine, 34 oz.; 
prep, chalk, 2 oz.; zinc oxide, 1 oz.; soft water, 
2 oz. Tint with carmine if desired. 

Comedo Wash. (From Cosmetics.)— Potassium 
carbonate, 3 drm.; distilled water, 3 oz.; oil 
cinnamon, 2 drops; oil rose, 1 drop. To be 
used with a damp sponge for hypersecretion 
of fat from the skin. Useful in comedo and 
acne. 

Blackheads.— 1. Boracic acid, 1 drm.; alcohol, 
1 oz.; rose water, 2 oz. Use with friction twice 
a day on the skin affected. 

2. (Pharm. Bee.)— Thymol, 10 gr.; boric acid, 
120 gr.; tincture witch hazel, 1 fl. oz.; rose wa- 
ter, 4 fl. oz. Mix. Mop it well over the surface 
twice daily. 

An Ointment for Removing the Dark Color in 
Acne Punctata. (Medical Bulletin.)— Lanolin, 
10 parts ; vaseline, 20 parts ; solution peroxide 
of hydrogen, 20-40 parts. If the " blackheads" 
be complicated with papules and pustules, 
Unna recommends the employment of sulphur 
or sublimate for the removal of the latter. 

Acne.— In acne of persons with feeble diges- 
tion and torpid bowels, 10 drops of fluid ex- 
tract of Hydrastis canadensis, thrice daily, has 
proved of service. 

Acne, Pimply. (Nat. Druggist.)—!. Wash the 



affected parts with warm suds ; rub well, and 
frequently in so doing express the contents of 
the pimples and apply the following mixture : 
Flowers of sulphur, 25 gr.; tincture of cam- 
phor, 134 dr.; lime water, 234 oz. Mix. 

2. In place of the mixture the following po- 
made may be used: Sulphur, 25 gr.; carbolic 
acid, 10 drops; potassium carbonate, 25 gr.; 
lard, 1 oz. Mix, and make an ointment. 

Cream Toilet.— Benzoinated lard, 6 oz.; oil of 
sweet almonds, 1 oz.; glycerine, 1 oz.; tincture 
benzoin, 1 oz. Mix the first two and the last two 
separately; then blend together with a wooden 
paddle and perfume as desired. 

Glycerine Jelly (Carbolated).— Isinglass, 1 oz.; 
glycerine, 16 oz.; water, 3 oz.; carbolic acid, 
1 dr. 

Glycerine Jelly (Solid).— French gelatine, 120 
gr.; glycerine, 134 oz.; water, 34 oz.; otto of 
rose, 1 drop. 

German Glycerine Lotion.— - 3 grm. of cochi- 
neal is beaten up in a mortar with 45 grm. of 
boiling water, which is added to it gradually in 
small quantities at a time. Next 75 grm. of 
alcohol (rectified) are added. This constitutes 
one-half of the preparation. On the other 
hand an emulsion is made of 8 drops of otto of 
rose, 2 grm. of gum arabic, and 240 grm. of 
water to which is added 90 grm. of pure gly- 
cerine and then 40 grm. quince mucilage. The 
two preparations are next carefully mixed and 
bottled in clean stoppered bottles ready for 
use. The bottles should be kept full and in a 
cool place where they are not exposed to the 
sun's rays. This is an elegant and useful pre- 
paration when the instructions above given are 
scrupulously carried out. 

Rose Jellu— Flaxseed jelly, 1 pt.; glycerine, 4 
oz.; salicylic acid, 5 gr.; oil rose geranium, q. s. 
to perfume. Mix. 

Kaloderm.— Wheat flour, 4 lb.; almond bran, 
1 lb.; orris root, line powder, 1 lb.; extract rose, 
1 pt.; glycerine, 6 fl. oz. Form into a dough, 
which is thinned with water and painted on the 
skin. 

Crystalline Coating for Paper and 

Wood.— Professor Bottger recommends the 
following, as the simplest method of giving 
paper and wood surfaces a crystalline coating : 
Mix a very concentrated cold solution of salt 
with dextrine, and lay the thinnest possible 
coating of the fluid on the surface, to be cov- 
ered by means of a broad, soft brush. After 
drying, the surface has a beautiful, bright, 
mother-of-pearl coating, which, in consequence 
of the dextrine, adheres firmly to paper and 
wood. The coating may be made adhesive to 
glass by doing it over with an alcholic shellac 
solution. The following salts are mentioned as 
adapted to produce the most beautiful crystal- 
line coating, viz.: Sulphate of magnesia, ace- 
tate of soda, and sulphate of tin. Paper must 
first be sized; otherwise it will absorb the 
liquid, and prevent the formation of crystals. 
Colored glass thus prepared gives a good effect 
by transmitted light. 

Distillery, a Portable.— Photographers 
away from cities are often at their wits' end to 
procure water of assured purity. The follow- 
ing cheap, portable and not in the way device 
may help them in their difficulties. A cylinder 
13 inches high by 7 inches in diameter, with 
bottom made preferably of copper, with three 
legs of strap iron high enough to raise the cyl- 
inder 6 inches f 1*0 m the ground. To the top of 
the cylinder a conical lid 834 inches in diameter 
(outside) and 5 inches in height from base to 
apex of cone, provided with a flange to fit 
snugly inside the cylinder. Near the base of 
the cone a tube 3 inches long is inserted. 
About 5 inches from the top of the cylinder a 
tube 10 inches long is passed through, termi- 
nating in a small furnace exactly under the 
apex of the cone when the cover is on. The 
other end projects about three inches on the 



Drills. 



683 



Etching 



outside of the cylinder. Fill the cylinder about 
one-half full with ordinary water. If pressed for 
time, hot water may be used. Adjust the cover 
and place the apparatus over a gas or oil stove, 
and, by means of an India rubber tube con- 
nected with a tap, pass a gentle stream of cold 




SECTION OP CYLINDER BODY, ETC. 

A. Thirteen inches high and seven inches in diam- 
eter. B. Conical lid, eight and a half inches in 
diameter and five inches in height from apex to 
base of cone. C. C. Flanges to fit snugly inside 
the cylinder. D. Tube three inches long. B. 
Tube ten inches long, terminating in a small 
funnel. Still was invented, I believe, by Mr. C. 
C. Neves, of England. 

water into the cover, allowing the overflow to 
pass out through the tube in the cover. When 
the water boils, the steam rises and settles on 
the cone cover, where it is condensed by the 
cold "water in the cover, and it is then collected 
in the funnel and runs down the long tube 
into a bottle or other receptacle. 

Drills, to Harden. See Hardening. 

Drinks, Temperature of. — A writer in 
a German paper gives the following as the 
proper temperatures for different kinds of 
beverages : Water, 54°; seltzer water and beer, 
57° to 60°; red wine, 62° to 66°; white wine, 60°; 
champagne, 46° to 50°; coffee, 73° to 79°; beef 
tea, 100° to 125°; milk, 60° to 64°; hot milk, 93° 
to 95°. 

Electro - Metallurgy.— Aluminum, Elec- 
tro-Plating with.— The essential features of a 
new system of electro-plating with aluminum 
are as follows: A solution of ammonia alum 
in warm water is prepared, containing 20$ of 
alum. To this is added a solution containing 
about the same quantity of pearlash and a 
little ammonium carbonate. The mixture re- 
sults in effervescence, and in the deposition of 
a precipitate. The latter is filtered off and well 
washed with water. 

A second solution of ammonia alum, contain- 
ing 16$ of alum and 8% of pure potassium cya- 
nide, is now prepared warm and poured over 
the precipitate previously obtained, the mix- 
ture being then boiled for 30 minutes in a closed 
iron vessel, jacketed to insure uniformity of 
heating. 

The proportions suitable in the above solu- 
tions are as follows : First alum solution. — Am- 
monia alum, 2 kg.; warm water, 10 kg. Pearl- 
ash solution.— Pearlash, 2 kg.; warm water, 10 



kg.; ammonium carbonate, 8 to 10 grm. Second 
alum solution.— Ammonia alum, 4 kg.; warm 
water, 25 kg.; potassium cyanide, 2 kg. 

At this stage about 20 kg. of water are added 
and about 2 kg. more of potassium cyanide, 
and the whole is kept on the boil for about a 
quarter of an hour. The liquid is then filtered 
from the precipitate, and is now ready for use 
in the electrolytic bath. 

The anodes are perforated or slotted plates 
of aluminum, arranged so that they can be 
conveniently raised or lowered. The cathodes 
receive the deposit. 

The anodes and the cathodes are connected 
respectively to the terminals of a battery or of 
a dynamo machine, and the current is thus 
transmitted through the bath, which is kept 
throughout the operation at a temperature of 
about 80° to 150° Fah. 

By attaching to the aluminum anode pieces 
of other metals, e. g., gold, silver, nickel, cop- 
per, etc., the tint of the deposited metal can be 
somewhat varied. When the deposit presents 
a gray tint it is brightened by dipping the plated 
article in a solution of caustic soda, which has 
also the effect of impeding oxidation.— Electri- 
cal Review. 

Electrotyping Non-conducting Materials, New 
Process for. — For electrotyping on non-con- 
ducting materials, such as china and porcelain, 
a new and ingenious process has been lately in- 
troduced in France. Sulphur is dissolved in oil 
of spike lavender to a sirupy consistence ; then 
chloride of gold or chloride of platinum is dis- 
solved in ether, and the two solutions mixed 
under a gentle heat. The compound is next 
evaporated until of the thickness of ordinary 
paint, in which condition it is applied with a 
brush to such portions of the china, glass, or 
other fabric as it is desired to cover, according 
to the design or pattern, with the electro- 
metallic deposit. The objects are baked in the 
usual way before they are immersed in the 
bath. 

Enamels. — Kristaline.— Kristaline is a hard, 
transparent celluloid enamel, which can be 
applied as a lacquer on all kinds of art metal 
work without affecting the most delicate finish, 
and can be relied upon to protect it from acid 
fumes, coal gas, eau de cologne, alcohol, oil, 
water, fly specks, etc. It is applied by dipping, 
is invisible and leaves no mark in drying. Kris- 
taline is specially designed to preserve the 
highest class of art metal work from tarnishing 
and is recommended not only to preserve the 
high polish, but also to protect and preserve 
the delicate shades of color produced by elec- 
tricity and artificial oxidation. It is largely 
used on solid silver, plated ware, etc. It is the 
property of the Celluloid Zapon Co., of New 
York. 

See also Lacquers and Varnishes. 

Essences.— Pine Needle Essence.— Fir wood! 
oil, 70 grm.; oil of juniper berries. 8 grm.; oil 
of rosemary, 5 grm.; oil of lavender, 2 grm.; 
oil of lemon, 2 grm.; oil of bergamot, 1 grm.; 
alcohol, 1,500 grm. 

This, according to Scherer (Rundschau), con- 
stitutes a most refreshing and purifying spray 
for sick rooms, or, in fact, for all living apart- 
ments. The original directs macerating the 
above with 200 grm. of fresh pine tops and dis- 
tilling. A cheap substitute is made by using- 
oil of cedar and perfuming with oil of laven- 
der. 

Rennet, Essence of.— One calf's rennet; lac- 
tic acid, 1 drm.; glycerine, 1 oz.; vinum Xericum 
(sherry wine containing 17% alcohol) 2 oz.; water 
to make 36 fl. oz.; macerate the minced rennet 
with about 3 oz. of salt for 10 days, filter and 
color with cochineal. 

Etching.— Egg Sliells, Etching on, etc. — 
Cover the shells or other articles with appro- 
priate designs in tallow, or varnish, and im- 
merse in strong acetic acid ; they will then 
come out in strong relief. 



Electro-Metallurgy. 



684 



Electro-Metallurgy. 



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Electro-Metallurgy. 



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Electro-Metallurgy. 



Elect ro-Metall u rgy. 







Table Showing the Composition 


op Nickel Baths por 






12 3 4 5 


6 


7 8 


9 10 11 12 13 










PARTS BY WEIGHT 


















3 
xn 


1 

3 










i 


No. 


Authority. 


Special 

Application 

of Bath. 


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1 


Adams, . . . 
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50-80 




2 


• • • . 




33 




3 


Desmur, . . . 
"Electricias," . 
Hospitalier, . . 
Langbein, . j 

Nagel, .... 
Pfanhaueer, 

Potts, .... 
Powell, . . . 


Small goods 

Printing sur- 
faces 










i 




70 

50 

100 






8 








4 
















5 
















6 


\» 












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7 




4-5 












50-60 
50 












1 

i 
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8 










54 
50 
50 


.... 


... 


50 






9 


27'5 










10 








11 


.... 










12 














13 








15 
15 




15 
25 


30 










14 






. . . . 


• • . . 






3 


26 


15 


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Volkmer, . . 


.... 
















40 


.... 












16 














111 










17 


Watt, . . . -j 


Tin, britannia 
metal, etc. 

Iron 


[•• 














33*3 














18 


it 














40 














19 


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.... 














50 


50 














20 




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• • • • 








! 


21 


It 
(t 


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Zinc 














42 


50 




17 


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24 


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1 






25 










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Notes to Table. -The black figures in the last column refer to the numbers of the vertical 
nearly boiling, are generally employed at the ordinary temperature. 



Electro-Metallurgy. 



687 



Electro-Metallurgy. 



Separate Current Process, as Recommended by Various Authorities. 
14 15 16 17 18 19 20 21 22 23 24 25 



OF INGREDIENTS 




















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q.s. 

q.s. 

q.s. 


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03 

ft 

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Special Method of Preparation. 


50 
22-33 

25 

42 


.... 






.... 


.... 


•_*•■ 


4-5 

5 
7-5 


25 


2000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 
1000 


j Neutralize, if necessary, with am- 
( monia. 

Dissolve 12 in 25 ; than add rest. 

Warm sol. of 8 in 25 ; add 11 slowly. 

j Stir all with 150 of 25 : then add rest 
1 of 25. 

Boil, cool, and filter. 


19-22 


36-5 
















25-30 




20 

6'6 
6 
50 
15 
25 

17 




25 


q.s. 




Add 1 5 last, till just neutral. 








7'5] 




j Pour sol. of 1 5 into sol. of 8 till just 
1 neutral ; avoid alkalinity. 




.... 








q.s. 

q.s. 

5 


.... 


(Boil 7 and 17 with 25, add 15 till 
1 neutral ; then 23 till just acid. 




















15-30 


.... 




(Mixed cobalt-nickel precipitate.) 


colui 


nans 


repres 


sentinj 


? th< 


i vai 


•ious 


rea 


stents. 


Al 


L the 


sol 


utions, except No. 3, which may be used 



Electro-Metallurgy. 



688 



Electro-Metallurgy. 



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Explosives. 



689 



Explosives. 



Explosives. 

Composition. — The following table shows the composition of the more important kinds. 



Name of Powder. 


P 

d 
m 


p 

+3 

"3 
m 


.3 £ 


p © 
•P.+ 3 

w ci 

32 

P-iO 


6 
d 

i "3 
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£>> 


o 

-P 

o 
o 

a 
d 

O 


S3 
O 

p 

s 

o 


+3 

03 

P 

■a 

W. 


Other Ingredients 
and Notes. 


Bennett ..... 


X 

X 
X 
20 
16 
X 

9-2 
9'6 

9 
10 


X 

X 
X 

X 

48-6 
56 
66 
34 


525 

85 

265 
18-1 

8 
40 


/ 






X 

18 
X 

14-7 
15 
16 

8 


X 


Ordinary powder, with 7 
per cent, of gypsum. 


Davey . . . 
Pyronome 
Oxland . . . 
Robert Dole . 

Schwartz (I.) . 

" (II.) • 

Kup .... 


. . 


+ starch. 
+ 27 "5 tan. 
+ 20 lignite. 

+ 18 dehydrated sodium- 
sulphate. 


Budenberg .... 


+ 4 lignite + 4 sodium tar- 
trate. 


Kellow and Short 


10 

8 

7 

135 

16 

20 
17 

X 


10 

(J 

X 

40 
40 

48 

50 
50 

32 
51 

18 

2 
49 

1 

367 5 

20 
X 

X 


20 

1 

2 

34 
60 
64 

1-7 
X 


10 
X 

1 

77-5 

1 
9 

70 
-ST). 


78 
80 
40 
36 
35 
52 
77 

33 

89 

75 

50 

20 

5 

225 

95 
56-5 

90 
X 

92 


20 

525 

7 

5 
35 

X 
8 


X 

22 
X 

8 
10 

12-5 
15 

1-5 

21 
22 

4 
18 

2 

10 


21 
14 

8 
11 
12 

7 


+ 64 tan. 

+ sodium carbonate or 




starch. 

+ 76 barium nitrate. 


Neumeyer .... 
White powder . . . 


+ potassium cyanide. 
+ 1 potassium cyanide + 
1 sugar. 

+ 22 sand. 


Giant powder . . . 


+ 13 cellulose + 7 paraffin. 

+ 48 mica. 

+ 2 cellulose + 20 magne- 
sium carbonate. 
Rest unknown. 


Dessignolles .... 


+ 5u potassium picrate + 
charcoal if used for cannons 
or small firearms. 

+ 50 ammonium picrate. 


Tonite . . . . . . 

Explosive gelatine . 


+ 47*5 barium nitrate. 

+ 4 camphor. 

+ 2 magnesium carbonate. 


" B. ..... 

Judson (No. 2) . . . 

(No. 3) . . . 

Rackarock .... 


+ 2 magnesium carbonate. 


Gelignite ..... 
Pyrolite (I.) .... 




(II.) .... 


+ 6 sodium sulphate. 


Saxifragine (I.) . . 

(II.) . . 

American powder . 

Erhardt ..... 
Hahn . . ... 


+ 77 barium nitrate. 
+ 76 barium nitrate. 
+ 23 sugar + 28 potassium 
cyanide. 

+ 2 tannin material. 

+ 46 spermaceti + 168*5- 


Horsley <,.„.. 
Spence ...... 

Roburite . . . . . 

Carbodynamite . . 
Meg'anite ..... 


antimony sulphide. 

+ 3 powdered galls. 

+ 2 oil + 5 sodium carbo- 
nate. 

+ nitronaphthalene. 


Cordite or Abel . . 
Green powder . . . 


+ tan. 

+ 20 picric acid + 10 po- 
tassium cyanide. 



Note.— x denotes that the amount of ingredient present is unknown. — Industries. 



Extracts, 



690 



Gilding. 



Glass.— Comparatively cheap etching solu- 
tions can be prepared, which are equal in 
effect to the expensive fluorine salts. Two 
solutions are first prepared, (a) consisting- of 10 
grm. soda in 20 grm. warm water, (b) consist- 
ing of 10 grm. potassium carbonate in 20 grm. 
warm water. Solutions (a) and (b) are now 
mixed, and to the mixture is added 20 grm. con- 
centrated hydrofluoric acid, and afterward 
a solution (c) consisting of 10 grm. potassium 
sulphate in 10 grm. water is added. 

Stone, Etching on.— When thoroughly clean, 
mix and apply a small quantity of gum arabic, 
with diluted nitric acid, and transfer your de- 
sign to the stone. 

Extracts.— Arrack Punch Extract. — One 
pineapple; cut into small cubes and ex- 
tract with deodorized alcohol, 3 qt.; arrack, 2 
qt. Filter and add sugar, 10 lb ; water, enough 
to make 10 qt. 

Bum Punch Extract.— Rum, 3 qt.; moselle 
wine, 2 qt.; orange flower water, 8 oz.; sugar, 
10 lb.; oil lemon, fresh, 8 min.; water, enough 
to make 10 qt. 

Tea Punch Extract.— Arrack, 2qt.; rum, 3 qt.; 
sugar, 10 lb.; essence lemon (prepared from rind 
of 4 lemons and 4 oranges and *70 p. c. alcohol 
to make 1 pt.), ^4 oz.; citric acid, % oz.; infusion 
tea (10:10), 1 pt.; water, enough to make 10 qt. 

Ferroline. See Lacquers. 

Filter Papers, to Fold.— A circular fil- 
ter paper is readily made to fit the funnel by 
folding it across one diameter as shown at 
A B in 1, then on folding it again at right 
angles as at C D in 2, it has the form of 3 ; 
now, on inserting the finger between the 
folds of the paper it may be opened out to the 
conical shape shown in 4, and is thus ready to 
place in the funnel. If, however, the paper 
should not fit well into the cone of the latter, 
it may be refolded along the line, E F, as in 5, 








or along any other suitable line, and may thus 
be adapted to suit a funnel constructed with 
any angle at its apex. Strongly acid solutions, 
such as those used in the bichromate battery, 
cannot be thus filtered, as they destroy the 
paper ; but the solution of the potassium bi- 
chromate may be passed through a filter before 
adding the acid to it. If it be necssary to clear 
any solution which attacks paper, a plug of 
spun glass or of asbestos may be lightly ram- 
med into the apex of the funnel, and will form 
an efficient filtering medium in lieu of paper. 

Fireprooiing. — Textile Fabrics. — Man- 
ganous chloride, 33$; phosphoric acid, 20$; 
boric acid or borax, 10$ ; magnesium chloride, 
12% ; chloride ammonium or magnesium sul- 



phate, 25$. The materials are immersed for 
6 to 8 hours in this solution at the temperature 
of ebullition. They quickly become impreg- 
nated with double salts, insoluble in water, and 
the incrustations that are formed effectually 
protect the materials treated against fire. 
When exposed to a quick fire, they carbonize, 
but produce no flame.— Winckelman. 

Frost Bites.— Carbolic acid, 20 drops ; ving. 
plumbi, J/4 oz.; oil olive, 34 oz.; oil rose gera- 
nium, 6 drops ; vaseline, lanolin, q. s., or 2 oz.; 
rub all together thoroughly. Apply to parts af- 
fected mornings and evenings. 

Oil ding on Ola ss.— Glass can be gilded in 
two ways, by means of fire and by an adhesive 
varnish. It is gilded by fire, by tempering 
powdered gold with borax and gum water. 
The mixture is applied to the surface of the 
glass with a soft pencil brush ; when dry, the 
article is put into a stove heated to the temper- 
ature of an annealing oven ; the gum burns 
off, and the borax cements the gold firmly to 
the article by vitrification ; after this process, 
the gold on the article is burnished. Gilding is 
also effected by an adhesive drying varnish, 
which is prepared by dissolving gum anime in 
drying linseed oil. This mixture is diluted with 
some oil of turpentine, and applied as thin as 
possible to the parts that are to be gilded. When 
dry, the article is to be placed in a stove or 
near a fireplace, till it is warm enough to almost 
burn the fingers when handled, at which tem- 
perature the varnish is glutinous, and a piece 
of gold leaf applied will instantly adhere. 
When nearly cold, it is burnished, but care must 
be taken to intervene a piece of very thin India 
paper between the gold and the burnisher. 
Gold size is also used as an adhesive substance. 
The requisite burnishing tools can be bought 
at any large painters' supply house. 

Below are given four methods of performing 
this operation : 

1. Take 2 oz. isinglass, and dissolve in just 
sufficient water to cover it; when dissolved, 
add 1 qt. rectified alcohol and 1 qt. water. 
This size must be kept in a bottle well cork- 
ed. Thoroughly clean and polish the glass, 
and lay it on a perfectly level table. With a 
brush dipped in the size flood the glass over, and. 
then with a tip carefully lay on the gold leaf, 
which will instantly adhere to it. Then place 
the glass on its edge to dry, and leave it for 
twenty-four hours. On a piece of paper draw 
the required pattern, and with a pricker pierce 
holes along the outline. Then lay this on the 
gold surface, and dust some powdered whiting 
over it, so that it may penetrate the holes, and 
leave the pattern on the gold underneath. 
Carefully remove the paper, and fill in the out- 
lines of the design with gold size, mixed with 
orange chrome and thinned with boiled oil and 
turpentine. When quite dry, remove the sur- 
plus gold with a piece of cotton wool dipped in 
water, and back the glass with the ground 
color. 

2. First sketch on paper the exact size and 
shape of the figures or letters required ; then 
prick holes (in the outlines) through the paper 
with a pin ; take the paper and cover the glass 
on the front side with it ; now dust the paper 
over with whiting, so that it goes through the 
holes in the paper on to the glass ; remove the 
paper, and coat the back of the glass with gum 
size, and before the gum is dry take gold*leaf 
and place it on the gum size, so that the leaf 
covers the dust marks on the glass. Do not be 
particular about the shape of the gold leaf then; 
only see that the letters are covered. When 
dry, paint the exact shape of the letters on the 
back of the gold leaf with gold size, to which 
has been added some chrome yellow. When 
perfectly dry, take a little cotton wool and 
water and wash off all the superfluous gold leaf. 
You can then shade or back the letters with any 
color. 

3. Make a mixture of powdered gold, borax, 
and gum arabic in water, and brush the device 



Ola**. 



691 



Ink*. 



upon the glass, earthenware, or porcelain with 
a hair pencil dipped in the above mixture; then 
expose the article to heat in an oven or fur- 
nace, by which means the gum is consumed and 
the borax vitrified, cementing the gold to the 
glass or earthenware, after which it may be 
burnished. 

4. Breathe on the glass, apply the gold leaf, 
then hold a hot iron at the back a small distance 
off till all the moisture is dried out ; it will then 
assume a bright appearance. Then immediately 
paint on the back of it, or it will get dim. By 
this process no size, or anything of the kind, is 
needed, but only a little dexterity.— English 
Mechanic. 

Glass, to Coat Metal Surface* with. 
—The following method has been suggested 
for coating metal surfaces with glass, which 
may be found to answer various purposes. 
Take about 125 parts, by weight, of ordinary 
Hint glass fragments, 20 parts of sodium car- 
bonate, and 12 parts of boric acid, and melt. 
Pour the fused mass out upon some cold sur- 
face, as of stone or metal, and pulverize 
when cool. Make a mixture of this powder 
with silicate of soda (water-glass) solution of 
50° B, With this coat the metal to be glazed, 
and heat in a muffle or other furnace until it 
has fused. This coating is said to adhere very 
firmly to steel or iron. 

Glass, to Write on. See Inks. 

Glass, to Drill. See Hardening. 

Glue.— Le Page's Liquid Glue.— In 1887 the 
statement was made in this journal that James 
K. Pringle, Gloucester, Mass., patented a pro- 
cess for the manufacture of chlorine and glue 
from salted fish skins, consisting in treating 
the latter with sulphuric acid and manganese 
dioxide and water, whereby chlorine is liberat- 
ed, while the glue is obtained from the residue 
by expression. A correspondent of another 
pharmaceutical journal, residing at Gloucester, 
has made the statement that several thousand 
pounds of the skins of the cod and cusk are 
annually consumed by the above firm, and ex- 
presses the opinion that the glue is produced 
by boiling the skins, deprived of their salt, 
with water and then concentrating the liquid 
resulting. But, something else besides is re- 
quired ; and as Le Page's glue contains no acid, 
the preservative may possibly be alcohol or 
boric acid. — Western Druggist. 

Hair, Preparations for the.— Baldness, 
Lotions for. — Dr. Tom Robinson, who has made 
diseases of the hair a special study, recom- 
mends for baldness occurring in young ladies 
and premature baldness in men the following 
washes. The alkaline lotion is to be used for a 
week, and afterward the acid one. The rub- 
bing must be done with a piece of flannel or 
sponge : 

Alkaline. — Borax, 1 drm.; glycerine, 2 drm.; 
tincture of cantharides, 6 drm.; solution of 
ammonia, 1 oz.; essential oil of bay, 4 drops ; 
water, to 6 oz. Mix. 

Acid. — Aromatic vinegar, 2 drm.; glycerine, 
2 drm.; rectified spirits, 1 oz.; blistering liquid, 
B. P., 1 drm.; orange flower water, 2 oz.; rose 
water, to 6 oz. Mix. 

Elixir of Pepsin and Bismuth. (Liquor Pepsin 
et Bismuthi.')— Pure pepsin, 128 gr.; citric acid, 
120 gr.; bismuth ammonio-citrate, 128 gr.; 
stronger white wine, 8 fl. oz.; spirit of orange, 
2fl. drm.; sugar, 4 troy oz.; water of ammonia 
and water, of each a sufficient quantity. 

Dissolve the citric acid in 4 fl. oz. of water, 
and rub up the pepsin with this solution ; add 
the wine, and gently warm at a temperature of 
not over 100° F. until the pepsin is dissolved. 
Dissolve the ammonio-citrate of bismuth in 1 
fl. oz. of water, with the aid of a few drops of 
ammonia water, and add this solution to the 
pepsin solution, and then gradually add am- 
monia water until the solution becomes per- 
fectly clear and neutral, or very slightly alka- 



line. Now add the sugar, spirit of orange, and 
sufficient water to make 16 oz. Filter if neces- 
sary. 

This preparation contains 1 gr. each of sac- 
charated pepsin and ammonio-citrate of bis- 
muth to the fluid drm.— G. M. Beringer, in Am. 
Jour. Pharm. 

Barber's Itch.— (New Idea.)— 1. Resorcin, 1 oz.; 
glycerin, 1 oz.; water, 1 oz.; lac sulphur, V/% 
oz.; cologne, y& oz.; alcohol, 4 oz. 

Apply several times a day with a soft sponge. 
Bathe the parts every morning with hot water. 
To make the preparation more pleasant dis- 
solve the sulphur in 3^ oz. ether before adding 
to the mixture. 

2. (C. W. Moister.) Resorcin, V/% drm.; gly- 
cerine, 3 drm.; rose water, y% oz.; lac sulphur, 
}/% oz.; triple ext. lavender, y% oz.; bay rum, q. s. 
to make 4 oz. Mix. Apply to parts affected 
with a soft sponge twice a day. 

Bay Rum "After Shave.' 1 '' — Bay rum, 3 pt.; 
gl5 T cerine, Yz pt.; extract violet, y>, oz.; rose 
water, y% pt. Mix and filter if necessary. 

To Color Hair Oil Bed, or Crimson.— Steep 2 
or 3 drm. alkanet root in each pint of oil. By 
warming the oil the time may be shortened to 
one or two hours. 

Mustache Wax, Hungarian. (Druggists' 1 Circu- 
lar.)— Spermaceti, 5 parts ; wax, 20 parts; water, 
50 parts; gum arabic, 15 parts; soap, 10 parts; 
glycerine, 5 parts. 

The soap is to be finely shaved and the gum 
arabic pulverized. Both are then stirred up 
with 20 parts of water to a homogeneous paste. 
The spermaceti and the wax are heated with 
the remainder of the water on a water bath 
and stirred carefully into the gum and soap 
paste. Lastly the glycerine is added, drop by 
drop. Perfumery is added to suit the taste, 
and if a brown color is desired, umber is mixed 
with the glycerine. For black, use lamp black. 

Shaving Cream. — 1. Castile soap, 1 oz.; rose 
water, 4 oz.; oil of almonds, J^j oz.; theobroma 
oil, y^, oz.; tincture of benzoin, 1 drm.: oil of 
rose geranium, 5 drops ; oil of bitter almonds, 
5 drops ; glycerine, q. s. 

Digest the soap and water on a water bath, 
add the two fixed oils (previously melted to- 
gether), and incorporate the tincture. Finally, 
add the perfumes and enough glycerine to 
bring to the proper consistence. 

2. Cream d'amande, 30 parts ; oil of almonds, 
50 parts ; glycerine, 150 parts ; rectified spirit, 
150 parts ; oil of rose geranium, 3^ parts ; oil 
of bergamot, 3^ parts ; oil of neroli, 3>£ parts ; 
oil of citronella, 3^6 parts; distilled water, 725 
parts; mix.— British and Col. Druggist. 

Hardening,— DHlls, to Harden.— Dissolve 
zinc in commercial muriatic acid to saturation. 
Heat the drill to a dull red and dip it in the zinc 
chloride solution formed as above described. 
The solution should be made in the open air, as 
the fumes are very corrosive. 

The steel must not be overheated or over- 
worked, and the drill must be sharpened before 
hardening. Whenever it requires sharpening, 
it must be rehardened. 

Turpentine alone, or with camphor added, is 
used as a lubricant. Flat drills must be used 
for dx*illing glass, hardened steel, and chill- 
ed iron. A drill hardened in this manner will 
perforate glass nearly as readily as brass. 

Heading. See Beverages. 

Inks.— Copying Ink,Violet.— Dissolve 40 parts 
of extract of logwood, 5 of oxalic acid, and 30 
parts of sulphate of aluminum, without heat, 
in 800 parts of distilled water and 10 parts of 
glycerine; let stand twenty - f our hours; 
then add a solution of 5 parts of potassium 
bichromate in 100 parts of distilled water, and 
again set aside for twenty-four hours. Now 
raise the mixture once to boiling in a bright 
copper boiler, mix with it, while hot, 50 parts of 
wood vinegar, and, when cold, put into bottles. 
After a fortnight decant it from the sediment. 



Inks. 



69;i 



Inks. 



In thin layers, this ink is reddish violet; it 
writes dark violet, and furnishes bluish violet 
copies. 

Eraser for Ink. — A blotter can be made that 
will remove ink spots from paper. Take a 
thick blotting paper and steep it several times 
in a solution of oxalic acid or oxalate po- 
tassium. While the ink spot is still moist ap- 
ply the prepared blotter, and the ink will be 
entirely removed. 

Falsified Writing.— Gobert has found that if 
writing- is ever so carefully scratched out there 
are still left sufficient traces of the oxide of 
iron in the ink to become visible in a photo- 
graphic copy. Light reflected from paper that 
has not been written on acts in a different way 
on the photographic materials from that re- 
flected from places which have been once 
covered with ink. 

Forgeries.— If a forger has used a different 
ink to that used by the original writer of the 
document, his error can be made manifest in 
the following manner : Get nine J^ oz. or 1 oz. 
vials and fill separately with (1) dilute sulphuric 
acid; (2) concentrated hydrochloric acid; (3) 
dilute nitric acid ; (4) solution of sulphurous 
acid ; (5) solution of caustic soda ; (6) concen- 
trated solution of oxalic acid ; <7) solution of 
chloride of lime ; (8) solution of tin crystals ; 
(9) solution of protochloride of tin. Take 
nine quill pens, each one for its particular re- 
agent. Now, with a rule, draw lines crossing- 
original and suspected portions ; the difference 
will show itself at a glance. — Chem. Rev. 

Glass, Writing on, with Common or Indian 
Inks.— Warm the glass from 120° to 140° F., until 
vapor is no longer deposited. Then bathe the 
surface with the following varnish, moving the 
plate as when applying collodion in photo- 
graphic work. The varnish consists of 80 grm. 
95$ alcohol, 5 grm. mastic in sheets, and 8 grm. 
dammar. The solution is made in a firmly 
corked bottle on the water bath, and then 
filtered. This varnish is very hard, brilliant, 
and transparent. Drawings in common or 
Indian ink can be made on this surface. After 
completion, a thin layer of gum is added. This 
method can be used for marking bottles, de- 
signs for projecting on a screen, or for photo- 
graphic purposes. 

Gold, Silver, and Copper Ink.— Take honey, 1 
drm.; alcohol, 1 drm ; mucilage, 1 oz.; water, 8 
oz.; bronze, 1 oz. Rub the honey, alcohol and 
mucilage together in a mortar, then add the 
water. To be shaken before using. 

Gold Indelible Ink. — The Prague Rundschau 
gives the following : 1. Chloride of gold and 
sodium, 1 part ; water, 10 parts ; gum, 2 parts. 
2. Oxalic acid, 1 part ; water, 5 parts ; gum, 2 
parts. 

The cloth or stuff to be written on should be 
moistened with liquid No. 2. Let dry and then 
write upon the prepared space with liquid No. 
1, using preferably a quill pen. Pass a hot iron 
over the mark, pressing heavily. 

Marking Ink. — Blue.— Silver nitrate, 4 grm.; 
ammonia, 12 grm.; sodium carbonate, 4 grm.; 
powdered gum arabic, 6 grm.; cupric sulphate, 
20 grm.; distilled water, 16 grm. Dissolve the 
silver salt in the ammonia, and the soda, gum, 
and copper salt in the distilled water, and mix 
the two solutions.— Dorvault. 

For Marking Bales.— Shellac, 2 oz.; borax, 2 
oz,; water, 25 oz.; gum arabic, 2 oz.; Venetian 
red, sufficient to color. 

Ribbon Ink.— Vaseline or petrolatum oint- 
ment of high melting point. Melt by the aid 
of gentle heat. Add as much lamp black as 
possible without granulation. While cooling, 
add mixture of equal parts of turpentine and 
benzol till of the consistency of fresh paint. 
Apply to the ribbon with a brush. Used for 
stamping railway tickets. For the method of 
inking type writer ribbons, see page 285. 



Stamping Ink.— Indelible.— E. Johanson, St. 
Petersburg, gives the formula for a convenient 
ink for marking clothing by means of a stamp: 
22 parts carbonate of soda are dissolved in 85 
parts glycerine, and triturated with 20 parts 
gum arabic. In a small flask are dissolved 11 
parts nitrate of silver in 20 parts officinal water 
of ammonia. The two solutions are then mixed 
and heated to boiling. After the liquid has 
acquired a dark color, 10 parts Venetian tur- 
pentine are stirred into it. The quantity of 
glycerine may be varied to suit the size of the 
letters. After stamping, expose to the sun or 
apply a hot iron.— Pharm. Bee. 

Polygraphia— (1) 10 parts violet de Paris, 30 
parts water (Lebaigue). (2) 1 part violet de 
Paris, 7 parts water, 1 part alcohol (Kwaysser 
and Husak). (3) 2 parts acetate of rosan'iline, 
10 parts water, 1 part alcohol (Kwaysser and 
Husak). The first two produce a violet, the 
last a red copy. 

An indorsing ink, which does not dry quick- 
ly on the pad, and is quickly taken by the 
paper, can be obtained by the following recipe: 
Aniline color in solid form (blue, red, etc.), 16 
parts; 80 parts boiling distilled water, 7 parts 
glycerine, and 3 parts syrup. The color is dis- 
solved in hot water, and the other ingredients 
are added while agitating. This indorsing ink 
is said to obtain its good quality by the addition 
of the syrup.— Pap. Zeit. 

White Ink for Marking Lantern Slides— JJse or- 
dinary Chinese white for marking lantern slides, 
or the following solution can be employed for 
writing on the film: Potassium iodide, 10 
parts; water, 30 parts; iodine, 1 part; gum 
arabic, 1 part. Use an ordinary pen, writing 
on the dark portions of the film. The solu- 
tion converts the silver into silver iodide, thus 
producing white letters on a black or dark 
ground. 

Grind zinc white (oxide of zinc) with water 
till quite smooth, and add a little clean gum 
arabic, enough to give it a body and bind it. 
Try 4 parts of picked gum to 120 parts of 
water, adding enough zinc to give good bril- 
liant white. 

The following is an excellent formula : Chi- 
nese white, 1 oz.; isinglass, 2 drm.; alcohol, 1 
drm.; water, q. s. 

Soak the isinglass in a little water until soft, 
then heat on a water bath until dissolved. 
When thoroughly dissolved mix into a paste 
with the Chinese white, well stirring it around 
with a piece of stick. When well mixed, add 
water in small quantities, well stirring at each 
addition, and trying it with a clean steel pen 
until it writes satisfactorily, then add the alco- 
hol; or use: Barium sulphate, loz.; isinglass, 
2 drm.; water, q. s.; mix as above. 

The worst of all white inks is that they rub 
off when touched. This can only be prevented 
by giving the writing a protective coating of 
varnish. The best to use for the purpose is 
that known as " water varnish ;" it can be 
bought at most photo, dealers, or made by boil- 
ing: Shellac, 16 oz.; borax, 3 oz.; water, 3 pt., 
together until dissolved. When thoroughly 
dissolved may be thinned with water if too 
thick.— Photography. 

Writing Inks. — Writing inks can be made 
equally well from galls and tannin, but inks 
made from galls are preferable for copying 
purposes, as they have much greater " body," 
owing to the extractive matter derived from 
the galls. The following formulas are taken 
from notes by Dieterich, quoted by the Phar- 
maceutische Centralhalle. The peculiarity of the 
first set of formulas is that they start from the 
extract of galls and solution of tannin, to 
which, after filtration, a definite amount of 
ferric chloride solution is added, and, after 
standing three weeks, these ferrated solutions 
are filtered. We shall call these ferrated solu- 
lutions "gall basis" and "tannin basis" re- 
spectively. They really are the ink, but it is 
necessary to add coloring matter to make the 



Ink*. 



C93 



Japan uers. 



writing visible. On exposure to the air, the 
writing becomes black. Chinese galls are pre- 
ferable to oak galls for ink making, as they 
contain most extractive matter. 

To make the gall extract, reduce 6 oz. of Chi- 
nese galls to No. 20 powder, and digest in a pint 
of water for 12 hours. Strain, press the marc 
and digest it again in 12 ounces of water for 12 
hours, repeating the pressure at the end of this 
time. Now add to the strained liquors 5 drm. 
powdered French chalk. Set aside in a cold 
place for 24 hours, then filter, washing the filter 
with as much water as will make the filtrate 
measure 30 oz. 

Tannin Solution.— This is made by dissolving 
3 oz. of commercial tannin (it need not be the 
purified medicinal kind) in sufficient water to 
make 30 oz. of solution. / 

Gall Basis.— To 10 oz. of the gall extract add 1 
oz. of 10 $ solution of ferric chloride, made by 
dissolving the salt in distilled water. Allow 
the mixture to stand in a corked bottle for 
three weeks, and filter. 

Tannin Basis. — Made in the §ame way, using 
10 oz. of the tannin solution and 1 oz. of iron 
solution. 

Blue-Black Office Ink.— Gum arabic, )4 oz.; 
aniline water blue, I B, 75 gr.; glycerine, 1 fi. 
drm.; water, 12J4 oz. 

Mix these with 18 oz. of gall basis or the same 
of tannin basis, and set aside in a closed vessel 
for a few weeks to clear. Then fill into small 
bottles, preferably stone bottles, so as to keep 
away from the light. 

This ink writes a beautiful blue color, dries 
very readily on the paper, and changes to a 
good blue- black. It is of good quality, and is 
well liked. It is not a copying ink. 

A red-black ink which is identical with the 
above in quality, only that it writes red, 
changes to a reddish-brown, and finally to a 
deep brown-black, can be made by using 150 
gr. of Ponceau B B (a red aniline color) in place 
of the aniline water blue. The following colors 
may also be obtained : 

Violet-black.— Mix together 2 parts of the 
red-black and 3 parts of the blue-black inks. 

Green-black. —Omit the aniline water blue 
from the blue-black formula, and use 150 gr. of 
aniline green D. 

Blue Green-black.— Mix together 2 parts of 
blue-black and 3 parts of green-black. A nice 
color is also obtained by adding 8 to 15 gr. of 
aniline green to the blue-black ink. 

Deep Black.— Omit the aniline water blue 
and use in its place 5 drm. of aniline deep 
black E. 

Copying Inks.— The following are made with 
the same bases as the foregoing : 

King's Copying Ink— Gall basis, 24 oz.; aniline 
water blue, I B, 150 gr.; glycerine, 2 fl. drm.; 
gum arabic, 5 drm. ; sugar, 150 gr.; water, 8 oz. 
Mix and ,set aside for a few weeks as above 
directed. 

A ruby ink is made by using 150 gr. of Pon- 
ceau R R in place of aniline water blue. Both 
the inks and the copies ultimately turn jet 
black. Other colors are obtained with aniline 
green D, 150 gr.; deep black E, |5 drm.; and 
indigo-carmine, 150 gr. each, in place of the ani- 
line blue. 

Ink Extracts.^The following quantities are 
intended for a wine bottle of rain water. 
The powder is to be added to the water, and the 
mixture gently boiled for from 15 to 20 min- 
utes, and when cold the ink should be bottled 
and set aside for four weeks before using : 

Plain. Copying. 

Tannin 1 oz. 9 drm. 

Dried sulphur of iron 3*/£ drm. 4 drm. 

Gum arabic 76 gr. 2 drm. 

Sugar 40 gr. 75 gr. 

Aniline water blue, IB.... 40 gr. 75 gr. 

Other colors may take the place of the aniline 
blue as in the preceding formulas. — Chemistand 
Druggixt. 



Ivory, New Imitation.— 1. One of the 

disadvantages of celluloid is the fact that it 
burns very readily when a flame is applied; 
but a new compound, said to be fireproof, and 
suitable as a substitute for ivory, is thus made. 
A solution is prepared of two hundred parts of 
casein in fifty parts of ammonia and four hun- 
dred of water, or one hundred and fifty parts 
of albumen in four hundred of water. To the 
solution the following are adde,d: Quicklime, 
240 parts; acetate of alumina, 1*50 parts; alum, 
50 parts; sulphate of lime, 1,200 parts; oil, 
10U parts. The oil is to be mixed in last. When 
dark objects are to be made, from 75 to 100 
parts of tannin are to be substituted for the 
acetate of alumina. When the mixture has 
been well kneaded together, and made into a 
smooth paste, it is passed through rollers to 
form plates of the desired shape. These are 
dried and pressed into metallic moulds previ- 
ously heated, or they may be reduced to a very 
fine powder, which is introduced into heated 
moulds and submitted to a strong pressure. The 
objects are afterward dipped into the follow- 
ing bath: Water, 100 parts ; white glue, 1 part; 
phosphoric acid, 10 parts. Finally, they are 
dried, polished, and varnished with shellac. 

2. Lactite is the name of the new product 
which hails from Norway, and is said to have 
for the starting point of its materials the arti- 
cle known as skim milk. It is readily combined 
with various coloring matters, and is said to 
answer well as a substitute for ivory or cellu- 
loid, and is being adopted for similar purposes. 

Japan, Black, Substitute for. — Mix 

refined lamp-black with fine, quick-drying fur- 
niture varnish in sufficient quantity to give 
the varnish the requisite covering quality. 
Strain through cheese cloth. Apply witn a soft 
varnish brush. Allow it to dry for a day or so 
in a warm room tree from dust. 

Japanners' Gold Size.— Gum animi and 
asphaltum each 1 oz.; red lead, yellow litharge 
and umber, each V/% oz. Reduce to a fine pow- 
der, mix and put them with a pound of linseed 
oil into a pipkin, and boil gently, constantly 
stirring until thoroughly incorporated. < on- 
tinue the boiling until it becomes as thick as 
tar, as it cools. Strain through flannel, and 
keep for use, carefully stopped up. When 
wanted, grind with as much vermilion as will 
give it an opaqueness, and dilute sufficiently 
with oil of turpentine to work freely with a 
pencil. Or, take linseed oil, 1 lb.; gum animi, 4 
oz. Boil the oil, and add gradually the gum 
animi finely powdered, until dissolved. Let the 
mixture boil to the consistence of tar on cool- 
ing, then strain while warm through a coarse 
cloth for use. Previous to being used, it must 
be mixed with vermilion and oil of turpentine, 
as above. This size may be used on almost any 
substance, and no preparation of the work is 
necessary, beyond having an even and per- 
fectly clean surface. 

To Use the Size.— Put a proper quantity pre- 
pared as above into a saucer. Then spread it 
with a brush over the surface to be gilt, or 
draw with it, by means of a pencil, the designs 
intended, carefully avoiding to touch any other 
parts. Let it remain until fit to receive the 
gold, which is to be determined in the same 
manner as in oil gilding, by the finger. Then 
go over the work with a soft camel's hair pen- 
cil. The whole being covered, it must be left 
to dry, and then the loose powder lightly brush- 
ed off. When gold leaf is used, the method of 
sizing is the same, but the operation requires 
more nicety. There are various sorts of gold 
powders— pure gold powder, Dutch, mosaic, 
etc., any of which can be procured at the 
artists' color shops ready for use. AVhen the 
whole has been gilt, any parts uncovered may 
be repaired by wetting with a camel's hair 
pencil, and covering the part with gold, avoid- 
ing, as much as possible, touching the perfect 
gilding, as it frequently causes it to turn black. 



Lacquers. 



694 



Mieagraphy 



Lacquers.— Brassoline.— A hard, brilliant, 
transparent lacquer for brushing or dipping. 
It will not cloud, however damp atmosphere, 
and rnay be worned even in a draught. The 
metal need not be heated when the brassoline 
is applied, nor need the goods af terward be 
subjected to heat. It is excellent as a dip lac- 
quer, as it runs off more freely than other lac- 
quers. All brush marks smooth out in drying, 
thus allowing of excellent work being done by 
a novice. The loss from evaporation is one- 
quarter less than in other lacquers, which ren- 
ders its use a matter of economy. It will not 
show chalky scratch marks when goods coated 
with it are subjected to considerable handling. 
Made by Celluloid Zapon Co. 

bottle Lacquer.— Black Lacquer for Coating 
Bottles.— Bottles, or other glass vesseis, which 
it is desired to make impervious to light, may 
be coated, according to Ferd. Simand, with a 
black lacquer prepared in the following man- 
ner: Equal parts of asphalt and of boiled lin- 
seed oil are heated for one hour over a naked 
fire to about 200° C. (392° F.) ; then a sufficient 
quantity of lamp-black, previously triturated 
with oil of turpentine, is added, to make a 
mixture, which, when mixed with 34~Hs its vol- 
ume of oil of turpentine, will cover well. 
Usually, one coat is sufficient ; in special cases, 
two coats may be required. 

Enameloid. — A variety of zapon. 

Ferroline.—A lacquer for iron and steel bears 
this name and is a variety of zapon. 

Gold Lacquer. —Lac in grains, 180 grm. ; melted 
amber, 60 grm.; gamboge, 6 grm.; extract of 
red sandal wood, 1 grm.; dragon's blood, 35 
grm.; saffron, 2 grm.; powdered glass, 2 grm.; 
alcohol, 2 grm. For general directions for pre- 
paring lacquers, see page 296. 

Letherole.—A pliable elastic finish for fine 
leather. An elastic coating for leather that will 
wear, and that imparts a soft semi-lustrous 
finish, has long been desired but not hitherto 
obtained. It is especially desirable for seaside 
or outing shoes, as it changes the color of rus- 
set and other light leathers very little, and 
makes them waterproof and elastic, and conse- 
quently more durable. A specialty of the Cel- 
luloid Zapon Co. 

Lustrine.— Lustrine is a brilliant, transparent 
lacquer, which can be applied cold, by any of 
the ordinary methods employed by lacquerers, 
and dried without heat. It is recommended 
for every variety of metal castings, such as 
gas cocks, lamp bases, etc., and for bright 
dipped work, such as curtain rings, pole ends, 
kerosene burners, statuettes, and sheet metal 
work. Lustrine will effectually protect any 
work from the action of the atmosphere ; but 
is net recommended for burnished surfaces or 
for articles which are designed to be continu- 
ally handled. A special preparation of the 
Celluloid Zapon Co., New York. 

Opaline.— This is a hard, transparent and 
waterproof lacquer, and is air-drying. It may 
be classed as a variety of zapon. 

Silvered Articles, to Lacquer.— The parts are 
previously protected by a coating of whites of 
eggs, and the lacquer applied as usual when the 
sizing of egg is dry. 

Tin, to Lacquer.— This is done the same way 
as brass, only, as the lacquer is of a deeper 
color, it does not require so many coats. 

Zapon.— A substitute for lacquer.— Zapon has 
the following points of superiority over lac- 
quer: 1. It is much harder; being more 
properly an enamel than a lacquer. 2. It is so 
smooth and hard that it cannot be detected on 
the metal. 3. It does not soften in any climate, 
and does not show scratches as lacquer does. 

4. Fly specks go through lacquer and make 
large blotches on metal; zapon prevents this, 
and fly specks are readily removed by washing. 

5. It is a thorough protection against damp 



air, whether salt or fresh. Made by Celluloid 
Zapon Co. 

Magnolia Metal. See Alloys. 

Manganine. See Alloys. 

Marble. — Artificial. — According to M. 
Maard, artificial marble may be produced in the 
following manner : Ten parts of burnt gyp- 
sum and one part of alum are mixed together 
in a little water. This is then calcined and 
afterward reduced to a powder. To 25 parts 
of the powder is added 22 parts of talc, 5 parts 
of magnesium chloride, 44 parts of clay, and 
I part of potassic alum. This mixture can be 
worked, polished, or painted similar to marble. 

Mastics. See Cements. 

Matches. —Matches without Phosphorus. 
—The following is the same as the well known 
IT. and P. matches and does not require a sepa- 
rate rubber or prepared surface: Potassium 
chlorate, 26 oz.; manganese, black oxide, 25 oz.; 
potassium bichromate, 20 oz.; lead cyanide, 
20 oz.; antimony oxysulphide, 20 oz.; glass 
powder, 4 oz. 

These substances are first powdered sepa- 
rately and then gradually mixed into a solu- 
tion of 1 lb. gum in 4 lb. water, to form a thick, 
smooth paste; with this paste the dry wood 
splinters are tipped, and after about eighteen 
hours' exposure to the air in a drying room, 
kept at about 80° Fah., the matches are ready 
for boxing. To render the matches non-absor- 
bent of moisture or waterproof, they are mo- 
mentarily dipped into a liquid composed of : 
Shellac, best white, 1 lb.; alcohol, or wood naph- 
tha, 1 qt., digested together in a closed vessel 
for several days with occasional agitation, 
then strained through fine linen cloth. Use 
red lead to color. 

Matting.— Matting gives a pleasing varia- 
tion to gilding or silvering ; when the work is 
quite dry, the process may be carried out as 
follows ; Take a little vermilion ground up with 
white of egg and red lead, or yellow ocher and 
red lead mixed with parchment size, or the 
terra di Sienna slightly burnt, and mixed with 
a small proportion of red lead ; apply with a 
camel's hair pencil. 

Micagrapny.— This is the name given to a 
new process of producing ornamental effects 
on sheets of mica. The use made of this new 
process has been as yet confined to the orna- 
mentation of lamps and shop windows, but it 
may be used as a cheap substitute for stained 
glass. The sheets of mica can be painted in any 
required manner, and the work preserved, it is 
said, by means of a varnish, or the painting 
may be fixed like enamel on the mica by the 
use of different pigments and the aid of a fur- 
nace, the pieces .of painted mica being after- 
ward fixed, with the colored side within, on 
the glass of the windows. This is the mode of 
proceeding: After the mica is split into lamime 
and trimmed into shape, it is glued down upon 
cardboard to be polished and printed. The for- 
mer operation is performed by means of a 
soft rubber moistened with a solution of soap 
or sulphuric acid extremely diluted with gurn 
water: the printing' is performed in the ordinary 
manner or by transfer, in order to present the 
design in the natural position, so as to be seen 
by transparency. Opaqueness is produced by 
a previous coat of varnish or a metallic ground 
obtained by means of leaf or powder. The 
colors are laid on as in illuminated works, and 
the ordinary pigments may be employed, and 
afterward covered with a' transparent spirit 
varnish, or, as before stated, enamel colors may 
be used and the sheets passed through the fire. 
It is admitted, however, that in the latter case 
one great advantage of the process, namely, 
cheapness, is in a great measure sacrified. 
When the ornamentation is completed, the 
mica is removed from the card and fixed on 
glass, or any other substance, by means of a 
solution of gum sandarac and mastic in potash 



Nickel. 



695 



Percentage. 



and alcohol. It is said that, with ordinary care, 
the junction of the pieces of mica in a mosaic 
or other work is quite imperceptible, so that, 
in the case of a painted window, there is no 
other limit but the size of the glass on which 
the mica is fixed.— English Mechanic. 

Nickel, to Render Malleable. — Mag- 
nesium is a useful addition to cobalt and nickel 
when put into the fused metals in proportion 
of one-eighth per cent. Nickel with this small 
proportion of magnesium is stated to become 
ductile and malleable, while cobalt loses its 
color and becomes whiter than nickel itself. 
Both metals at white heat can be made to ad- 
here firmly to iron or steel. 

Nails, Polish for Finger.— Peroxide of 
tin (putty powder) 6 oz.; tragacanth, in powder, 
6gr.; glycerine, 4*drm.; rose water, q. s. Mix 
and make into a paste. Color with ammoni- 
acal carmine solution. 

Paint.— Anti-corrosion. — An anti-corrosion 
paint for iron. If 1U# of burnt magnesia, or 
even baryta or strontia, is mixed cold with 
ordinary linseed oil paint, and then enough 
mineral oil to envelop the alkaline earth, the 
free acid of the paint will be neutralized, while 
the iron will be protected by the permanent 
alkaline action of the paint. Iron to be buried 
in damp earth may be painted with a mixture 
of 100 parts of rosin (colophony), 25 of gutta- 
percha, and 50 of paraffin, to which 20 of mag- 
nesia and some mineral oil have been added.— 
Neueste Erfind. 

Blackboard Covering, Bergmann' l s. — Prussian 
t»lue, chrome green, equal parts; gilder's sizing, 
alcohol, equal parts, sufficient. 

Mix the powders and add sufficient of the 
liquid to the consistency of cream. Use large, 
stiff brush ; cover quickly. In an hour's time 
give second coat. In a day or two smooth the 
surface with hair cloth. 

This formula is communicated by Mr. C. H. 
Bergmann, principal of a Charleston, S. C, 
school, to the Scientific American, and he claims 
perfection for it. It gives a velvety surface 
which will never look gray, as that made with 
lamp-black. 

Luminous Paint in all Colors. — A German 
contemporary gives the following series of re- 
ceipts for these paints, which may prove use- 
iul. All of these paints can be used in the 
manufacture of colored papers, etc., if the 
varnish is altogether omitted and the dry mix- 
tures are ground to a paste with water. The 
luminous paints can also be used as wax colors 
for painting on glass and similar objects, by 
adding, instead of the varnish, 10$ more of 
Japanese wax and one-fourth the quantity of 
the latter of olive oil. The wax colors pre- 
pared in this way may also be used for paint- 
ing upon porcelain, and are then carefully 
burned without access of air. Paintings of 
this kind can also be treated with water glass. 



Varnish 


o 
to 

j3 
a3 

o 

46 
17'5 

1 

1-5 

38 


z 

"5 
> 

48 
10 


s 

48 
10 


d 

3 

42 
102 


o 
> 

42 
10-2 


£5. 

O 

4> 
6 


4ft 


Barium sulphate 

Indian yellow 


10 


Madder lake 












Luminous calcium 
sulphide 


34 

8 


34 

8 


46 


36 


'54 


34 


Barium chromate. . . 




Chrom. oxide green.. 








Cobalt blue, 






5'4 


2-8 
9 


(5 
6-5 




Ultamarine violet 
Cobaltous arseniate . . 










Calcium carbonate. . . 
Zinc sulphide, gray. . 




-. 




.... 




Auri pigment 












8 



Luminous colors for artists' are prepared by 
using pure East India poppy oil, in the same 
quantity, instead of the varnish, and taking- 
particular pains to grind the materials as fine 
as possible. 

For luminous oil color paints, equal quantities 
of pure linseed oil are used in place of the var- 
nish. The linseed oil must be cold pressed and 
thickened by heat. 

Potato Paint. — Boil 1 kilo of peeled potatoes 
in water ; after mashing dilute with water, and 
pass through a fine sieve. Add 2 kilos of Span- 
ish white diluted with 4 kilos of Avater. and the 
result will be a color of a beautiful milk white. 
This paint may be colored by ochers, etc. Ap- 
ply with a brush.— Trade Review. 

[Not tested.— Ed.] 

Paper.— Pa inted Paper.— Unsized paper is 
coated with an aqueous solution of dextrine. 
When this coat is dry, a layer of siccative oil 
paint is applied, and the sheet so obtained may 
be used for packing purposes, to render fabrics 
impermeable to water, etc. 

Toughened Paper.— The French papers speak 
of a method of rendering paper extremely 
hard and tenacious by subjecting the pulp to 
the action of chloride of zinc. After it has 
been treated with the chloride, it is submitted 
to a strong pressure, thereafter becoming as 
hard as wood and as tough as leather. The 
material may be employed with advantage in 
covering floors, and it will also be found excel- 
lent for large sheets of roofing. It has long 
been known that paper already manufactured 
acquues the same consistency when plunged 
unsized into a solution of the chloride. 

Pastes.— Mounting Paste for Lantern Slides. 
— For attaching lantern slide bindings to the 
glass nothing is better than bichromated paste, 
which is used for attaching paper to glass in 
the manufacture of electric machines, and 
which is a most useful paste for many purposes 
in damp climates. It is made as follows: Flour, 
2 teaspoonfuls; Avater, 4 oz.; bichromate of 
potash, 5 grains. The flour must be rubbed to 
a smooth batter with the water, then placed in 
a saucepan over a fire, and kept stirred till it 
boils. Add the bichromate slowly, stirring all 
the time. Then stand to cool. This paste must 
be kept in the dark ; and used as soon as pos- 
sible. 

Soak the paper in it, attach to the glass, and 
then place in direct sunlight for a day. This 
sets up a chemical change in the bichromate 
and renders the paste insoluble.— M. V. Pott- 
man, Jour. Photo. Society of India. 

Label Paste.— A good paste is made by soak- 
ing flake tragacanth in sufficient cold water that 
the brush will not sink into the paste when 
finished. To prevent souring, add to the wa- 
ter 2 grains of hydronaphthol (dissolved in a 
little alcohol) for each pint, and a few drops of 
clove oil for scent. To keep away the flies add 
some oil of pennyroyal. Avoid, in making- 
pastes, oil of wintergreen and carbolic acid, 
for these produce a purplish discoloration by 
contact with the tinned iron of the brush. 

Pastilles. — ScoWs Disinfecting. — Wax, 50 
parts; sulphur, 20 parts; saltpeter, 10 parts; 
charcoal in powder, 10 parts ; flour paste, 10 
parts ; plaster of Paris, a trace. 

Percentage Solutions. — By Hans M. 
Wilder. ( Pnar. Rec.)— Among the several stum- 
bling blocks for the younger pharmacists (and 
some of the elder ones, too), at the prescrip- 
tion counter, the calculation of the correct 
proportion in grains and fluid ounces, by " per- 
centage," is none of the smallest in these days 
of hypodermic solutions, etc. 

The best way (say for 1 fluid oz. of 15, ') of 
course is to weigh off 75 gr. of the salt, and 
dissolve it in 425 gr. of the fluid (generally dis- 
tilled water); after solution and filtration, 
. measure off one fluid oz., and throw away the 
x*emainder. 



Perfumes. 



696 



Photography. 



The following 1 table, however, is sufficiently 
correct for all practical purposes, though not 
absolutely so, the pint having been valued at 
7200 grains, instead of 7291+ . 
Per cent. Distilled water to make one pint, 
ithr (1:10,000) requires 07 (in round 

numbers 1 grain). 
A (1=5000) requires 1*4 0Y 2 ) gr. 
-its (1:4000). requires 1*8 (2) gr. 
aV (1:3000) requires 2'4 (2J$ gr. 
^e (1:2500) requires 2"9 (3) gr. 
A (1:2000) requires 3"6 (314) gr. 
iV (1:1500) requires 4'8 (5) gr. 
& (1:1000) requires 7'2 (7) gr. 
(1:500) requires 14'5 (14>£) gr. 



£ (1:400) 

§ (1:300) 

i (1:200) 

1 (1:100) 

2 (1:50) 
2^(1:40) 

3 (1:33) 
3J (1:30) 

4 (1:25) 

5 (1:20) 
10 (1:10) 
20 (1:5) 
50 (1:2) 



requires 18 gr. 

requires 24 gr. 

requires 36 gr. 

requires 72 gr. 

requires 144 gr. 

requires 180 gr. 

requires 220 gr. 

requires 240 gr. 

requires 288 gr. 

requires 350 gr. 

requires 7*20 gr. 

requires 1440 gr. 

requires 3600 gr. 



Perfumes.— Frozen or Solid Perfumes.— In 
the first place, the solid perfume is merely per- 
fumed hard paraffin. The hard paraffin is melt- 
ed and perfumed at as low a temperature as 
possible, and for a mould use the lids of 2 
arm. chip boxes. 

White Rose Solid Perfume.— Oil of geranium, 
3^drm.; oil of bergamot, % drm.; oil of pat- 
chouli, 5 min. 

From 1 to 5 drops to each block may be 
used, according to the moderation or extrava- 
gance of the manufacturer. 

Lavender Solid Perfume.— Oil of lavender, 
2 oz.; essence of bergamot, loz.; oil of cassia, 
5 min.; oil of geranium, 40 min.; oil of orange, 
5 min. Mix, and perfume the wax as before. 

Bouquet Solid Perfume.— Oil of coriander, 
18 min.; oil of cloves, 2 drm.; oil of nutmeg, 1 
drm.; oil of lavender, 3 drm.; oil of sandal, 1 
drm.; oil of bergamot, 1 oz.; otto of rose, % 
drm.; oil of geranium, % drm.; oil of orange, 
10 min. Mix. 

Cologne Solid Perfume. — Essence of berga- 
mot, 1 oz.; essence of lemon; 1 oz.; oil of cit- 
ronella, y%, oz.; oil of neroli, y<> oz.; oil of rose- 
mary, 80 min.; oil of geranium, 10 min. Mix. — 
Zieliz, in Brit, and Col. Druggist. 

Phosphate Solution.— When acid phos- 
phates are asked for, it is but honest to supply 
the article known as " Horsford's." When not 
as specifically asked for, we learn that dilute 
phosphoric acid is sometimes used ; at others a 
solution of which the following is an example: 

Compound Phosphate Solution.— Magnesium 
carbonate, calcium carbonate, potassium bi- 
carbonate, each 600 gr.; phosphoric acid (U. S. 
P.), 1011. oz.; water, to make 5 pt. Mix and 
filter. 

This solution, when added 1 to 2 fl. drm. to 
any of the f ruit syrups, will make an accept- 
able phosphatic beverage. 

Orange (or other) Phosphates.— Into a mineral 
water (7 or 8 oz.) glass draw 1 to V/% oz. of the 
specified fruit syrup, add I drm. dilute phos- 
phoric acid or phosphate solution, in another 
glass draw plain carbonic acid water and pour 
into the first tumbler or glass to fill it, avoiding 
foam. This is preferable to making a long line 
of varying fruit phosphate syrups.— Phar. Bee. 

Photography.— Accelerator, the "Excel- 
sior." — This accelerator is of German origin. 
It can be employed both with ferrous oxalate 
or pyrogallol. Zinc filings, 100 parts; water, 
500 parts; sulphuric acid, 50 parts. 

Shake well and set aside for a few days. The 
vial should be well corked. Add then 250 
parts of sodium sulphite, set aside again for a 
few days, and dilute with an equal volume of : 



Ammonium sulphite, 250 parts; water, 500 parts. 
This is the stock solution. If to be used 
with pyrogallol, one should add 1 part of am- 
monium sulphocyanate to 50 parts of it, or 4 
parts of ammonio-citrate of iron if employed 
with ferrous oxalate. 

These solutions keep for a long time in well 
corked bottles. 

For pyrogallol 2V£ p. 100 are added to the 
developing solution and for ferrous oxalate 5 
p. 100. A greater percentage produces yellow 
fog. 

In the chemical action, which takes place in 
the preparation of the accelerator, sodium 
hyposulphite (formerly hydrosulphite) is form- 
ed, and to it is due the accelerating property. 

The process is not new ; it is similar to that 
published in 1877 by Mr. L. O. Sammann, for 
the development of the luminous image on 
collodion emulsion films. 

Colored Photographic Prints, Formulas for 
Making Different.— Mr. A. Lizzard, in Anthony's 
Bulletin, gives a translation from a French 
work on the different processes for producing- 
prints in various colors. 

" Process with nitrates of uranium and cop- 
per." By means of this process, which is as 
rapid as that of the salts of silver, prints of a 
brown tone are obtained very warm, very 
agreeable and of an artistic stamp. 

The sensitizing bath is composed of: A. 
Uranium nitrate, 23 grm.; distilled water, 80 
c. c. B. Copper nitrate, 7 grm.; distilled water, 
80 c. c. 

Mix these two solutions in a tray and im- 
merse in it the gelatine sized paper, for about 
two minutes ; then dry it in the dark. The 
paper thus prepared will keep for a considera- 
ble length of time, and it becomes also very 
leathery. The exposure to the sun requires 
not longer than ten minutes, a weak image 
showing in the printing frame. It is then de- 
veloped by immersing in a solution of : Yellow 
prussiate of potash, 16 grm.; distilled water, 
700 c. c. 

The image will instantly appear with a rich 
red brown tone, with metallic reflection and 
bronzed. When the immersion has been suffi- 
cient, the image will appear with a nearly equal 
intensity on both sides, because it is in the 
body of the paper. By this means very fine 
transparent pictures are easily obtained. As 
soon as the print reaches the desired tone, wash 
it in pure water until the whites have become 
clear and pure, and all soluble salts eliminated; 
then hang- it up to dry. No other fixing will 
be necessary. 

In place of the yellow prussiate bath, if one 
is used composed of 2 parts chloride of plati- 
num to 100 parts water, the prints will be a 
beautiful black. 

In the same book is given a " process with 
nitrate of silver and uranium " which promises 
very fine results. Float a sheet of paper on a 
sensitizing bath composed of the following: 
A. Uranium nitrate, 60 grm.; distilled water, 
50 c. c. B. Silver nitrate, 8 grm.; distilled water, 
50 c. c. 

Mix the two solutions, float the paper for 
two or three minutes and hang it up to dry in 
a dark room. Expose it under the negative 
and immerse in a bath composed of : Proto- 
sulphate of iron, 16 grm.; tartaric acid, 8 grm.; 
sulphuric acid, a few drops; distilled water, 
200 c. c. 

The development is very rapid and the print 
is fixed by washing in pure or rain water. The 
sensitiveness of this paper is so great that in 
diffused light a print is visible and black in 
eighteen seconds, and in half an hour before 
a kerosene light of moderate size at five inches 
distant from the flame. The process is very 
simple, and the chemicals of the ordinary kind 
to be found in every well conducted dark 
room. 

Faded Photographs.— Put the card in warm 
water until the paper print may be removed 



Photography. 



697 



Plaster. 



from the card backing- without injury. The 
prints can be restored by means of the follow- 
ing- solutions : a. Sodium tungstate, 100 parts; 
water, 5000 parts, b. Precipitated chalk, 4 parts: 
bleaching powder (chloride of lime), 1 part; 
sodium aurochloride, 4 parts; distilled water, 
400 parts. Solution b is made in a well corked 
yellow glass bottle, is allowed to stand twenty- 
four hours, and is then filtered into another 
yellow bottle. The faded prints are well wash- 
ed, and placed in a mixture 1 to 2 parts of b 
and 40 parts of a. When the intensification 
is sufficient, the prints are immersed in a solu- 
tion of 1 part of hypo, in 10 parts of solution a 
until all yellowness has disappeared, and are 
then well washed. 

Lantern Slides, to Color.— Use transparent col- 
ors, namely, Prussian blue, gamboge, carmine, 
verdigris, madder brown, indigo, crimson lake, 
and ivory black, with the semi-transparent col- 
ors,raw and burnt sienna, and vandyke and cap- 
pal brown, thinning oil colors with ordinary 
megilp to a degree just sufficient for the pro- 
per working, and using for a medium for laying 
on the first coat of water colors gelatine thor- 
oughly dissolved and hot. When perfectly dry 
this coat can be shaded and finished with water 
colors mixed in the ordinary way with cold 
water ; but the manipulation of the added col- 
ors must be gentle, so as not to disturb the 
layer first put on the glass. A thin coat of the 
best mastic varnish heightens the effect of 
shades painted in water colors, but oil colors 
require no varnish. 

Photographing on Wood, using Dry Plates — 
Gelatine, 2 drm.; white curd soap, 2 drm.; 
water. 16 oz. Soak gelatine for some hours, 
then dissolve in a bath of hot water. Add the 
soap in small shavings, stir with a glass rod or 
slate pencil till completely mixed, then add 
powdered alum until the froth produced dis- 
appears ; strain through muslin. The block is 
now coated with this mixture and a little zinc 
white, rubbed well into the wood, with the 
thinnest coating possible, and finished off 
smoothly and evenly all over, and left to 
dry. It is then brushed over with the follow- 
ing composition, a camel hair brush being used. 
It is advisable to use a wide one, to prevent 
streaks in the finished block : Albumen, 1 oz.; 
water, 6 drm.; ammonium chloride, 18 gr.; 
eitric acid, 5 gr. 

Beat the albumen to froth and allow to set- 
tle, using the clean portion, add the water, then 
the ammonium chloride, mixing well with rod ; 
finally the acid. One coating with the brush 
from end to end of the block in one sweep is 
quite sufficient. When the block is dry pour 
over a small quantity of silver solution, made 
by dissolving' nitrate of silver, 50 gr.; water, 
distilled, 1 oz. . 

Move the solution over the surface by the 
aid of a glass rod, and pour off the surplus 
into another bottle for filtering for further 
use. When dry, print the block under a revers- 
ed negative to just the depth you require, as 
there is hardly any loss in the finishing. When 
printed, hold the block face down in a dish of 
strong salt and water for three minutes. This 
will cause the print to fade a little. Wash un- 
der a spray of water, and fix in a saturated so- 
lution of hypo, by holding the block face 
down on the bath for about five minutes ; this 
will bring back all detail; finally wash for 
about ten minutes, stand on end to dry ; the 
block is then ready to be engraved. The pic- 
ture may be toned, but this is not necessary. 
In order to make the reversed negative it is 
only needful to take the photograph through 
the film, care being taken to have the glass 
quite clean. Another method would be— strip 
and turn the film by means of a solution of 
hydrofluoric acid. In case you make a nega- 
tive through the film, remember to turn the 
focusing glass round. 

Stains, Silver, to Remove.— Soak the plate for 



five minutes in clean water ; meanwhile, make 
a solution of potassium iodide, 20 gr. to an 
ounce of water ; now put the plate in this so- 
lution, and let it stay for ten minutes. If the 
stain is very old, keep it in for half an hour. 
Now dissolve half drachm of cyanide of po- 
tassium in one ounce of water. Take the plate 
and put it into this, and gently rub the stains 
with a tuft of cotton wool, free from grit, un- 
til they are quite gone. If the stains are very 
old, make the solutions stronger, and soak for 
a longer time. 

Plaster Casting.— (1) The model (of clay 
or otherwise) is first covered with a layer of 
good plaster of Paris, mixed, or " gauged," 
as plasterers call it, to the consistence of 
batter, and colored with a little red or yellow 
ocher. This layer should average about J4 in- 
thick. It is best applied with the pewter or 
metal spoon used to mix the piaster with. The 
plaster is mixed in a basin half full of water, 
into which it is sprinkled by the hand, as oat- 
meal is sprinkled in making stirabout ; when 
the plaster reaches the surface of the water, it 
is about sufficient, but experience soon teaches 
the right proportion. The mixed plaster can 
be jerked by a dexterous twist of the spoon into 
the deep undercut places, and care must be 
taken not to inclose bubbles of air. A prac- 
tical moulder would place the clay slab in a 
vertical position, as he would see the process 
of his work better. A large model would re- 
quire several mixings of plaster, as when the 
plaster begins to set or harden, it is useless for 
moulding. When the first colored coat of plas- 
ter is hardened, a wash of clay water should be 
applied nearly all over it, and the second coat- 
ing, which may be of coarser stuff , put on to 
the thickness of about 1 in. If the mould is 
very large, some strips of iron nail rod, J4 in. 
square, may be embedded in the back of the 
mould to prevent warping. When the" mould 
is set hard, it must be turned over, and the clay 
picked out. If the work has been modeled on 
a board or slate, or best of all, on a plaster slab, 
it may be necessary to pass a wire between the 
clay and the board to separate them. When the 
mould has been well cleaned and washed with a 
soft brush, it should be soaked in a tub of water 
until quite saturated through and throug-h, 
drained, but not wiped, and a sufficient quan- 
tity of superfine plaster, carefully mixed, 
poured into it, and, by moving the mould 
about, carefully distributed all over. This may 
be backed with coarser plaster, and strengthen- 
ed with iron rods, which in this case should be 
painted or coated with a varnish of rosin and 
tallow. When the cast is set hard, the most 
difficult part, called " knocking out," begins. A 
light mallet and a carpenter's firmer chisel, by a 
few dexterous strokes applied upon the edge, 
will separate the coarse outer backing of the 
mould, prevented by the wash of clay water 
from adhering to the first colored layer. The 
cast should then be placed upon a soft elastic 
bed— an empty sack folded is as good as any — 
and by gentle taps, holding the chisel perpen- 
dicularly, or nearly so, to the face of the work, 
the colored plaster may be snapped off, some- 
times in large, sometimes in minute pieces, the 
color preventing the operator chipping- away 
the best part of his work, which may happen 
when mould and cast are of one color. A 
chisel 1 in. or more broad may be used for the 
first rough work ; smaller will be required for 
delicate parts. 

A figure in the round may be moulded by the 
same process, but the mould must be in two 
parts. A strip of clay 1 in. or so wide must be 
fixed all around the clay figure, to be removed 
when the first half of the mould is done. The 
edge of the first half must have sunk holes, 
made by any convenient steel modeling tool, to 
insure the fitting of the two halves of the mould. 
Projecting limbs must be cut off with a fine wire, 
and cast separately. If an iron support enters 
the back of the model, a little clay must be put 



Plaster. 



Powder. 



round it, close to the model, to enable the iron 
to be drawn through the mould, and the hole 
in the mould stopped up with plaster. The 
two parts, carefully saturated and bound to- 
gether, may be about half -tilled with well mix- 
ed supertiue plaster, as thick as cream, which, 
by carefully turning' and inclining the mould, 
can be made to cover the whole of the mould, 
leaving a large hollow to be filled with a coarser- 
plaster, in which a painted iron rod may be in- 
serted. Good plaster smells sweet, sets in 10-20 
minutes as hard and as crisp as loaf sugar. 
Bad plaster smells of sulphur, and never sets 
hard. Beginners must make sure of their 
materials, and even then should try their hands 
on unimportant work. 

Small reliefs may be moulded in wax. A bor- 
der of clay or strips of wood a little higher 
than the highest part of the model must be 
fixed all round, and melted beeswax with a lit- 
tle rosin and tallow added, poured over the 
clay. When the wax is cold, and the clay well 
washed out, superfine plaster can be poured in 
as into a plaster mould. The wax is afterward 
melted off or softened bef ore a fire and peeled 
off, to serve again as often as you please. 

Anatomical Specimens.— Prepare the speci- 
men by making it as clean as possible; place on 
oiled paper, in a position that will show it to 
advantage. Soft projections may be held in 
position with threads suspended from a frame 
or from a heavy cord stretched across the 
room. Paraffin melted on a water bath is paint- 
ed over the preparation with a soft brush, the 
first layer being put on with single and quick 
strokes, that the rapid cooling of the paraffin 
may not cause the brush to adhere to the pre- 
paration, thus drawing the soft tissues out of 
place, until the mould is formed about % in. 
thick ; all undercuts must be well filled. When 
the mould is hard it can be readily separated 
from the preparation ; it is then well washed 
with cold water. Stir fine dental plaster into 
cold water to consistency of cream, pour into 
the mould and out again several times, so that 
there will be no air bubbles on the surface, 
then fill the mould and let it stand until hard. 
Place the whole in a vessel containing boiling- 
water until the paraffin is all melted ; wash 
with clean boiling water. When the cast is 
thoroughly dry, it may be painted with oil 
colors by coating it first with shellac varnish. 
Casts of any part of the body may be made 
from a living subject, if the parts are not too 
sensitive to bear the heat of the paraffin, which 
varies from 104° to 1-40° F.— English Mechanic. 

Plaster Work.— To Marble Plastic Figures. 
— Dissolve an ounce of pure curd soap, grated 
in water, and add one ounce of white wax, cut 
in thin slices. When the whole is incorporated 
it is fitrf or use. Having dried the figure before 
the fire, suspend it by a string and dip it in the 
mixture ; when it has absorbed the varnish, 
dip it in a second time, and that generally suf- 
fices ; cover it carefully from the dust for a 
week, then rub it gently with soft cotton wool, 
and you will have a brilliant shining gloss, re- 
sembling polished marble. 

Transparent Casts. — Beautiful semi-trans- 
parent casts of fancy articles may be taken in 
a compound of 2 parts unbaked gypsum, 1 of 
bleached beeswax, and 1 of paraffin. This be- 
comes plastic at 120° F., and is quite tough. 

Platinized Iron.— By a process recently 
invented, a protecting coating of platinum 
can be given to iron, which is at once orna- 
mental and useful— ornamental, as it gives the 
metal the appearance of silver ; and useful, as 
it prevents the oxidation of the metal beneath 
it, while the platinum itself is not subject 
to oxidation. This process is the invention 
of M. J. B. A. Dode, of Paris, and consists in 
first pi-eparing the iron by coating it with a 
compound of borate of lead and oxide of cop- 
per made into a pigment with turpentine. The 
iron thus coated is placed in a furnace and 



made red hot, whereby the pigment is burnt 
in, the iron thoroughly cleansed, and its pores 
filled up. Polished steel andiron, it is stated, 
do not require this preliminary coating. The 
secret of the invention is said to lie in the me- 
dium in which the platinum is so held. The 
articles painted with this solution are subject- 
ed to heat, whereby the essential oils are driven 
off and the platinum coating remains on the 
article, giving it the appearance of silver. The 
cost of the process is stated to be one-fourth 
that of electro-plating with silver, and its re- 
sults are to give a permanent coating of plati- 
num to the articles treated. 

Polishing:.— Ivory, to Polish in the Lathe. 
— Ivory and fine hard woods may be polished 
in a turning lathe, by mixing with tripoli the 
dust and shavings that turn off, and pressing it 
against the work while turning. 

Paint, to Polish on. — Two and a half ounces 
90% alcohol, 1 dr. oil of almonds, 1 dr. gum 
elemi, y% oz. orange shellac. Pounded fine and 
put into a bottle to dissolve. Or 3 oz. shellac 
dissolved in % pt. naphtha, used the same as 
French polish. If too thick add more naphtha, 
and vice versa. Rub it on with soft woolen or 
cotton wadding. 

Stones, etc., to Polish.— A correspondent in 
Science Gossip gives the following as the best 
method: Get a piece of lead nine inches by 
four, and with emery and water grind down 
to a flat surface ; if now ground on a piece of 
snake stone, it will make the specimen quite 
smooth. To polish, nail over a piece of deal 
board three thicknesses of cloth, strew some 
putty powder over this, wet with water, and 
rub until a polish is produced ; a fine finish can 
be obtained by using another board with jew- 
eler's rouge instead of putty powder. 

Wood, Polishing of.— Dark Polish.— Ten oz. 
methylated alcohol, 2 drm. powdered myrrh, 
2 oz. shellac, 1% oz. Florence oil, 1 drm. oxalic 
acid, 1 oz. dragon's blood. 

To Polish New Wood.— First give a coat of 
isinglass dissolved in water very thin, smooth 
it over with fine glass paper, then dissolve in 
4 oz. of wood naphtha, 1 oz. orange shellac, and 
2 drm. benzoin. Stain with dragon's blood to 
color required. 

For Delicate Cabinet and Papier Machc Work. 
—Linseed oil, 16 oz.; spirit, 8 oz.; vinegar, 8 oz.; 
butter of antimony, 2 oz.; oil of turpentine, 
8 oz. Shake well before using and apply with 
a woolen rubber. 

Oil of turpentine, 16 oz.; rectified oil of amber, 
16 oz.; olive oil, 16 oz.; oil of lavender, 1 oz.; 
tincture of alkanet, 4 drm. Mix. 

A cotton rubber is saturated with this polish, 
which is thus applied to the wood. The latter 
is then well rubbed with soft, dry cotton rags 
and wiped dry. 

Powder. —Face Powder, Harmless. — The 
following formula, given by Paschkis, will 
yield a good preparation : Magnesium car- 
bonate, 60 parts: zinc oxide, 350 parts; talcum, 
590 parts ; perfume to suit. 

Pink powder is produced by triturating the 
above with an ammoniacal carmine solution, 
and the yellow tint by adding to 985 parts of 
white powder, % part carmine and 15 parts 
yellow ocher. 

Nursery Powders.— Anti-chafe Nursery Pow- 
der, Hood & Co.— Powdered fuller's earth, 9 oz.; 
powdered boric acid, l\i oz.; powdered oxide 
zinc, 3 oz.; powdered starch,' 9 oz.; powdered 
orris root, V/z oz.; oil bergamot, 2 drm. Mix 
the powders thoroughly, add the oil, and pass 
through a fine sieve. 

O. K. Baby Powder (C. W. Moister).— Oxide 
zinc, ¥> oz.; powdered starch, 1]4 oz.; boraeic 
acid, 20 gr.; oil eucalyptus, 10 drops. Mix and 
rub very fine in a mortar. Dust on parts af- 
fected, as occasion may require. 

Cutine or Nursery Powder (W. D. Harnist).— 



Potatoes. 



699 



Preserving. 



Talc (purified), 8 oz.; fuller's earth (powder- 
ed), 4 oz.; lycopodium, 4 oz.; oil rose, 5 gtt. 
Rub the oil of rose with the fuller's earth in a 
mortar until thoroughly incorporated ; add the 
talc and lycopodium, triturate thoroughly. 
This makes a harmless and useful sprinkling 
powder and its cost \v ill not exceed 25 cents per 
pound. 

Pilot's Infant Powder.— (Fred J. Renner, Jr. 
—Era Prize.)— Carbolic acid, 50 gtt.; boracic 
acid, \y> oz ; powdered French chalk, 14^ oz. 

Triturate the French chalk with the carbolic 
acid gradually added ; then add the boracic 
acid and thoroughly mix them. 

Baby Powder.— Powdered French chalk, 14 
oz. ; powdered boracic acid, 2 oz.;ext. jasmine, 
1^ drm.; ext. musk, ^ drm. Pass through 
fine sieve. 

Nursery Powder (to Cure Severe Chafing).— 
Gum camphor, J4 o z -' carbolic acid, 15 drops ; 
oxide zinc, % oz.; Eng. precip. chalk, 2 oz.; 
oil of neroli, 5 drops; oil of rose, 2 drops. Rub 
the camphor to a fine powder in a mortar ; use 
alcohol to reduce it, and mix the other com- 
ponents thoroughly. Sift through a bolting- 
cloth of 10(1 meshes to the inch. 

This powder is invaluable for healing raw 
and irritated surfaces and for curing sunburn. 
Mixed in the proportion of 3 parts of vaseline 
or cold cream, it forms one of the most useful 
domestic remedies in the way of a general heal- 
ing salve that can be suggested. 

Infant Powder.— Kaolin, 1 lb.; pulv. orris, 
Florentine, 4 oz.; oil sandal, 40 drops. 

Stamping Powder. — Pigment, 1 oz.; san- 
darac, 1 oz.; white resin, 2 oz. The mixture 
should be passed through a very fine sieve. 
The pigments preferably employed are Prus- 
sian blue, vermilion, chrome green and yellow, 
white lead. 

Potatoes 9 to Solidify.— Make a solution 
of 4 parts of sulphuric acid in 50 parts of 
water. Treat peeled potatoes with this solu- 
tion for thirty-six hours. Dry the mass be- 
tween blotting paper and subject to great 
pressure. By using very strong pressure, bil- 
liard balls have been made closely resembling 
ivory. The material can be carved and doubt- 
less could be used for the larger types. 

Preserving.— Books.— In certain parts of 
China, the British Consul at Swatow observes, 
books are extremely liable to be attacked by 
insects. They first destroy the glue used in the 
backs of books, and gradually perforate the 
whole volume. Cockroaches, too, entirely dis- 
figure the covers by eating away patches of the 
glazing. 

The remedy for both these nuisances is easy. 
The late Dr. Hance, who had a large library, 
used the following recipe: Corrosive sublimate, 
5 drm.; creosote, 60 drops, rectified spirit, 21b. 

This mixture, a violent poison, he applied 
with a brush in the joint of the book at every 
six or seven pages, and as a preventive of the 
ravages of cockroaches, he varnished the cover 
of the book with a thin, clear spirit varnish. 
In binding books, it would be only necessary to 
add a small quantity of the above mixture to 
the glue used, and to give a coating of spirit 
varnish to the cover, to secure complete pro- 
tection from the attacks of insects of all 
kinds. 

Lead.— Boiling for 15 minutes in a solution 
of sulphide of soda, by Avhich the surface be- 
comes coated with a film of sulphide of lead, 
insoluble in water. 

Meat.— ' •Preservaline," a New Preservative 
for Meat.— Some time ago I was applied to for 
information as to how to pickle meat without 
tne use of nitrate of potash or saltpeter. The 
objections to the use of saltpeter are said to 
be: 

(1) The operation of curing takes too long a 

time. 



(2) It renders the outside of the meat hard. 

I came into possession of two samples, both 
in pulverulent form, one red and the other 
white in color. From another source I learned 
that this product was placed on the market 
under the trade name of " Preser valine." 

A qualitative test showed conclusively the 
absence of all nitrates and the presence of bo- 
racic acid in combination with a base, for the 
reason that the characteristic green coloration 
of the flame only appeared after the addition 
of a drop of sulphuric acid. It appeared 
further that both the red and white samples 
had the same composition, with the sole differ- 
ence that to the colored sample there had evi- 
dently been added some rosaniline color. 

I made up a sample with a little rosalic acid 
which exhibited nearly the same color as the 
original one, but a little more pronounced. 

The quantitative analysis of the white sam- 
ple gave : 

Sodium biborate, 44* 18$, sodium chloride, 
45*30$, moisture 7*80$, impurities (undetermin- 
ed) 28-2$; total, 100*00$. 

Practically, then, we have here a mixture of 
equal parts of borax and common salt, and the 
" regular " preservaline, which imparts to the 
meat a cherry red color, as per announcement 
of the manufacturers and vendors of this 
article, is simply the same product, with the 
addition of some coloring matter or dye. 

Without any doubt, this product, on account 
of the large quantity of borax in its composi- 
tion, will act as a good preservative, though 
the price is high, so far as the selling price is 
concerned, as the following statement will 
show: One pound of borax is worth 9 cts.; 1 
lb. salt is worth 1}4 cts.; 2 lb. mixed salt is 
worth 10^ cts.; 1 lb. mixed salt is worth 5J4 cts. 
It is put upon the market for the prices indi- 
cated in the following tabulation, reproduced 
from the manufacturers 1 circular: 

" REGULAR." 

For Curing Per Pound. 

Pork and Beef. Cents. 

In barrels 14 

1001b kegs . 15 

50 lb. drums 16 

25 lb. drums 16 

10 lb. boxes 16 

Use one pound for every 100 pounds of meat. 
This preservaline gives the meat a cherry red 
color. 

Preservaline prevents any kind of sausage 
from turning sour, even in the warmest 
weather, and retains the natural color of the 
sausage. 

Looking over the literature of the subject, I 
found that a series of investigations of similar 
products had been made by Mr. G. Polenski 
(vide Reports of the Imperial German Health 
Office, 1889, No. 5, p. 364). 

I quote therefrom the following data, re- 
specting the composition of a number of such 
materials. 

1. The Real Australian Meat Preserver.— (A 
nearly colorless liquid, emitting a strong odor 
of sulphurous acid.) It contains in one liter: 
Calcium oxide, 11*080 grm.; sulphurous acid, 
46*030 grm.; ferric oxide (alumina), 0039 grm.; 
silicic acid, 0*052 grm. 

2. Real American Meat Preserver.— The same 
liquid, but a stronger solution. Contains per 
liter : Calcium oxide, 26*42 grm.; sulphurous 
acid, 89*60 grm.; ferric oxide (alumina), 1*80 
grm.; silicic acid and alkalies, 1*20 grm. 

3. Conservative for Sausages. —(The same 
liquid, slightly opaque, but odorless.) Con- 
tains per liter: Saltpeter, 33*40 grm.; boracic 
acid, 27*50 grm.; glycerine-, 50*00 grm. 

4. Preserving Salt of R. Leisenthal, Cologne. 
—(Does not redden the meat.) Borax, 48*40$; 
water of crystallization, 39*00 % ; common sait, 
3*44$ ; sodium bicarbonate, 9*10$. 

5. Preserving Salt of the Same Manufacturer 



Preserving:. 



700 



Rust. 



(to make the meat red).— Boracic acid, 28*34$ ; 
common salt, 9*58$ ; saltpeter, 57*35$ : water, 
4*50$. 

6. Preserving- Salt of Gaase Bros., Berlin.— 
Boracic acid, 29*70$ ; saltpeter, 37'80^ ; common 
salt, 26*70$ ; water, 5*80 $. 

7. American Ham Preserver.— (An acid, yel- 
lowish liquid, having an empyreumatic odor.) 
Contains per liter: Potash alum, 70*00 grm.; 
saltpeter, 21*04 grm. 

8. Stuttgart Conserving Liquid for Meat.— 
(An acid liquid, having a strong sulphurous 
acid odor and a yellowish color.) Contains per 
liter: Arsenious acid(As 2 3 ), 0*103 grm.; common 
salt, 5*500 grm.; phosphate of lime (Ca 3 (P0 4 ) 2 , 
41*940 grm.; sesquioxide of iron and alumina, 
0*440 grm.; sulphurous acid, 37*440; free phos- 
phoric acid (H3PO4), 6*050 grm. 

9. Simple Conserving Salt of Conserving Salt 
Co., Hagen. — (A white salt, in solution, alka- 
line.) Contains: Borax, 21*95$ ; water of crys- 
tallization, 13*30$; saltpeter, 33*10$; common 
salt, 32*04$. 

10. Triple Conserving Salt of the Same Manu- 
facturer.— Salt, 0*80$ ; boracic acid, 55*50$ ; bo- 
rax, 29*00 $ ; water of crystallization, 14*70$. 

11. Sazolith. — Sulphate of soda, 37*3$ ; sul- 
phurous acid, 39*7$ ; soda, 21*0$ ; water, 2*0$. 

12. Berlinit. — Common salt, 7*5$; boracic acid, 
9*0$ ; borax, 8*2*7$. 

Berlinit Pickle (for reddening the meat) —Salt, 
45*9$ ; saltpeter, 32*2$ ; boracic acid, 19*2$; water, 
2*0$. 

13. China Preserving Powder (Minerva).— 
Common salt, 25*00$; boracic acid, 17*7$; sul- 
phate of sodium, 38*8$; sulphite of sodium, 9*2$ ; 
water, 9*3$. 

14.— Australian Salt.— Common salt, 5'5$ ; bo- 
rax, 94*0$ ; hydrocarbon (?), 0*5$. 

15. Dr. C. Rueger's Barmenit.— Equal parts of 
borax and common salt. 

This last brings us home again. American 
ingenuity, it will be perceived, is again in the 
lead. All the liquids and powdei's here referred 
to are free from coloring matter. They all use 
saltpeter to impart the red color to the meat, 
but the inventor of preservaline introduces 
the novelty of a dye to take its place.— Dr. 
B. Teme. 

Plants and the Vine, to Protect.— The following- 
formulas for the prevention of mildew on the 
vine and various plants, as also of some chemi- 
cal manures, will doubtless be valued by many 
vineyard owners : 

, For Vine Mildew.— Copper sulphate, 2 lb.; 
water (dissolve and add), 4 gal.; sodium carbon- 
ate, 3 *b. 

After the precipitation add molasses, ^ lb.; 
stir occasionally, and after twelve hours add 
water, 25 gal. Use this mixture with a spray 
pump. 

The following is sometimes called Bordeaux 
Mixture. It may be used during the winter 
and early spring to paint the stems of vines 
and fruit trees: Copper sulphate, 3 lb.; lime, 3 
lb.; water, 12 gal. 

CHEMICAL MANURES. 

No. 1. No. 2. No. 3. 

Parts. Parts. Parts. 
Superphosphate of lime, 34 40 40 

Potassium nitrate. 16 30 20 

Sodium nitrate 25 — 

Sulphate of lime 25 30 40 

For plants in pots, use 30 gr. for a plant in a 
pot of 1 qt. capacity, 50 gr. in pots 2 to 3 qt., 75 
gr. in larger pots. For plants in the open air, 
3 to 4 oz. to the square yard of earth surface. 

Potatoes, How to Preserve.— The French Min- 
ister of Agriculture publishes the details of 
the process in the official Bulletin du Ministere 
de V Agriculture for March, 1891. The follow- 



ing is a translation of the essential part of the 
scheme : 

1. The method of preservation consists in 
plunging the tubers, before storing them away, 
for ten hours into a 2$ solution of commercial 
sulphuric acid in water ; 2 parts of acid to 100 
parts of water. 

2. The acid penetrates the eyes to the depth 
of about one-fortieth inch (two millimeters), 
which serves to destroy their sprouting power; 
it does not have any appreciable effect upon 
the skin of the potatoes. 

3. After remaining in the liquid ten hours, 
the tubers must be thoroughly dried before 
storing away. 

4. The same liquid may be used any number 
of times with equally good results. 

5. A barrel or tank of any kind wiU do for 
the treatment. The acid is so dilute it does not 
affect the wood. 

6. Chemical analysis shows that potatoes 
treated by this process are as nutritious and 
healthful af tereighteen months as when freshly 
dug. 

7. Potatoes thus treated are of course worth- 
less for planting.— Gerald McCarthy, N. C. Ex- 
periment Station, Raleigh. 

Stone, to Preserve.— Dry clean fine sand, 20 
parts; litharge, 2 parts; pulverized lime, 1 part. 
Mix with boiled linseed oil to a thick paste. 

Plaster of Paris colored with any dry paints 
to a suitable color, then quickly wet to a paste 
and applied, makes a good cement where not 
exposed to the weather. 

Printers' Roller Composition.— This 

composition, by Hawkins and Stacey, London, 
has an affinity for printers' ink, and is tree from 
glycerine, which is a principal ingredient in 
roller compositions as usually made, but which 
repels the ink. A composition prepared ac- 
cording to the following- formula has been 
found to answer well in practice : Glue or 
gelatine, 1 lb.; water, 12 oz.; linseed or other 
suitable oil, 1 lb. 8 oz.; molasses or sugar, from 1 
lb. to 1 lb. 8 oz.; calcium chloride or potash. % 
oz. ; powdered resin (if required), 2 oz. The 
glue is first soaked in the water and then 
melted, and the linseed oil (warmed to a tem- 
perature of about 150° F.) is then very gradu- 
ally added and thoroughly mixed with the 
melted glue. The sugar or molasses is then ad- 
ded to the mass kept at a suitable temperature, 
and the calcium chloride then incorporated. If 
a very tough composition be required, the 
resin (dissolved by heat in a little linseed oil) is 
to be added. The composition may be made 
non-absorbent of water by dispensing with the 
calcium chloride and substituting a similar 
amount of bismuth carbonate. 

Rust.— Metal, Protective for Polished.— Resin, 
35 parts; talc, in powder, 500 parts; lard, 250 
parts; yellow wax, 130 parts; olive oil, 130 parts; 
oil of turpentine, 130 parts. 

Mix the resin, lard, wax, and oil, and melt at 
alow temperature. When melted, stir in the 
talc, and, after removing from the fire, add the 
turpentine, with constant stirring. 

Nickel Plating, to Protect from Rust.— In put- 
ting away a bicycle for the winter, every part 
should be thoroughly cleaned from dirt, the 
running parts daily oiled and the bright 
parts wiped with a mixture of vaseline and 
paraffine, 2 parts vaseline, M part paraffine, to 
which add a half part of finely ground quick- 
lime by heating and stirring. Apply warm by 
wiping- all the nickel parts, and wrapping them 
in paper which has been coated on one side by 
the mixture, very thin, which will keep off dust 
and dampness. The japanned parts and saddle 
should also be nicely covered with wrapping 
paper to keep off dust, which injures the japan 
by long contact. 

Screws, Rusting of.— To prevent screws em- 



Shell*. 



roi 



Soap*. 



ployed to join machinery from becoming fixed 
and difficult to remove from oxidation, the 
Jloniteur Industrielle recommends a mixture of 
oil and graphite, and says it will effectually pre- 
vent screws from becoming fixed, and protect 
them for years from rust. The mixture facili- 
tates tightening up, and is an excellent lubri- 
cant, and reduces the friction of the screw in 
its socket. Carbon, of which graphite is largely 
composed, is the best known lubricant. 

Steel, to Remove Rust from.- Cover the rusted 
part with oil or fat, let it remain three hours, 
wipe off with cloth; take 2 drm. caustic 
potash and 4 oz. opodeldoc ; rub on the 
mixture and let it re main ten minutes, rub off 
dry with cloth. Or, cover the rusted parts 
with sweet oil, well rub in, and next day cover 
with finely powdered unslaked lime ; polish 
with this until the rust disappears. Or, take 
Yi oz. emery powder, 1 oz. soft soap, mixed, 
and well rub in. 

Tin Goods from Rusting, to Prevent.— Cleanse 
them, wipe quite dry, and place them near the 
fire. With this precaution tinware will last a 
Tnuch longer time than usual. 

Shells, to Clean. See Cleansing. 

Shoes, Patent ^Leather, to Renew. — 

Allow common vaseline to remain on the shoes 
for half an hour, remove and rub with can- 
ton flannel. Of course, if the shoes are badly 
cracked, this treatment will be of no avail. 

Silvering. — Ivory, to Silver.— Make a strong 
solution (1 drm. to 2 oz.) of silver nitrate; 
protect such parts of your design as are 
not required to be acted on by copal var- 
nish ; then immerse the ivory work in the so- 
lution ; when it becomes yellow, remove it to a 
glass vessel containing distilled water, and ex- 
pose to the rays of the sun. In a short time it 
will become black in those parts that are not 
protected : it should then be removed from the 
water, wiped dry, and rubbed well with apiece 
of soft leather, when the design will appear on 
the ivory in a metallic state. Clean off the var- 
nish and burnish. Particularly recommended 
for ornamenting tablets, paper knives, mark- 
ing crests on table knives, or, in fact, anything 
that requires ornament or cipher. 

Size.— New. — A new glue size for paper ma- 
kers 1 use, which is nearly 50% cheaper than the 
old kinds and more suitable for the purpose, is 
prepared as follows : Dissolve in a copper pan, 
heated by indirect steam, 20 to 22 kilo. (44 
to 48-4 lb.) of soda, in 90 to 110 kilo. (198 to 
242 lb.) of boiling water; then add, stirring 
constantly, 140 kilo. (308 lb.) of powdered 
rosin, keeping the whole boiling constantly un- 
til all the rosin is dissolved, which is generally 
accomplished in three or four hours. The soda 
rosin composition is mixed together with a 
glue solution made by dissolving 50 kilo. (110 
lb.) of glue in 140 to 150 kilo. (308 to 330 lb.) of 
water. Boil both solutions together for about 
ten minutes, after which run the mixture 
through a fine sieve or filter, and it is then 
ready for use. The best proportions for mix- 
ing the vegetable and animal sizes are, for one 
and a half parts of rosin add one part of glue, 
or, for some purposes, equal parts of each can 
be taken. An addition of starch, if required, 
can be made as usual, also the mixing of this 
improved size with the pulp. 

Soaps.— Cleaning Soap by Cold Method.— The 
Berliner Drogen Zeitung gives the following : 
Cocoanut oil, 30 kilo.; soda lye, 38° B., 15 kilo.; 
potash lye, 20° B., 5 kilo.; " brilliant" green, 200 
grm.; oil of turpentine, purified, 800 grm.; 
hnely pulverized clay, 26 kilo. 

The clay (kaolin), finely sifted, is first placed 
in the vat. The coloring matter (" brilliant " 
green) is rubbed up with a portion of the oil 
and the balance of the latter poured in upon 
the clay, and the two intimately mixed. The 
colored oil is next added and all well stirred 
together. Mix the two alkaline solutions and 



pour them in a strong stream into the mixture 
of oil and clay, agitating the latter constantly. 
Finally, add the turpentine under constant 
Stirling. The resultant soap is poured into 
metallic boxes and closely covered. Grease 
spots in garments are first covered with a little 
of the paste, well rubbed in. Sponging with 
warm water afterward removes soap and spot 
in the most complete manner. 

Laundry Soaps, the Perfumes in.— To find an 
oil which will effectually cover the rosin and 
cocoanut odor in common soaps has been the 
aim of the laundry soap maker for many years. 
Or course, there are oils that will do it, but 
which is preferable, mirbane or cocoanut? or 
citronella ? 

Within the last year or so there has been an oil 
used in Europe quite extensively to overcome 
this, and to make the readers of this journal 
acquainted with it is the object of this little 
article. It is the oil of pennyroyal, 01. Menthce 
Puleggi (not Oleum hedeomce). The latter is the 
American pennyroyal, as different from the 
French oil as day is from night. 

It is stronger than the majority of oils used 
by soap men, stronger even than mirbane, and 
has no obnoxious odor. Belonging, as the name 
indicates, to the family of mints, it has that cha- 
racteristic odor, backed by a great amount of 
"[natural" oil camphor, which helps to hold 
and diffuse the odor. 

In itself it would not make a good perfume, 
but mixed with other oils it does the work. 

The following formulas are recommended, 
and if proper care is used in their preparation, 
there is little doubt of success. 

1. Mixture for White Soap.— Oil French pen- 
nyroyal, 31b.; oil thyme, white, 1 lb.; oil laven- 
der flowers, 1 lb.; oil caraway chaff, % lb. Mix 
and use 1 lb. to 325 lb. soap. 

The cost of the above is about $1.10 a pound, 
and it can be used to a good deal more soap, 
only the house using it, making 1 lb. cakes, 
wanted a strong odor. 

2. For Colored Soap.— Oil French pennyroyal, 
1 lb.; oil cassia, 1 lb.; oil cloves; J^lb.; oil laven- 
der spike, bib. Mix and use the same as above. 

Medicated Soaps.— The base for these soaps is 
constructed upon the following formula, which 
is termed "basic soap" (basis seife): Mutton 
suet, best quality, 593 parts ; olive oil, 74 parts ; 
caustic soda, 22i parts; caustic potash, 111 parts. 
Mix and make a soap. 

1. Resorcin and Salicylic Acid Soap.— For the 
treatment of paristic and seborrhceic eczema; 
also of great service in psoriasis, acne and ich- 
thyosis : Basic soap, 94 parts ; salicylic acid, 3 
parts ; resorcin, 3 parts. Mix. 

2. Resorcin, Salicylic Acid and Sulphur Soap. 
— For use in acne vulgaris and acne rosacea, 
and in seborrhceic eczema, marked by deep in- 
filtration of the skin: Basic soap, 84 parts; 
resorcin, 3 parts; salicylic acid, 3 parts; sul- 
phur, precipitated. Mix. 

3. Resorcin, Salicylic Acid, Sulphur and Tar 
Soap.— For use in squamous eczema and psori- 
asis vidgaris: Basic soap, 79 parts; resorcin, 3 
parts; salicylic acid, 3 parts; precipitated sul- 
phur, 10 parts; liquid tar, 5 parts. Mix. 

4. Quinine Soap.— Found to be valuable in 
pityriasis versicolor, in the treatment of which 
it is made into a lather and the latter allowed 
to dry on the affected parts: Basic soap, 97 
parts ; quinine sulphate, 3 parts. Mix. 

5. Hydroxylamin Soap. — For psoriasis and 
eczema : Basic soap, 97 parts ; hydroxylamin, 
3 parts. Mix. 

6. Iodoform Soap.— For use in the treatment 
of ulceration in the legs, etc.: Basic soap, 95 
parts ; iodoform, 5 parts. Mix. 

7. Creolin Soap.— For treatment of conta- 
gious impetigo, itch, intertrigo and hyperi- 
drosis : Basic soap, 95 parts ; creolin, 5 parts. 
Mix. 



Solderiiij 



702 



Summer, 



8. Ergotin Soap.— Used in cases of arterial 
hypersemia of the skin (such as acne rosacea, 
congelations, varicose eczema, cicatrices mark- 
ed by vascular dilatation, etc.) : Basic soap, 95 
parts ; ergotin, 5 parts. Mix. 

9. Iodine Soap.— Used in the treatment of 
scrofula, tumefaction of the superficial gan- 
glia, chronic tumefaction (epididymitis, etc.), 
specifi culcerations and exanthemata, parasi- 
tory sycosis, favus, tinea, tonsurans, pityria- 
sis versicolor, etc.: Iodine, resublimed, 6 parts ; 
potassium iodide, 3 parts; basic soap, 191 parts. 
Mix. 

10. Salicylic Acid and Creosote Soap.— Salicylic 
acid, 5 parts ; creosote, 2 parts ; basic soap, 93 
parts. Mix. 

This soap has been found of great service in 
the treatment of lupus, psoriasis, seborrhceic 
eczema, parasitic sycosis, favus and tinea ton- 
surans.— Nouveaux Remedes, Nat. Druggist. 

Shaving Soap.— A reader of the Pharmaceu- 
tical Record asks for a receipt for making the 
Yankee Shaving Soap, and that paper recom- 
mends the following: "Take 3 lb. white bar 
soap, 1 lb. castile soap, 1 qt. rain water, Yq pt. 
beef's gall, 1 gill spirits of turpentine. Cut the 
soap into thin slices and boil five minutes after 
the soap is dissolved ; stir while boiling ; scent 
with oil of rose or almonds. If you wish to 
color it, use y% oz. vermilion." 

Soldering.— Aluminum, Soldering.— The in- 
ventors claim that surfaces of aluminum may 
be successfully soldered to each other, and to 
other metallic surfaces, by using silver chlo- 
ride as a flux in conjunction with ordinary sol- 
der. 

The pieces of metal, one or both of which 
are aluminum, are placed in the relative po- 
sition required in the joint, finely powdered 
fused silver chloride spread along the line of 
junction, and solder melted on with a blow- 
pipe or other device. The joints are thus easily 
and rapidly obtained, and become hard and 
perfectly sound on setting, and neither crack, 
flake, nor check.— P. J. Page and H. A. Ander- 
son, Watefbury, Conn. 

Nickel, Solders for.— For fine or high grade 
nickel : Three parts of yellow brass, 1 part of 
sterling silver. For low grade nickel : Fifteen 
parts of yellow brass. 5 parts of sterling silver, 
4 parts of zinc (pure or plate zinc). Melt the 
brass and silver with borax for a flux, and add 
the zinc in small pieces, stir with an iron rod, 
pour into a slab mould, and cool slowly, when 
it can be rolled thin for cutting. 

Sponges.— To Bleach. Sec Bleaching. 

Staining.— Grasses, to Stain.— All the va- 
rieties of grass are coated on their surfaces 
with a materia 1 resembling glass— a hard, im- 
penetrable substance, and which is very visi- 
ble on common cane. On this account it is 
with difficulty that the dyer can impart any 
great variety of color to such materials, and 
it accounts for the little variety of color that 
is seen in the straw hat trade. Were it not for 
this difficulty, it is more than probable that 
straw bonnets would be seen in all the colors 
of the rainbow. Although the colors are by 
no means bright, yet it is possible to stain 
grasses sufficiently for many ornamental pur- 
poses. Many of the grasses are so exceedingly 
beautiful in form that they are frequently 
gathered, and, when dry, are made up into 
pretty ornaments for the sitting room. If, 
however, some of the specimens are not arti- 
ficially colored when grouped together, they 
have rather a somber appeai-ance, owing to 
their sameness of tint. A little variety of 
color may be imparted thus : 

Blue is given by dipping the grasses into a 
boiling hot solution of indigo in sulphuric 
acid. 

A light blue can be given by diluting with 
water the above solution to the desired shade. 

Yellow is imparted by steeping the grass in 
a boiling decoction of turmeric. 



Red, by boiling shreds of scarlet cloth in wa- 
ter containing a little alum. 

Green is imparted by placing the grass first 
in a hot solution of sulphate of copper, and 
then in a bath of common soda in water, 
and also dyeing the grass first blue and then 
yellow. 

Black and slate colors are produced by first 
dipping the grass in a decoction of logwood, 
and afterward in a solution of sulphate of iron. 
Other tints are procured by varying the bath 
with prussiate of potash, chromate of potash, 
Brazil wood, archil, and many other chemi- 
cals. 

Paper and Parchment, to Stain . - Blue. — 
Stain it green with the verdigris stain, and 
brush over with a solution of pearlash (2 oz. 
to the pint) till it becomes blue. 

Green and Red.— Dissolve verdigris in vine- 
gar, and brush over the hot solution until of a 
proper color. 

Orange.— Brush over with a tincture of tur- 
meric, by infusing an ounce of the root in 1 pt. 
90$ alcohol; let this dry, and give an- 
other coat of pearlash solution, made by dis- 
solving 2 oz. of the salt in 1 qt. water. 

Purple.— Brush over with the expressed juice 
of ripe privet berries ; then go over the work 
several times with a decoction of logwood ; 
when dry give a coat of potassium carbonate 
solution (1 drm. to 1 qt.) Cover evenly. 

Yellow. — Brush over with tincture of tur- 
meric. Add annotto or dragon's blood to the 
tincture. Brush over as usual. 

Stone., Artificial.— Ten parts silicic acid, 
powdered and freed from impurities, are mix- 
ed with 90 parts of water and 100 of quicklime, 
all by weight. 100 parts of the product are 
mixed with 100 parts of sand and 5 parts mag- 
nesia or fluorspar, and the mass moulded as de- 
sired. The articles are allowed to dry for 12 to 
24 hours, and subjected to steam pressure 
under ten atmospheres pressure for 48 
to 72 hours, after which they are treated 
with boiling saturated calcium chloride solu- 
tion at a pressure of ten atmospheres for six to 
twelve houi'S. They may then be dried by air or 
the circulation of steam. Marble, magnesia, 
magnesium limestone, etc., may be substituted 
for the sand. The stones thus formed are said to 
resemble marble, sandstone, granite, etc., close- 
ly, to be fireproof, and to resist the action of 
the weather as well as natural stones.— C. Geo, 
Berlin, Germany. 

Summer Drinks.— From the British and 
Colonial Druggist we take the following formu- 
las, which are perhaps equal or superior to 
those given in other parts of the book. 

Lime Fruit Syrup.— A very pleasant and cool- 
ing drink is made of: Citric acid, 3 oz.; sugar, 
7 lb.; boiling water, 1 gal.; coloring, q. s. Dis- 
solve. 

Cinnamon Syrup.— Oil of cinnamon, 8 min.; 
tincture of capsicum, 2jdrm. Dissolve and add 
to a solution of sugar, 7 lb., in boiled water, 
1 gal. 

Framboise Syi^up.— Raspberry syrup, 1 pt. ; 
currant syrup, 2 pt. The mixtures of the va- 
rious fruit syrups give rise to many other 
names, and we omit other formulas. 

Chocolate Syrup.— Selected chocolate, 1 lb. ; 
water, 4 pt. Have the chocolate rubbed well 
to powder or by means of a Keystone beater 
or other suitable apparatus, thoroughly incor- 
porate, adding 4 lb. sugar; bring to boiling 
point with constant stirring ; remove from the 
source of heat ; continue the use of the me- 
chanical stirrer for 20 minutes; when cold, add 
extract vanilla, 1 oz.; essence cinnamon, M oz.; 
and enough thin syrup to make 1 gal. 

Much depends upon the selection of the cho- 
colate, and here inquiry finds that our friends 
differ as to preference. Avoid scorching, and 
this means constant attention and stirring. 

Coffee Syrup.— Java coffee, 2 lb. (ground very 



Teas. 



703 



Varnishes. 



fine) ; mix 2 pt. of alcohol with 6 pt. of water; 
moisten the coffee, and in a suitable percolator 
add the remaining- liquid to thoroughly ex- 
haust the coifee. At a very gentle heat evapo- 
rate the alcohol, and add 4 lb. of sugar. Make 
to the measure of 1 gal. by adding thin, plain 
syrup. 

Cream Syrup.— In making cream syrup avoid 
heat. 1. Cream, 1 pt. ; milk, 1 pt. ; sugar, 1 lb. 

2. Condensed milk (without sugar), 1 pt. ; wa- 
ter, 1 pt. ; sugar, V/% lb. 

3. Condensed milk (with sugar), 1 can or y% 
pt.; water, J^ pt. ; thin syrup, 1 pt. 

Egg Phosphate Syrup— Lemon syrup, 2 pt. ; 
orange syrup, 2 pt. ; eggs, 32; phosphoric acid 
(U. S. P.), 1 to 2 fl. oz. 

Thoroughly incorporate this with a Keystone 
beater. Draw \\& to 2 fl. oz. in large tumbler, 
and fill with carbonated water. 

Fruit Pho s p hates.— Strawberry syrup, 8 fl. 
oz. ; pineapple syrup, 8 fl. oz. ; cherry syrup, 8 
fl. oz. ; pear syrup, 8 fl. oz. ; dilute phosphoric 
acid or phosphate solution, 1 fl. oz. 

Orgeat Syrup. —Cream syrup, 8 fl. oz. ; vanilla 
syrup, 8 fl. oz. ; essence bitter almond, 1 11. dr. 

A. New Lemon Syrup. — The separation of 
citral from oil of lemon gives a product of de- 
licious odor and taste. It is proposed to utilize 
this as follows: Oil lemon, 14.gr.; citral, 1 gr. 
Dissolve this in a little deodorized alcohol, and 
add it to simple syrup, 100 kilos. 

The pamphlet of Schimmel & Co. says this 
yields a perfectly clear and very aromatic sy- 
rup. Citral is obtained from quite a variety of 
other oils than lemon, as limetta oil, mandarine 
oil, lemongrass oil, eucalyptus oil, backhausia 
oil, citronelle fruit oil, Japan pepper oil, and 
ere long we may hear of many other sources 
from which it may be obtained. 

Teas, Medicinal.— Hamburg Tea.— Senna 
leaves, c oarsely cut, 20 parts ; coriander, crush- 
ed, 5 parts; manna, well dried and cut, 10 parts; 
tartaric acid, powdered, 1 part. The senna 
leaves are moistened with tartaric acid, dis- 
solved in 2 parts of water, then dried and mixed 
with the rest. 

Resolvent Tea.— Melissa leaves, 7 parts; ori- 
ganum, 7 parts ; chamomile, 2 parts ; lavender 
flowers, 2 parts; elder flowers, 2 parts. Are 
coarsely cut and mixed. 

Transferring.— Wood, to Transfer Prints 
to.— First varnish the wood once with white 
hard varnish, then cut off the margins of the 
print, which should be on unsized paper. Wet 
the back of it with a sponge and water, using 
enough water to saturate the paper, but not so 
as to be watery on the printed side. Then, 
with aflat camel's hair brush, give it a coat of 
transfer (alcohol) varnish on the printed side, 
and apply it immediately, varnished side down- 
ward, on the wood work, placing a sheet of 
paper on it and pressing it down evenly with 
the hand till every part adheres. After stand- 
ing a short time, gently. rub away the back of 
the print with the fingers, till nothing but a 
thin pulp remains. It may require being wet- 
ted again, before all that will come (or rather 
ought to come) off is removed. Great care is 
required in this operation, that the design or 
printed side be not disturbed. When this is done 
and quite dry, give the work a coat of white 
hard varnish, and it will appear as if printed 
on the wood. 

Varnishes.— Precautions which should be 
observed in applying varnishes. Whether the 
varnishes are used on paint or directly on the 
wood, it is well to observe the following rules: 

1. The object must be clean, protected from 
dust, and at a mild or high temperature, ac- 
cording to whether alcohol or fatty varnishes 
are used. 

2. The varnish should be kept in a closed ves- 
sel and a cool place, drawing off only the 
quantity really required for the work to be 
executed. 



3. To put on the varnish, a small quantity is 
taken on a brush and spread on in such a way 
that the brush will not pass twice over the 
same place, nor leave places without varnish, 
which would produce spots. The coats must 
be thin and uniform, not being thicker than a 
sheet of paper. If one coat is not sufficient, 
put on as many as are necessary, always taking 
care that the previous coat is well dried. 

4. If the varnish is too thick and does not 
spread well, it should be thinned by adding a 
little distilled alcohol or spirit of turpentine, 
according to whether alcoholic or fatty var- 
nishes are used. 

5. If the varnish blisters, or looks badly, it 
must all be removed immediately, for which 
purpose, if the varnish is fresh, the surface is 
rubbed with alcohol or spirits of turpentine, 
according to whether the vehicle of the var- 
nish is alcohol or oil. 

6. When the varnish is applied immediately 
to wood, the surface, after being rubbed 
down with pumice stone, is polished with very 
fine sandpaper. 

Many of the following varnish receipts are 
published for the first time in English, having 
been specially translated from the Spanish edi- 
tion of the Scientific American (La America 
Cientifica e Industrial). 

African Varnish.— Dissolve 1 lb. pale African 
copal in 1 qt. of hot linseed oil, simmer in water 
bath, and add 1 pt. spirits of turpentine, and 
strain. Thin with turpentine if required, and 
bottle. 

Alcohol Varnish. — For woodwork, ironwork, 
grilles, etc.: Sandarac. 150 to 190 grm.; shellac, 
60grm.; vegetable pitch, 120 to 130 grm.; clear 
turpentine, 120 to 130 grm.; ground glass, 120 
to 430 grm.; alcohol. 970 to 980 grm. 

The pulverized glass divides the resins, pre- 
venting them from adhering to the bottom of 
the vessel and retaining the foreign substances 
that might be mixed with them. — La America 
Cientifica e Industrial. 

Amber Varnish for Gilding Wood.— Colo- 
phony, 15 grm.; amber, 60 grm.; elemi, 30 grm.; 
spirit of turpentine, 375 grm. 

Black Varnish, for Sheet Iron.— Melted colo- 
phon y, 60 grm.; amber, 90 grm. After fusion 
and cooling, add : Spirits of turpentine, 45 
grm.; painters 1 varnish, 45 grm. If the var- 
nish is too thick, dilute it with essence. 

Dead Black, for Optical Goods and Ornamen- 
tal Iron Work.— Dissolve seed lac in 95% alcohol* 
q. s. Mix refined lamp black with alcohol and 
add enough seed lac varnish to make the lamp 
black adhere, but not enough to give it gloss. 
Strain through cheese cloth. Apply with a 
soft varnish brush. 

Brass, Varnish for.— Boil in alcohol, turmeric, 
24 parts ; saffron, 5 parts. This is filtered and 
heated, in water bath, in this tincture : Gam- 
boge. 24 parts; elemi, 90 parts; dragon's blood* 
30 parts ; alcohol, 500 parts. 

Boiling Water, Varnish which Resists. — 
Linseed oil, V/z lb.; amber, 1 lb.; pulverized 
litharge, 5 oz.; powdered white lead, 5 oz.; 
minium, 5 oz. Boil the linseed oil in an im- 
tinned copper vessel, and suspend in it the 
litharge and minium in a small bag, which 
must not touch the bottom of vessel. Con- 
tinue the ebullition until the oil has acquired 
a deep brown color ; then take out the bag, 
and put in a clove of garlic; this is to be re- 
peated seven or eight times, the boiling being 
continued. Before the amber is added to the 
oil, it is to be mixed with 2 oz. of linseed oil, 
and melted over a fire that is well kept up. 
When the mass is fluid, it is to be poured into 
the linseed oil; this mixture is to be boiled and 
stirred continually for two or three minutes. 
Afterward, filter the mixture, and preserve it 
in a bottle well corked up. When this varnish 



SL 



Varnishes. 



704 



Varnislies. 



is used, the wood must be previously well pol- 
ished, and covered with a thin coat of soot and 
spirits of turpentine. When this coat is dry, 
some of the varnish may be applied with a 
sponge, taking care that it is equally distribut- 
ed on every part. This operation is to be re- 
peated four times, being always careful that 
each coat be well dried before another is put 
over it. After the last coat of varnish, the 
wood must be dried in an oven, and afterward 
polished. 

Brushes* Varnish, to Keep. — Varnish brushes 
should never be allowed to touch water, as it 
not only injures the elasticity of the hair, but 
a resin is deposited in the hilt of the brush 
which can never be thoroughly removed, and 
which will work out little by little when the 
brush is used, destroying the glossy surface 
which otherwise might be obtained. 

Cabinet Varnish.— Fuse 7 lb. very fine Afri- 
can gum copal, and pour in \i gal. pale clarified 
oil. 

Camphorated Copal Varnish.— Take powder- 
ed copal, 4 oz.; essential oil of lavender, 12 oz.; 
camphor, J^oz.; and as much spirit of turpen- 
tine as will produce the required consistency. 
Heat the oil and the camphor in a small 
matrass, stirring them, and putting in the 
copal and turpentine in the same manner as 
for gold-colored copal varnish. 

Celluloid Varnish. — As there is much interest 
in the celluloid preparations, an abridged copy 
of patent No. 450,264, issued to E. N. Todd, of 
Newark, N. J., will be given. 

My invention embodies an improved process 
for the production of an amyl-acetate-benzine 
solvent, which is produced at a relatively lower 
cost or by the use of a smaller quantity of 
acetic acid than is necessary when the ordinary 
process is employed. 

The ingredient which has been found most 
useful in pyroxyline varnishes is amyl acetate, 
and the solution consisting of pyroxyline and 
amyl acetate would have valuable properties ; 
but owing to the comparatively great expense 
of amyl acetate, ana the necessity of using 
with it some thinning liquid in order to obtain 
the proper consistency, it has not been prac- 
ticable to use it alone. A compound of amyl 
acetate and benzine alone has been well known 
as a useful solvent of pyroxyline for varnishes, 
but the ingredients, the process of making 
which is herein described, and which I have 
called an "amyl-acetate-benzine solvent," are 
superior to a simple mixture of amyl acetate 
and benzine, and have qualities which a com- 
pound of those two substances formed by a 
simple admixture would not lead a person to 
expect. 

Varhish.— According to my process I first mix 
fusel oil and a suitable hydrocarbon, such as 
Tjenzine— say in the proportion of ten barrels 
of fusel oil and one barrel of benzine. The 
appearance of this mixture is similar in being 
cloudy to a mixture of amyl acetate and ben- 
zine ; but being allowed to stand, the watery 
liquid settles down from the mixture, which 
then becomes clear. I then draw off or sepa- 
rate the watery part of this mixture and distill 
the clear mixture of benzine and fusel, oil 
with acetic acid in the usual way of making 
amyl acetate from fusel oil; but I useless acetic 
acid to the proportion of fusel oil than is re- 
quired when the amyl acetate is made from the 
fusel oil alone. Thus, for instance, I may use 
say 2V£ gal. of acetic acid to 8 gal. of the mix- 
ture of fusel oil and benzine. 

The distillate formed by this process is an 
active solvent of proxyline, to which more 
benzine can be added if required, and besides, 
being anhydrous and consequently valuable 
for the manufacture of varnishes or lacquers, 
possesses a solvent strength which a simple 
mixture of benzine and amyl acetate does not 
have; or, in other words, the distillate is a 



stronger solvent than could be expected from 
a simple knowledge derived from experience of 
mixtures of benzine and amyl acetate sepa- 
rately or combined in the usual way. 

My new solvent, or distillate from a mixture 
of fusel oil and a suitable hydrocarbon, as 
above specified, is a useful ingredient for the 
usual gum varnishes, such as shellac, copal, 
etc., and I therefore do not limit myself to its 
use with a pyroxyline varnish. 

Claims.— 1. The process herein described of 
making a distillate by first mixing fusel oil and 
a suitable hydrocarbon ; second, separating the 
watery part therefrom; and, third, distilling 
the mixture with acetic acid, substantially as 
described. 

2. The process herein described of making a 
distillate by first mixing fusel oil and benzine ; 
second, separating the watery part therefrom ; 
and, third, distilling such mixture with acetic 
acid, substantially as described. 

3. The improved solvent consisting of a dis- 
tillate of fusel oil, a suitable hydrocarbon, and 
acetic acid, substantially as herein described. 

4. The improved solvent consisting of a dis- 
tillate of fusel oil, benzine, and acetic acid, 
substantially as herein described. 

Chinese Varnishes. — Mix *4 oz. of white wax 
and 8 oz. spirits of turpentine; When well 
mixed and cold, dip in your articles and hang 
up to dry. 

Colorine is a varnish made speciahy for 
the ornamentation of fancy tin plate, lamp 
shades, toys, shade rollers and household uten- 
sils ; also, for the protection of the tins used 
by canners of fruits, vegetables, lobsters, sar- 
dines, etc. It imparts a lustrous waterproof 
coating when applied in any of the numerous 
ways common to lacquerers. 

It is furnished transparent and in the richest 
colors known, green, bronze, yellow, blue, red 
gold, yellow gold, and to special order. Any 
one can use it after a few moments' pt, tice. 
Without heat it will dry hard enough for Land- 
ling in half an hour, with heat in much less 
time. The Celluloid Zapon Co., of New York, 
are the makers of this preparation. 

Colorless Varnish.— Dissolve 8 oz. gum sanda- 
rac and 2 oz. Venice turpentine in 32 oz. alcohol 
by a gentle heat. To make a harder varnish, 
of a reddish cast, dissolve 5 oz. shellac and 1 oz. 
turpentine in 32 oz. alcohol by gentle heat. 

Colors, Varnish for Mixing with.— Take 1 oz. 
gum anima; mastic and gum sandarac, of each 
2 oz.; reduce them to a fine powder, and place 
them in a glass vessel, pouring 1 pt. 00% alcohol 
over them. Hang the vessel in the sun un- 
til the ingredients become perfectly dissolved, 
then filter the liquor through a clean cloth, 
and keep it in a well-coi-ked bottle. 
>i Varnish for Dissolving Colors, and for giving 
'brilliancy to paper and to all white substances : 

1. Sandarac, 15 to 16 dkgrm.; mastic, in pul- 
verized drops 61 grm.; elemi, 30 grin.; essence 
of lavender, 30 grm. Mix these substances and 
add: Alcohol, 1 kilo. This varnish dries quickly, 
is solid and brilliant. 

2. Mastic in pulverized drops, 61 grm.; sanda- 
rac, in powder, 24 to 25 dkgrm.; Venetian tur- 
pentine, 122 grm.; alcohol, 1 kilo.— La America 
Cientifica e Industrial. 

Collodion Varnish.— Hale 1 's formula is as fol- 
lows: Amyl acetate, 4 gal.; beuzine (coal naph- 
tha), 4 gal. ; acetone, 2 gal. ;. pyroxyline, 2^ 
lb. The different ingredients are mixed and 
the pyroxyline dissolved thei'ein. 

The metal article, having its surface polished 
and made free from water and grease by any 
ordinary or suitable means, is or may be dip- 
ped into a solution made according to either 
of the formula?, and on removal therefrom 
suspended in a chamber out of the draught till 
the adhering coat or film dries or hardens, 
which takes place in about 15 or 20 minutes. 
The drying may be hastened by artificial heat, 



Varnishes* 



.05 



Varnishes. 






and while the use of such heat at any stage of 
the process is not inconsistent with the inven- 
tion, yet it; is preferred to operate in the cold 
— that is, at ordinary temperatures. Tn damp 
weather the coating should be dried at a tem- 
perature of say 100° to 105° Fah. The varnish 
or solution may also be applied by brushing. 

The coated articles when the coatings are 
dry have their metal surfaces provided with a 
substantial, even, hard, thin, smooth, imper- 
vious, and transparent film of pyroxyline of 
sufficient tenacity, adhesion, and durability 
practically to resist the handling and exposure 
to which lacquered articles in general are sub- 
jected. 

Copal Varnish— Melted copal, 600 grm.; mas- 
tic, 18 grm.; olibanum, 30 grm. The above 
substances are dissolved in essence of laven- 
der, 23 grm.; and then add linseed oil, 1 k. 

The olibanum is a resinous gum extracted 
from a tree similar to the juniper, probably of 
the species balsodendron, which grows in Ara- 
bia and India. 

Copal Varnish, Elastic— Gum camphor, 60 
parts ; copal, 250 parts ; ether, 700 parts. Keep 
in a bottle with a ground glass stopper ; use 
the upper portion, which will become clear 
after a few days, or possibly weeks. This sedi- 
ment has a new portion of the mixed sub- 
stances added, the ether being in excess, only 
one-half as much camphor and copal being 
added. 

Copal Varnish, Volatile.— Pine copal broken 
small, 12 parts; ether, 2 parts; alcohol, 12 parts; 
oil of turpentine, best quality, 8 to 9 parts. 

Drying Varnish for Furniture. — Copal, 90 
grm.'; sandarac, 100 grm.; mastic, 90 grm.; 
turpentine, 75 grm.; ground glass, 100 grm.; 
alcohol, 1 k. 

Durable Slow-drying Varnish.— 1. Sandarac, 
125 grm.; mastic in tears, 125 grm,; pulverized 
glass. 250 grm.; sulphuric ether, 250 grm.; 96$ 
alec .1, 1 k. 500 grm. 

2. Varnish for objects exposed to friction, 
such as chairs, instrument cases, jambs, metals, 
etc. Liquid copal, 9 dkgm.; sandarac, 18 to 19 
dkgm.; pure mastic, 9 dkgm.; ground glass, 
12 to 14 dkgm.; clear turpentine, 7 to 8 dkgm.; 
alcohol, 97 to 98 dkgm. 

Essence Varnish (Spanish).— Varnish for Pic- 
tures: Pure mastic, 360 grm.; turpentine, 45 
grm.; camphor, 15 grm.; powdered glass, 150 
grm.; spirits of turpentine, 1,100 grm. 

Etching Varnish.— Take of white wax, 2 oz.; 
black and Burgundy pitch, each % oz. Melt to- 
gether, adding by degrees 2 oz. powdered as- 
phaltum. Boil until a drop taken out on a plate 
will break when cold. Pour into warm water, 
and make into small balls for use. 

Soft Varnish for Etchings.— Take linseed oil, 
4 oz.; gum benzoin and white wax, 14 oz. each. 
Boil to two-thirds. 

Ether Varnish. — Take 1 oz. of amber-colored 
copal, finely powdered, and place it in a flask 
containing 4 oz. ether ; cork the flask with a 
glass stopper, and shake it for half an hour. 
Let it rest until the liquor becomes perfectly 
clear. 

Fatty Varnish, for Painters.— Sandarac, 120 
grm.; mastic, 30 grm.; Venetian turpentine, 6 
grm.; boiled linseed oil or poppy oil, 750 grm.; 
spirits of turpentine, 90 grm. 

Glass, Varnish f or. — 1. Terquem prepares a var- 
nish for glass, on which drawings can be made 
either with Indian ink or ordinary ink. Four 
parts of gum mastic and 8 parts of sandarac 
are placed in a well-closed bottle with 8 parts 
of 95$ alcohol, warmed in a water bath and 
then filtered. When used, the glass is heated 
to from 122° to 140°, and the varnish poured 
over it. After the drawing is done, it is cover- 
ed with a weak solution of gum. The varnish 
is very hard, and on warm glass it is brilliant 
and transparent, but when cold it is opaque, 



and absorbs the ink. It can be employed for 
putting labels on glass bottles, etc. A thin so- 
lution of gelatine applied to a plate of glass 
which is supported horizontally till dry, makes 
a good surface for pen-and-ink drawings for 
transparencies. 

2. Reduce a quantity of gum tragacanth to 
powder, let it dissolve for twenty-four hours 
in the white of eggs well beaten up ; rub it 
gently on the glass with a brush. 

Gold Varnish.— 1. Amber, 240 to 250 grm.; 
lac, 60 grm.; boiled linseed oil, 240 to 250 grm.: 
spirits of turpentine, 480 to 490 grm. 

2. A permanent gold varnish, says a writer in 
The Furniture Gazette, which does not lose its 
color by exposure to air and light, may be pre- 
pared in the following manner : Two oz. of 
the best garancine or artificial alizarine are di- 
gested in a glass vessel with 6 oz. alcohol of spe- 
cific gravity 0"833 for twelve hours, pressed and 
filtered. A solution of clear orange-colored 
shellac in similar alcohol is also prepared, filter- 
ed, and evaporated until the lac has the consis- 
tence of a clear syrup; it is then colored with 
the tincture of garancine. Objects coated with 
this have a color which differs from that of 
gold only by a slight brownish tinge. The 
color may be more closely assimilated to that 
of gold by the addition of tincture of saffron. 

3. Gold Varnish for Leather.— Take 18 oz. of 
white resin, 10 oz. of common resin, 8 oz. of 
aloes, in pieces, and put in an earthen vessel 
over a strong fire Avithout flame, stir, and when 
dissolved, add 2 pt. linseed oil, and boil gradual- 
ly for six hours. For a deeper shade, add, while 
boiling, 1 oz. of red lead, or according to the 
color required. Try it by taking a little on a 
stick ; if it draws out in strings, it is done. To 
add to the luster, gild the work with silver leaf 
before applying it. 

Furniture, Rubbing Varnish for.— Sandarac, 
250 grm.; mastic, 26 grm.; sarcbcolla, 25 grin.; 
Venetian turpentine, 30 grm. ; benzoin, 8 grm.; 
alcohol, 500 grm. 

The sarcocolla is extracted from different 
shrubs comprised in the species of the same 
name, which grow principally in Senegal and 
the Cape of Good Hope. 

Iron, Varnish for. — Melted colophony, 12 
dkgm.; sandarac, 18 dkgm.; lac, 6 dkgm.; spi- 
rits of turpentine, 12 dkgm. When this is all 
dissolved add: Distilled alcohol, 18 grm. This 
varnish is an excellent preservative from oxi- 
dation. 

Leather Varnish.— Venice turpentine, 3 oz.; 
alcohol, 8 oz.; nigrosin, 30 gr.; aniline blue, 8 
gr. Dissolve the aniline colors in a little alco- 
hol before adding to the other ingredients. 

Mordant Vari}ish— Take 1 oz. mastic, 1 oz. 
sandarac, ¥2 oz. gum gamboge, and *4 oz. tur- 
pentine ; dissolve in 6 oz. spirits of turpentine. 
Or, place a quantity of boiled oil in a pan, and 
subject it to a strong heat. When a black 
smoke arises, set it on fire, and in a few mo- 
ments extinguish it by covering over the pan ; 
then pour the whole, while heated, into a bot- 
tle previously warmed, adding to it a little oil 
of turpentine. 

Photographers, Varnish for.— M. Dumas l-ec- 
ommends, in order to prevent the deteriora- 
tion of photographic drawings, that a boiling 
solution of 1 part of dextrine in 5 parts of 
water should be poured upon the plates, which 
will deposit a thin coat of varnish sufficient to 
effect the desired object. 

Plaster Casts, Varnish for.— Take }4 oz. of tin, 
together with the same quantity of bismuth, 
and fuse in a crucible. When perfectly dis- 
solved, add y z oz. of mercury. This substance, 
when mixed with the white of egg, forms a 
beautiful varnish for plaster casts. 

Prints, to Varnish.— Dissolve 1 oz. of the best 
isinglass, or London single size, in 1 pt. of hot 
water by boiling, strain it fine and keep it for 
use. Add or diminish the isinglass or size till 



Vinegars. 



706 



Wax. 



it merely dulls the surface. Give the print two 
or three coats with a flat camel's hair brush, 
letting- it dry between each ; then with best 
mastic varnish, give it two coats. 

Spirit Varnish.— Shellac, 2 lb.; sandarac, % 
lb.; gum thus, 6 oz.; alcohol, 1 gal. Dissolve 
and strain. 

Tissue Paper, etc., Varnish for.— Add 2 parts 
of drying linseed oil to 1 of the solution of 
India rubber, and mix them by means of heat. 
Apply warm on both sides of the paper. 

Transfer Varnish for Engravers.— Take 6J^ 
oz mastic in tears, 12J^ oz. resin, and of genu- 
ine pale Venice turpentine and sandarac of each 
25 oz. Dissolve, add 1 qt. turpentine var- 
nish, agitate well and strain. 

Transparencies, Varnisji for. — Dissolve wax in 
oil of turpentine. 

Waterproof Varnish for Boots. — 1. Ozokerite 
(hard parafline), 1 part; castor oil, 2 parts; lamp 
black, 1 part. Mix. 2. Salad oil, 1 pt.; mutton 
suet, 4 oz.; white wax and spermaceti, of each 
1 oz. Melt together and apply to the boots 
warmed. 3. Spermaceti, 3 oz.; melt and add 
India rubber in thin shavings, % oz.; when 
dissolved add tallow, 8 oz.; lard, 2 oz.; amber 
varnish, 4 oz. Mix well, and while still warm 
apply with a brush. 

Waterproof Varnish for Leather, Carriage 
Tops, etc.— Eight oz. olive oil, 1 oz. ivory black, 
1 oz. beeswax ; dissolve in 4 oz. turpentine, mix 
together and apply when required. 

White Shellac Varnish.— Dissolve 1 part pearl- 
ash in about 8 parts water ; add 1 part shellac, 
and heat the whole to the boiling point. When 
the lac is dissolved, cool the solution, and satu- 
rate »it with chlorine until the lac has all settled. 
When it is dissolved in alcohol, it forms a var- 
nish which is as transparent as any copal var- 
nish.— Fortsch. der Zeit. 

WhiteVamish, susceptible to polish for jambs, 
lintels, etc : Mastic in drops, 12 to 13 dkgm.; 
sandarac, 48 to 49 dkgm.; elemi, 6 dkgm.; Ve- 
netian turpentine, 2 liters ; alcohol, 2. 

Wood, Varnish for.— Linseed oil, 75 dkgm.; 
amber, 50dkgm.; pulverized litharge, 16 dkgm.; 
pulverized red lead, 92 dkgm. This varnish, 
well applied, resists the action of boiling- 
water. 

Varnish for Rosewood, etc.— Put together in 
a tin can, 1 gal. rectified alcohol, 12 oz. mastic 
and 1 pt. turpentine varnish, and keep them in 
a very warm place, shaking them now and then 
until they are perfectly dissolved ; strain, and 
the mixture is tit for use. If necessary, dilute 
with turpentine varnish. 

Varnish for Unpainted Work.— Quarter of a 
pt. of wood naphtha, J4 pt- alcohol, 4 oz. ben- 
zoin, 4 oz. orange shellac ; dissolve all together. 

Writing Varnish, Imperishable.— Take oil of 
French lavender, Y 2 oz.; gum copal, in powder, 
30 gr.; lampblack, 5 gr.; place these materials 
together in a phial, which then put into scald- 
ing water. In a short time the copal will melt, 
and, if agitated, the whole will form one uni- 
form fluid, which can be used for writing with 
a camel's hair pencil. This composition is very 
useful for writing the labels on bottles or jars 
containing strong acids or other corroding sub- 
stances ; also for gardeners' flower labels, as it 
is in nowise influenced by water ; likewise for 
marking- jars containing preserves, as well as 
for damp cellar stock. 

Vinegars.— Camphor Vinegar. — Camphor, 
1 part ; alcohol, 9 parts ; acetic acid, dilute, 90 
parts. Make a clear solution. 

Raspberry Vinegar.— Take raspberries, 1 lb.; 
rub down with sugar, 5 lb.; and add vinegar, 1 
gal. Let stand twenty-four hour's, agitate oc- 
casionally and strain. 

Wall Coating.— The Gewerbe-Blatt, of Zu- 
rich, gives a receipt for a solution said to pre- 



vent the action of moist atmosphere upon 
walls. A wall exposed to cold and moisture 
should be, it says, coated with a compound of % 
)b. of soap dissolved in 10 lb. of boiling water, 
care being taken in applying it to avoid the for- 
mation of bubbles. A little alcohol assists in 
dissolving the froth, and causes the solution to 
penetrate deeper into the wall. A second coat- 
ing is added after twenty-f our hours, composed 
of a solution of sulphate of alumina, about y% 
lb. in 30 lb. of water. The coating obtained is, 
it is added, impermeable. If the first coat is 
not dry and hard in twenty-f our hours, it must 
be left a longer time. 

Walls, Stopping for.— Mix fine sifted lime and 
plaster of Paris. When applied and dry. rub 
down with glass or sand paper, spread over a 
level board, then dust for sizing. 

Water, Distilled. See Distillery, Po rt- 
able. 

Waterproofing.- Boots.— 1. One part ozo- 
kerit in 2 parts castor oil, and 1 part lamp 
black added, makes an excellent application, 
as the boots will take a thin polish after. 

2. Salad oil, 1 pt.; mutton suet, 4 oz.; white 
wax and spermaceti, of each 1 oz.; melted to- 
gether and applied to the boots warmed before 
the fire. 

3. Much used by fishermen : Melt 3 oz. sper- 
maceti in a ladle, and add % oz - rubber, cut 
into thin shavings. When dissolved, add y% lb. 
tallow, 2 oz. pure lard, and 4 oz. amber varnish. 
Mix well, and while still warm apply with a 
brush, giving two or three coats. It leaves a 
good polish, and is preservative as well as being 
waterproof. 

See also Varnishes. 

Waterproof Coating for Walls.— The follow- 
ing coating has proved very effective in pre- 
venting the penetration of moisture on the 
weather side of walls: Pitch, 50 lb.; resin, 30 
lb.; red ocher, 6 lb.; fine brick dust, 12 lb.; all 
boiled together with constant stirring, and then 
sufficient oil of turpentine— about J4 the vol- 
ume of the above— added, to cause it to spread 
readily. It should be laid on as thin as possi- 
ble with a bristle brush. 

Wax.— Hardening of Wax. — Tallow will not 
harden. Use resin with wax ; 10 to 20 parts 
will make it much harder and fairly tough. 

Wax, Milk of,— Melt in a porcelain capsule a 
certain quantity of white wax, and add to it 
while in fusion an equal quantity of spirits of 
wine, of sp. gr. 0*830. Stir the mixture, and 
pour it upon a large porphyry slab. The granu- 
lar mass is to be converted into a paste by the 
muller, with the addition from time to time of 
a little alcohol. As soon as it appears to be 
smooth and homogeneous, water is to be intro- 
duced, in small quantities, successively, to the 
amount of four times the weight of the wax. 
Strain through canvas. 

Wax Sheets, to Make.—l have used the fol- 
lowing plan for the last fifteen years : After 
the wax is properly cleaned, get four pieces of 
glass cut the width you want to have your 
sheets and about ten inches long. Any deep 
vessel, such as a dinner pail or an old oyster 
can, will serve to melt the wax. Put the pieces 
of glass in a pail of cold water ; when the wax 
is melted, take two pieces of the glass, one in 
each band, and dip alternately, one cooling 
while you dip the other (about three or four 
dips is sufficient), then drop into the cold wa- 
ter. Let these two remain till you dip the 
other two in the same manner. By trimming 
the edges off the glass with a knife, the sheets 
will drop off themselves. If the wax is kept 
too hot, the sheets will be too thin ; if too cold, 
they will be lumpy and thick. Near the setting 
or cooling point is the proper temperature. 
A tablespoon! ul of Venice turpentine to three 
or four pounds of wax will toughen it. This 
should be evaporated to dryness like resin. It 
can sometimes be obtained in drug stores in 



Welding. 



m 



*Vines. 



this form. It will answer the purpose even if 
used thin, but the thicker it is the tougher will 
be the wax sheets.— Dr. BeacocK, Dom. Dent. 
Jour. 

Welding Powder.— An excellent powder 
for welding- wrought iron is described by a 
German contemporary. It consists of borax, 
50% ; ammonium chloride, 25^ ; and water, 25%. 
This mixture is boiled, being at the same time 
continuously stirred until it is reduced to a 
stiff mass, which is then held over a fire until 
it becomes hard. When cold, the mixture is 
well pulverized and assimilated with one-third 
part of rust-free wrought iron filings. The 
pieces to be welded are first dovetailed or other- 
wise connected ; the welding parts are then 
heated to redness, when the powder is strewn 
over them and allowed to liquefy over the fire. 
Only very slight blows are then required to 
consummate the perfect conjunction of the 
pieces. 

Wood, Photographing on. See Pho- 
tography. 

Woods, Strength of. — The strength of 
different woods to resist a compressive strain 
depends upon the value of the absolute force 
or weight which has been found by experiment 
to crush them, and which has a very wide 
range. The annexed table shows the crushing 
weight for all the woods which are used in the 
various branches of constructive art, and from 
these numbers and simple rules it will be easy 
to calculate the strength of pillars of different 
lengths and sizes. 



Description 
of Timber. 



Alder . . . 

Ash 

Birch 

Beech 

Box 

Elm 

Ebony. . 
Hornbeam 

Larch 

Mahogany 
Oak 

« 

n 

Pine (Bed) 

Pine 

Sycamore . 

Spruce 

Teak 

Watergum 



r q t- cs 



o3 as 5 



61-50 

80 
104 

83 

92 

92 
170 

65 

50 

73 

89-25 

53-50 

68*75 

5175 

48 

63- £5 

61 
108 

90 



33 

ft 



15*40 

20 

26 

21 

23 

23 

42-25 

16-25 

12-50 

18-25 

22 25 

13-40 

17 20 

13 

12 

15-80 

15-25 

27 

22-50 



Timber, 
where 
Grown. 



England. 
America. 



West Indies. 
America. 
England. 
Honduras. 
England. 
Canada. 
Dantzig. 
America. 
The Baltic. 
England. 
America- 
Africa. 
East Tndies. 



Workshops, to Lessen Noise in.— In 

workshops of several stories it is sometimes 
desirable to check the noise transmitted 
through the floors to the apartments below ; 
this may be done by the use of rubber cushions 
under the legs of the work bench, or of kegs of 
sand or sawdust applied in the same way. A 
few inches of sand or sawdust is, as described 
by a contemporary, first poured into each keg ; 
on this is laid a board or block upon which the 
leg rests, and around the leg and block is pour- 
ed fine dry sand or sawdust. Noise and shock 
are prevented; and an ordinary anvil so 
mounted may be used in a dwelling house with- 
out annoying the inhabitants. 

Wines. — Clarification. — If the wine is not 
clear and bright after racking, it is necessary 
to clarify it. There are many causes which in- 
terfere with the proper brightness of wine, 
such as changes of temperature, in care- 



less racking, and others. Some wines clear 
themselves, so that clarification need not be 
resorted to. A great many different sub- 
stances have been employed in clarification. 
Many of the so-called clarifying powders are 
nothing but dried blood albumen. Isinglass 
or fish glue is one of the best agents for clari- 
fication. It is dissolved in water until little 
more fluid than molasses. Gelatine pi-epared 
from bone is also used and may be obtained in 
sheets or in small pieces and sometimes in tab- 
lets. It is one of the best agents that can be 
used in clarifying, and is especially valuable for 
clarifying white wine. After wine has been 
clarified with the gelatine it should be racked 
after standing a short time. Blood albumen 
affords a cheap and efficient means of clarify- 
ing the wine in large quantities. A gallon of 
blood beaten up with a gallon of the same 
kind of wine which it is desired to clarify wtll 
clarify 200 gallons of wine. Great care should 
be taken to have the blood fresh, as otherwise 
it is sure to injure, if not entirely destroy, the 
wine. It is especially successful in clarifying 
new wine. In case the wine loses a portion of 
its color, it can be readily restored by an ad- 
dition of the usual coloring matters. 

Milk is used to some extent in place of the 
blood, but it is not as reliable. If the wine is 
of great value, the whites of eggs afford the 
best means of clarifying it, and should be used 
in all cases where expense is not an object. No 
pains should be spared to see that the eggs are 
entirely fresh, as otherwise the wines would be 
destroyed. The whites of the eggs are particu- 
larly efficient for white wine. The proper pro- 
portion is 1 egg per 10 gal. They should be 
beaten up with a small portion of wine with 
an egg beater, before adding to the wine. Gum 
arabic is also used, but is not as good as the 
white of egg or blood. Salt, alcohol and tan- 
nin, and many other substitutes have been 
used with varying success. The ones already 
mentioned will give the best satisfaction. 

Yelloiv White Wines. — The yellow color of 
white wines frequently stands in the way of 
their ready sale. It is removed by the blood 
albumen receipt given under clarification 
above. The receipt given under clarification 
of wines can also be used to bring white wine 
which has turned yellow back to its normal 
color. 

Earthy Flavor of Wines. — This defect in 
wines is apt to interfere seriously with their 
sale, as the taste is particularly disagreeable. 
It may be the result of several causes. The 
vineyards may not be properly cared for, or in 
low, wet land. The treatment of wines which 
have the earthy flavor requires much judgment 
and experience. Wines should be promptly 
clarified by the means already given, and fre- 
quently racked. The white of egg receipt 
given under clarification is the best one to use 
for this defect. The addition of a small quan- 
tity of tannin dissolved in alcohol will also 
help to correct this defect. 

Greenness, — This defect gives a very sour, 
unpleasant taste to the wine, owing to the 
malic and tartaric acids, which are in excess. 
There is no ordinary defect of wine which is 
more noticeable and more disagreeable than 
greenness. As its name implies, it is frequently 
caused by the use of unripe grapes. The treat- 
ment of the wine must be varied according to 
the taste. One of the various methods is to 
add from 1 to 3 qt. of old brand y to every 100 gal. 
of wine. Potassium tartrate affords a cheap 
and easy method of neutralizing the tartaric 
acid, forming potassium bitartrate, which may 
be afterward removed, when the wine is right. 
The amount of potassium tartrate which may 
be vised varies with the sourness of the wine, 
but 18 oz. per 100 gal. would be considered an 
average amount. Various other substitutes 
have been tried, but none are as successful as 
potassium tartrate. 



Wines. 



708 



Zapon. 



Roughness of Wine.— When tannin is in ex- 
cess, the wine is said to be rough, but this de- 
fect, if defect it can be called, disappears in 
time, the tannin being gradually transformed 
into gallic acid. If it is desired to remove the 
roughness at once, try fining by means of gela- 
tine, 1 oz. to every 30 to 40 gal. A portion of 
the color is very apt to be removed from the 
wine. 

Sourness of Wine.— Sourness is distinct from 
greenness, being due to the presence of minute 
quantities of acetic acid, instead of tartaric 
acid, and although all wines contain more or 
less acetic acid, the instant it becomes in excess 
the wine becomes sour and unsalable. It 
should be clarified by either the blood albumen 
or by the gelatine method. It should then be 
racked. Intense sourness renders the wine un- 
fit for aging. 

Acidity in Wine. — This serious defect of 



wine may be the result of several causes, either 
the use of old and worn-out casks or badly ven- 
tilated cellars. There are several substances 
which neutralize acidity in wine. Magne- 
sium carbonate and potassium tartrate and 
several others are used. They should be used 
in px-eference to the cheaper methods of using 
powdered chalk, marble, plaster, etc. To every 
100 gal of wine 10 oz. of magnesium carbonate 
should be added a little at a time, mixing 
thoroughly. 

Detannated Orange Wine. (Vinum Aurantii 
Detannatum.)- Take of orange wine, 1 gal.; 
gelatine, cut small, 2 oz. Macerate for 14 days 
and decant. 

Detannated Sherry. (Vinum, Xericum Detan- 
natum.)— Take of sherry, 1 gal.; gelatine, cut 
small, 2 oz. Macerate for 14 days and decant. 

Zapon. See Lacquers, 



: 



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